#writerproblems: #worldbuilding a #fantasy when the #writing #magic seems all but gone.

Magic.

We could all use some, I think.

But where to find it?

Ah, now that is the question. Some wander over the occasional ancient wall or two. Some play hide-and-seek in peculiar wardrobes. Some explore animal homes. Some play a forgotten boardgame. Some even purchase a kit from a store.

And let’s not even talk about the parents that spend the day graveyard-hopping with their kids (post forthcoming).

For those of us confined to a house of snits and snaps and other plastic mayhem, the hope for peace and quiet and magic feels all but gone, especially when lockdowns are extended, when schools are closed for the year, when jobs are furloughed until further notice.

Oh, I cried when Wisconsin’s governor extended the lockdown. Even though all the rational parts of me knew this was coming, I still cried. I had hoped my mother could finish her teaching tenure with her students. I had hoped my sons could continue their Occupational Therapy. I had hoped my daughter could return to her friends. I had hoped for a little time for myself, too.

But none of this is meant to be, dammit, so here we are, fearful of the outside world while driven mad by the inside one.

How do we counter this?

Magic.

Perhaps you find it in an old story, as I did. “The Final Tampering of Madame Midsomer” began with a photo spotted in the fall of 2018.

Something about the old woman reaching for that apple…it was like she was reaching for, for something else. For me? N-no, but something about the urgency in her manner, the aggressiveness. She needed that fruit. But why? I mean, it’s not like people’s lives depend on a single apple.

Uuuuunless they did.

And from here came the crack and thunder of magic gone wrong. People’s lives did depend on this apple, if that apple was needed in order to stop a Happening from, well, happening.

But what was Happening?

Why, a story, of course.

But sometimes even an inspiring photo isn’t enough. We need to look beyond the photo’s perimeters. What does the traffic sound like on the street? How high do the buildings tower over others? Are we in a world of electronics, or some sort of yesteryear? And smells, don’t forget smells.

(Yes, even towns can have a characteristic smell. For decades, Milwaukee was always blanketed with the smell of yeast from the Miller Brewery. Ever since they removed that level of operation from the downtown location, my nose no longer believes the rest of me when I drive to Milwaukee.)

In order to build upon that initial inspiration, we’ve got to put our sense-memory to use. After spotting the wee shop in the background named “Meatball Obsession,” I focused on my first date with Bo when he cooked me spaghetti. He loves making his own sauce, a day-long endeavor that fills the house with a rich, spicy, meatiness that makes you think the very air is edible. And suddenly I’m imagining people walking about nibbling on saucy meatballs since apples were for magic and not eating.

Hmmm. Sounds a bit silly.

Eh, why not? It’s my story, dammit. At the time I wasn’t looking for serious fare. To help me stay lighthearted, I even put on the soundtrack to Midsomer Murders while I wrote, Parker’s themes for mystery in rural life the perfect balance of spooky and delightful. The mix of smell, sounds, and sights helped me focus on building a story about a woman—no, not just a woman. Look at that hat and coat. Come on. Surely this is a Madame, one of status and prestige…even if no one else agrees. But Madame who? Hmmm…say, isn’t that my Midsomer CD over there?

(Yes, that is occasionally how things come into my stories. If something’s in my eyeline, then iiiiiiiiiiin it goes! So when in doubt, look around you.)

And one apple seems so paltry. Surely Madame Midsomer would insist on purchasing not just one apple but a dozen, certain she could stop the mayhem of her own doing from destroying the entire town. The seller, however, doesn’t like her, refuses to help, and the magical authorities take her away and everything’s fine and life is happy the end.

After posting the story on my free fiction page, I decided to send it off to an online magazine. They didn’t take it, citing the need for more developed worldbuilding and consistent tone.

Well, poop. I liked it, so the story stayed as is…until this past March.

Something Or Other Publishing reached out with information regarding their latest anthology project and inquiring whether or not I’d like to submit.

Um, sure? Except my current short fic WIP wasn’t close to being ready, and SOOP’s deadline was just a few days. What to send, what to send…

I passed “Tampering” off to another fantasy reader to get feedback. While he liked a lot of things, he just couldn’t wrap his head around the meatballs.

But. I. LIKE THEM!

And yet.

Maybe in this confinement, when we’re so ready for ANYthing to break us out of the rutted dread, I was hoping for those meatballs to just come a’ rainin’ down, blessed by the wind.

But in a short story, where the worldbuilding must be solid in only a few paragraphs, I couldn’t justify having something so oddball as obsessions with meatballs. Even one as out there as Neil Gaiman knows he has to tone things down sometimes for the sake of the readers.

A fresh challenge comes when we remove that presumed Thing from the worldbuilding. To us, that Thing embodied so much of the story, like the meatballs representing the out-there zaniness of my setting. In focusing on that zaniness, though, I forgot to give the setting any sort of history, or rules, or heck, even a name. When we over-prioritize the gimmicky Thing instead of characters or plot, is it any wonder readers question the story’s logic or tone?

This calls for serious inspiration.

I didn’t want this urban fantasy to feel too dated, but I did want it to feel different. It hit me I wanted magic to be a normal thing in this society; at first this was to be through the meatballs, but now, I wanted a calmer presence, something akin to Ingary in Howl’s Moving Castle. Witches and wizards were simply a part of life there. One went to a wizard for spells or potions to protect a voyage, help a crop, etc.

Why not let magic be as natural as a flower from the ground?

*gasp* Or the fruits of the trees?

So many possibilities opened in that moment. A quaint farming community, a town proud of its home-grown magic…because it was unique?

Or because it was dated because the rest of the world had moved on to more modern methods?

Imagine magic factory-made and shipped to big box stores, as pleasantly packaged as a box of cookies, consistently good. Not as good as home-made, mind you, but still, you know, good.

Now this story wasn’t just about a sorceress angrily fighting with a fruit seller. This story was about a community struggling under the weight of a pompous magic-wielder. A town proud of its natural magic and fed up with those who misuse it.

At last, I’d found the world built.

And its name was Pips Row.

“Hullo, Seller!” Madame clacked her way down the walk with the straightest of spines and the most pointed of chins. It made no difference to her that the Seller was addressing a small group of whiny school children and their frazzled teacher on the importance of fruit in Workings and other Spells. “So, just as there’s a fruit for every season, there’s a magic for every fruit. Why, if not for lemons, you’d never have fireworks. If not for holly berries, you’d never have snow for Christmas.”

“Isn’t that fascinating, children?” the teacher said with as much enthusiasm as a slug in a salt shaker. “While most communities import their magic from the capital’s factories, little places like Pips Row carry on the old-fashioned way.”

Old-fashioned, indeed! Madame Midsomer had half a mind to show this frumpish excuse of human being just how “old-fashioned” a Regional Sorceress could be. “Excuse me, Seller?”

“Why don’t people here buy by their magic from Merlin’s Mart like everything else?” One gap-toothed girl asked while licking sprinkles from her fingers.

The teacher opened her mouth to speak, but Madame Midsomer brushed her aside. “Manufactured powders don’t hold a snuff to the real thing, child. Now out of my way. I have urgent business to discuss with Seller.”

Out of the corner of Seller’s eye, he could see the tower of Madame Midsomer’s residence shudder ever so slightly, sending a cloud of pollen from the flowers of her creeping vines into the air. The wind coughed—an unsettling sound to any native of Pips Row.

Seller gave a tight-lipped smile to the teacher behind the little mob. “If you’ll excuse me.”

But this school group was not of Pips Row, and had so far only learned they can throw sweets without consequence. “No! The hag can shut up so you can show us real magic!” the girl said, and the lot of them pitched fistfuls of sprinkles at Madame Midsomer.

This was unwise.

Dear writing friends, do not look upon this time of lockdown as a creative drought. Peruse old works for new potential. Tap the dust off favorite reads for new lessons. Lose yourself in the emotions of music. Look upon the world outside your window, and ask:

What’s hiding in the beyond?

Thanks so much for reading my little explore into this writing experience! If you like the sound of “The Final Tampering of Madame Midsomer,” then I hope you’ll help its chances for publication by voting on SOOP’s website. If you’ve already voted—

~STAY TUNED!~

Photos and music and stuff are a’comin’ after I figure out yet another school-at-home conundrum.

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

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

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!

#writingtips from #reading #DonaldMaass to cope with #showdonttell, and a call to #vote for my #fantasy #shortstory!

Hullo hullo! I hope you’re healthy and safe, wherever you are. Today was…well, it was a Monday, make no mistake. But we did get through the morning, and I did get to work this afternoon on revising a short story to be submitted to local publisher Something Or Other Publishing (SOOP).

For those who recall my Free Fiction installments from oh so long ago, there was a tale called “The Final Tampering of Madame Midsomer.” I’ve been spending some time revamping this tale for a submission to one of SOOP’s anthologies, and the submission is now complete! All that’s left is for you, dear readers, to vote.

Please click here to vote for my story to be selected for publication!

I didn’t just want this post to be a “meet MY needs” kind of post, though. Tonight while slurping down some reheated beef soup I was paging through Donald Maass’ The Emotional Craft of Fiction and came across a page that all writers could appreciate.

(Well, all writers could appreciate this entire book, but that goes without saying.)

This excerpt comes from the chapter “Inner versus Outer” discussing that ever-nasty writer problem of showing vs. telling. Enjoy!

Writing out what characters feel ought to be a shortcut to getting readers to feel that stuff too, shouldn’t it? You’d think so. After all, it’s through characters that we experience a story. Their experience is ours. Actually, the truth is the opposite. Put on the page what a character feels and there’s a pretty good chance that, paradoxically, what the reader will feel is nothing.

Here’s an example: His guts twisted in fear. When you read that, do your own guts twist in fear? Probably not. Or this: Her eyes shot daggers at him. Do you feel simmering rage? Meh. Not so much.

Such feelings fail to excite us because, of course, we’ve read them too many times. Those daggers have dulled. What gets readers going are feelings that are fresh and unexpected. Yet those feelings also need to be real and true; otherwise, they will come across as contrived–they’ll ring false and fail to ignite the reader’s emotions. ….

Human beings are complex. We have emotions on the surface and emotions underneath. There are emotions that we minimize, hide, and deny. There are emotions that embarrass us, reveal too much, and make us vulnerable. Our emotions can be profoundly trivial or so elevated that they’re silly. What we feel is unescapably influenced by our history, morals, loyalties, and politics.….

We’re clear. We’re vague. We hate. We love. We feel passionately about our shoes yet shrug off disasters on TV. We are finely tuned sensors of right and wrong, and horrible examples for our kids. We are walking contradictions. We are encyclopedias of the heart. ….

With so much rich human material to work with, it’s disappointing to me that so many manuscripts offer a limited menu of emotions. I want to feast on life, but instead I’m standing before a fast-food menu, my choices limited to two patties or one, fries or medium or large. …They work only with primary emotions because that is what everyone feels, which is true, but this is also a limited view.

So how does one create emotional surprise?

Be obvious and tell readers what to feel, and they won’t feel it. Light an unexpected match, though, and readers will ignite their own feelings, which may well prove to be the ones that are primary and obvious. third-level emotions. That’s the effective way of storytelling.

Gosh, I love this book. I’m going to keep stealing time away to re-read Maass whenever the kids are busy with school stuff. Craft-talk like this does wonders to the creative fire, especially when it’s revision mode. Do you have any craft books you’d like to recommend? Please do in the comments below!

Stay tuned! I’ve a lovely indie author interview coming! No, I didn’t forget about the homeschool lesson plans or music. We’re getting there. 🙂

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!

#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!

#writerproblems: finding help #writing that d*** #bookblurb with #inspiration from #tvthemes

A few years back I wrote about the struggle to create a blurb for my YA Fantasy Middler’s Pride. Studying the blurbs of my favoritest of favorite writers Diana Wynne Jones helped me see that so long as I gave readers the protagonist and problem in as few words as possible, I’d be okay.

However, as book reviewer and author S.J. Higbee has often noted, many authors and/or publishers feel compelled to stick waaaaaaaaaaaay too much information into the book blurb. (Click here for just one of MANY reviews where Sarah touches on the problem of chatty blurbs.) Where is the line between too much information and too little? We want to give readers a taste of the story inside, but we don’t want to ruin their appetites. We want to engage readers without killing all the story’s surprises or subverting all the expectations.

Which got me to thinking about M*A*S*H. Yes, the TV show.

I never watched M*A*S*H as a kid, nor did I know about the original book on which the film and television series are based. I only knew that whenever the theme song started playing on the TV, I went off and did something else.

Just listen to that mellow song played alongside these doctors and nurses treating soldiers near enemy lines. The show’s opener had the look and feel of some medical drama, the last sort of show Little Me would want to watch.

Then I learned after marrying Bo that this show was a comedy. A COMEDY?! How the heck is someone supposed to catch the comedy vibes from that opener? The melody’s a sad one; heck, the original song’s called “Suicide is Painless.” We see no happy or positive expressions on people’s faces, only the urgency of aiding the wounded. There is absolutely nothing present in this theme to tell one that they’re about to watch a comedy. Imagine if a book tried to pull this same stunt with their cover art and blurb. How do you think the ever-watchful Goodreads community would respond?

As writers, we need that blurb to give readers a genuine sense of the story-world they’re about to enter. Usually just a few elements of the genre are enough to tell readers, this is what you’re in for. If you dig X, then you’ll love this.

Since television themes are always held to a similar degree of requirement (unless it’s M*A*S*H, apparently), let’s use a few more for examples: Bonanza, Twilight Zone, and Dragnet.

Not one of these theme songs is all that long, but we get enough out of the music to know the genre of each show: the twang of the western guitar, the dissonance of an eerie suspense-filled horror, the stalwart drums of justice. With just a few seconds, these themes accurately and concisely provide the audience a sense of the stories that will accompany the themes.

Now I’m not saying that chattiness is always bad. Heavens, Rod Serling’s speech for Twilight Zone’s theme is iconic. Then you have shows like Dukes of Hazzard and A-Team, which just so happen to be Bo’s and my favorite TV shows from childhood. Both are spot-on with their carefree guitar and military snare, and both directly address the audience with the premise of the show (only the A-Team don’t need no Waylon Jennings to sing because they got Mr. T, fool!). These themes are slightly over a minute long, but they don’t overwhelm the audience with information. We only get what we need: Protagonists and Problems. It’s up to us to stay tuned for more.

So what happens when that blurb of a theme does give us more?

This is where I think we enter the “chatty” territory, the “too much” territory. Allow me to force more of my 80s upbringing on you for examples.

Okay, I’ll let the monotonous “Teenage Mutant Ninja Turtles” sung over and over in the background slide because it’s like a companion to the drums. But do we really need to hear the traits of every main character in the opening of EVERY episode? She-Ra and Masters of the Universe did that, too, always breaking down every damn character so you would know just who the good guys and bad guys are, and who knows the secret identity stuff and who doesn’t, because apparently you, you snot-faced lump of Cheetos-dusted child, are too dumb to catch on to any of this when watching the show.

And I think this is what really gets to me about those chatty blurbs on books today. It’s like the publisher/writer thinks they have to talk down to the reader to ensure they understand the story’s premise and conflict. Sure, no one wants the reader to feel confused, but the consequence of over-talking is that we make the reader feel inferior.

Hero, or Villain? Gosh, I just don’t know!

Yes, there are some that like having all the dots connected for them, but not this gal, not this gal’s kids, and I have a feeling that you don’t dig being babied, either. Plus, it says something about us as writers when we don’t trust our own storytelling skills to adequately show readers who’s who and what’s what inside the story itself.

There simply comes a time when all we can–all we should–give readers are duct tape, a lemon, and a broken magnifying glass. If they’re intrigued with the few pieces you leave for them to find, then you can bet your MacGyver-lovin’ boots they’re comin’ into the book for more.

Anyone else have a favorite television theme to share? I was trying to figure out how to squeeze in Hawaii Five-0, but I just couldn’t make it work, dammit.

~STAY TUNED NEXT WEEK!~

I’m really keen to dig into Pan’s Labyrinth: The Labyrinth of the Faun. There’s a lot to learn here about the use of the fairy tale’s structure to create some very real history in a story’s world-building.

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!

#AuthorInterview: #SFF #writer #AdrianTchaikovsky discusses #writing #openinglines, #worldbuilding, and other bits of the #writinglife. Thanks, @aptshadow!

Happy Thursday, everyone! While Biff, Bash, and Blondie go after each other–and occasionally me–with squirt guns, it is my pleasure to introduce you to Adrian Tchaikovsky. He’s penned over two dozen books, including the Shadows of the Apt series and Children of Time, winner of the 2016 Arthur C. Clarke Award.

In short, Tchaikovsky is an amazing creative soul that we should all get to know a bit better. 🙂 How would you describe what you do, Sir?

So basically I mostly write books about spiders. Also dogs, AI, shapechangers, insect-people and anything else that lets me get out of a human skull. There’s not much more to me than that, in all honesty.

Considering the depth and breadth of your work, your imagination must have been nurtured with rich inspiration from little on. Are there any folks or favorite authors from your childhood that helped spark your passion for storytelling?

Absolutely – my great storytelling guru from teenage onwards was Diane Wynne Jones.

(Insert girly squeal here) I’m a huge fan, too! Her life is such an inspiration, not to mention her use of classic literature to help create new timeless stories and her knack for building complete characters we readers want to cheer for time and again.

Oh yes, she vastly expanded my frame of reference as to what you can do with a story, how you can play with reader expectations, that sort of thing. The Homeward Bounders and Power of Three, especially. Jones pulls a number of switches on the reader in Power of Three, with regard to precisely what the setting is, who are the ‘good’ and ‘bad’ people, all that, which really opened my eyes. Before that, as well as cutting my teeth on Dr Who novelisations, I loved Tove Jansson, because she built such a wonderful world with her stories.

My home state of Wisconsin is a curious patchwork of farms and wild places. I love exploring this landscape in my mind, creating stories to give shapes to the shadows hiding just out of sight. Would you say the landscape around you inspires your writing, or has been utilized in some way to help build a story’s setting? That swamp you describe at the beginning of Guns of the Dawn feels like this horrible place I knew near my summer camp… 

So… actually no. I don’t tend to relate much to places I’ve been, per se. No more than places I’ve read about or seen pictures of. It all just feeds into the general melting pot in my head that I draw new creations from. I’ve never been in a swamp like that, but I seem to be able to imagine these places and put them on a page well enough to make them real to my readers.

All the more impressive, then, Sir, that you can stimulate the reader’s imagine to build such a real place known only in your own mind!

Now, let’s stick with Guns of the Dawn just a touch longer because it has an amaaaazing opener: 

I killed my first man today…

The air was hot,muggy with moisture, filled with flies. Emily had not known hot before she came to these swamps. Hot had once been pleasant summer days with the corn ripening gold in the fields. Hot had been the good sun and the rich earth, and the labourers scaring crows or bringing a harvest in; a picnic on the Wolds, with a blue, blue sky cloudless above. Hot was a fierce fire burning in the study when the world outside was chill. There must be another word for this all-encompassing heat.

I’ve already told my husband I’m treating myself to this book after I complete my pedagogical training this summer. 

Anyway.

So after a first line that provides the point of view, time, and controversial action, you launch us into a paragraph filled with extremely vivid sensory details further enriched by memories of the past. Thanks to these memories, readers get the impression of a narrator who cares more about the quiet life in the farm land–a stark contrast to one who’s said she’s killed a man. You strike a delicate balance of grounding readers in the present moment of the story while also flashing back into the narrator’s past and how the world once was. Can you describe your process of finding this balance? 

This is going to sound very zen, which frankly I am not in any way, but there is a big subconscious element to that level of my writing. I was never formally taught about writing technique, I just read a whole hell of a lot, and then I wrote a whole hell of a lot, and my writing got better with each book I tried. Although there is a definite conscious input, and as I’ve got better I’ve become more aware of things I can do deliberately to create an effect, a great deal of it just comes out of the way the words spill onto the page in their raw form.

Well paint me green with storytellin’ envy, Sir, because your opening lines are as consistently effective as those created by Diana Wynne Jones. A wee survey of your stories uncovers hooks both big and small.

From The Children of Time:

There were no windows in the Brin 2 facility—rotation meant that ‘outside’ was always ‘down’, underfoot, out of mind. The wall screens told a pleasant fiction, a composite view of the world below that ignored their constant spin, showing the planet as hanging stationary-still off in space: the green marble to match the blue marble of home, twenty light years away. Earth had been green, in her day, though her colours had faded since. Perhaps never as green as this beautifully crafted world though, where even the oceans glittered emerald with the phytoplankton maintaining the oxygen balance within its atmosphere. How delicate and many-sided was the task of building a living monument that would remain stable for geological ages to come.

From this paragraph we learn the story’s location, the time frame, and the narrator’s love of this created home. We are also left asking: “What happened to earth?” And we are driven to read on.

From The Expert System’s Brother:

It went wrong for me when they made Sethr an outcast.

From this sentence we learn the story’s point of view, that there is some powerful “they” capable of ruining someone’s life, and because one person’s ruined, so is our narrator. We are also left asking: “Who is this mighty ‘they’? Why should Sethr’s fate mess up life for the narrator?” And we are driven to read on.

Writing compelling openers is surely one of the most important challenges any writer faces. Do you have any advice for writers who struggle crafting their hook?

I am going to raise a hand and say that good lord I’ve had books where the opener has been a problem, and it is super important. Often it’s a matter of where in the story you start – easy to start things too soon and have too much lead-in. And there’s a huge pressure to start with everything on fire, meaning that certain types of storytelling are virtually extinct in the genre right about now. Sometimes I’d like to feel people would just amble with me a bit at the start…

I love the idea of ambling…and with over thirty titles to your name, there’s lots of ambling to do! Some of your titles are stand-alones, like The Expert System’s Brother; some are in trilogies, such as Echoes of the Fall; and then you have your TEN-book series Shadows of the Apt. I tip my hat to you for building worlds unique and complete time, and time, and time again, just like Jones. What thrills you about building a new world? How do you avoid the temptation of re-using elements? No writer wants readers to get déjà vu and think they’re just reading the same story over again.

Building worlds *is* the thing that thrills me, and I have a whole host of ideas yet to come. So far repeating worlds hasn’t been the issue (outside of sequels obviously). I’m more worried about repeating themes, because obviously there are certain things you come back to, each writer to their own, and there’s a real danger that you end up telling the same snippets of story over and over if you don’t remember to give them a different spin.

Another common problem for many writers–as well as movie-makers, I’d say–is crafting an action sequence that moves quickly and fiercely without confusing readers as to what’s going on. I know this was one of the toughest elements to hammer out in my own novel, which contains battles involving several key players duking it out all over the place. Your novels contain intense action on both an epic scale as well as an intimate one. How do you keep the language quick-footed without losing readers along the way?

Action sequences are very much an art of their own. Having a good grasp of the shape of the sequence is important I think – I plan a great deal anyway, and action sequences get thought through in the same way. A chase or a fight has a mini-narrative of its own, including opportunities to bring out character, to foreshadow, and to have their own emotional beats. A particularly big action scene can almost be a book in miniature.

How true!

Another resource that’s always helped me write action scenes as well as stay focused on the feeling of any given moment is music. For every author that tells me he/she loves having music to help set the mood for writing a scene, I hear from another author that he/she needs silence in order to write. Which camp do you call home and why?

I tend to listen to music when I write and have a series of playlists for different moods, to help me focus and blot out distraction. I generally listen to instrumental music from film soundtracks, computer games, and music written specifically for trailers (a good source of consistently hammery action music), Some composers you might not know who have some interesting stuff include Kyle Gabler, Lorne Balfe, and Bear McCreary.

(Gasps) GODZILLA?! Hell to the yes! Sign me up for some new composers to study later this year!

One reason I depend so heavily on music is because it helped me write when my children were small and at home all day. Now that my kids are old enough to attend school, I can usually find an hour of peace to write. Still, it’s extremely tough some days to balance parenthood and writer…hood. Authorhood. You get me. Do you have any tips for balancing writing and parenting?

Honestly my son’s 11 now so he’s more self-sufficient. I write in the mornings and very late evenings, though, which is a convenient way of working around family commitments.

Lastly, let’s talk about the ever dreaded Kryptonite. Writing Kryptonite, to be precise. There’s always something that can sap all creative power away in a heartbeat. For me, it’s a phone call from my sons’ school principal. It takes a good long while of watching my sons lose themselves in their own adventures with droids, transformers, and wild animals before my own creativity sparks back to life. What would you call your Writing Kryptonite, and how do you overcome it?

Arguments with my son will do it, but as a sort of contributor to a general cycle of depressive ups and downs that are quite capable of just doing their own thing with me, without any actual outside stimulus. Writing is a big drive for me, though. If I’m not writing, it has a serious negative effect on my mental state all its own. So although a downswing can make it hard to get going, once I’m actually writing I can generally retreat into it from my problems.

I know just what you mean, Sir. Do I ever know just what you mean.

My deepest thanks again to Adrian Tchaikovsky for taking the time to talk to us today! You can find him on Twitter, Facebook, Goodreads, and his website, too.

~STAY TUNED NEXT WEEK!~

We’re going to meander through some gorgeous western scores in anticipation of my upcoming Night’s Tooth.

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.

Did you miss my August newsletter? Here it is!

We’ll also do some adventuring about Wisconsin and do a wee worldbuilding study of a recent western fantasy, Charlaine Harris’ An Easy Death. More author interviews are on the way, too. I hope you’ll join me!

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