Christine Amsden's Blog: Christine Amsden Author Blog, page 45
January 31, 2012
Interview: Luc Reid, Author of Family Skulls
I recently had the chance to interview Luc Reid, author of Family Skulls, which I recently reviewed here.
I've "known" Luc Reid since shortly after the boot camp I attended with Orson Scott Card in 2003. Luc was an alumni from a previous year, and he organized the lot of us into a still-thriving community of aspiring writers called Codex. That community has been a source of companionship, advice, and inspiration over the years.
Here he is, in his own words:
I'm a Writers of the Future winner, a former radio commentator, the founder of the Codex online writers' group, a musician, a 5th generation Vermonter, a small-time playwright, and a black belt in Taekwondo Chung Do Kwan. In addition to two Writers of the Future anthologies (numbers 19 and 20), my fiction and non-fiction show up in places like Abyss & Apex, Brain Harvest, Daily Science Fiction, Strange Horizons, Clarkesworld, and The Writer magazine. My first book was Talk the Talk: The Slang of 65 American Subcultures (Writers Digest Books, 2006). I blog about writing and the psychology of habits (mainly) at www.lucreid.com.
Q&A
Where did the idea for Family Skulls come from?
It started because I wanted to write something that grew out of my home state of Vermont, a place I really love and that is unique in the world. I like to bend the rules of reality in my fiction, but in this story I wanted to bend them gently, not to have aliens barging into the Waitsfield general store or wizards battling with fireballs on the peak of Camel's Hump, but something that was quiet and that you could almost believe might be happening. Vermont can be a very cold place, and the curse in it is a very cold judgement that seemed to fit somehow. At the same time, my experience of Vermonters involves a lot of very warm-hearted, down-to-earth people, and those people formed the basis of the two families at the heart of the book.
Is the main character, Seth, anything like you?
Well, he certainly has a hell-bent quality that's awfully familiar to me. If either one of us gets in our head that something needs to be done, we both tend to go after it with all our concentration–but Seth is more disciplined than I ever was at that age. He has to be, I think. It took me a long time to learn how useful it was to be able to do things entirely on my own, whereas Seth had to be able to survive on his own since age 7. That would be a hard way to live, and it produces a harder person than I ever was.
I think my favorite part of the book was the parallels you drew between literal curse-keepers (those holding and maintaining the magical curse on Seth's family) and figurative curse-keepers (the people in our real lives who constantly hurt us). What do you hope readers will take away from this?
One lesson I seem to keep learning–and I say "keep learning" because people are affected in so many different ways by others in their lives–is that to understand people, I have to understand how they've been treated before or are being treated now. It's funny, now that you ask this question, I'm realizing how much my current book project (a non-fiction book about mental schemas, which are patterns of problem behavior we pick up in childhood, and how to change them) is really about this same thing: when we're young, the troubles we have shape our expectations and the problems we have later in life. We have to be able to recognize these personal curses and persevere in trying to shake them off if we want to see what we're really capable of.
What was your favorite part of the book?
I like when the barn partly collapses. It's not a happy moment in the book, but if you drive around for a while in Vermont, you'll see some old barns that look like they're just waiting, for decades if need be, for some poor fool to climb up in them so they can go down in style. I also like when Grandma Neddie drags Seth and Chloe into her "parlor" to set some things straight. She's the kind of person who is both insightful and blunt, and I love that kind of character.
Which book (of yours) is your favorite and why?
I'm going to try to skillfully evade answering that (but fail by mentioning that I'm doing it), because I like different things about different ones. I have a book of flash fiction called Bam! 172 Hellaciously Quick Stories (http://www.amazon.com/Bam-Hellaciousl...) that contains far more of my dreams, ideas, nightmares, fears, hopes, and wild imaginings than I could possibly fit in a single novel. Family Skulls (http://www.amazon.com/Family-Skulls-e...) is closer to my heart and my heritage than anything else I've written. My book Talk the Talk certainly has the most blood and sweat invested, and yielded a ton of fascinating information, and I have an unpublished novel that features one of my favorite characters of any I've come up with; she'll get a new book of her own sooner or later.
What are you working on now?
Apart from short stories and collaborations, my main project right now is a book on mental schemas. Schema therapy is an approach to understanding what's going on with ourselves and others that is incredibly useful, but there's very little available for non-professionals on the subject, so I've been studying, using, and writing about that field for a couple of years now and am putting together a book that provides a lot of practical information. What's surprised me most about the project is how useful it's been to me: at a certain point, I realized I really should be offering a practical way to make use of all the information I was passing on, and developing that (in the form of something I call a "schema journal") turns out open up all kinds of possibilities in my own life.
When do you find time to write? (And what do you do when you're not writing?)
Writing for me needs to be fitted in among a lot of other important things: a day job, living a healthy life (and so getting regular exercise, cooking good food, and things like that), putting attention and energy into my connections with the rest of my family, and all of the miscellaneous daily needs, along with all of the tasks I've added on by running a large online forum for writers, pursuing my second dan black belt, and so on. So writing time comes most often later at night, first thing in the morning, or in small pieces between other tasks. I've learned to make use of smaller amounts of time by organizing my writing life better and to write happily in environments that used to be too distracting–I've had to!
Do you have any advice for aspiring writers?
A lot, actually! I especially have spent long hours learning about how to approach difficult tasks like writing–how to get the motivation, how to know what to write, and that kind of thing. The best compilation of that information I've put together so far is my short book The Writing Engine: A Practical Guide to Writing Motivation, which you can download free from my Web site as a PDF (http://www.lucreid.com/?page_id=1012) or for 99 cents on Amazon for the Kindle (http://www.amazon.com/Writing-Engine-... ).
If you could have thirty minutes alone with any author, who would you choose and what would you talk about?
William Shakespeare! I'd question him about his life, how he got started writing, and what his guiding principles were. This would be fascinating for me as well as enlightening, and if anyone believed me, then as a bonus I'd get a best-selling book out of writing it up.
The only problem with would be that his rotted, crumbling corpse would probably have trouble enunciating, and his accent would already be unfamiliar to me, so that would make it a bit harder to communicate. I also would need the services of a good necromancer, and you know how expensive that gets.
Actually, one of the items on my short list of "Man, I'd love to have time to write this some day" novels is a fictionalized biography of Shakespeare that infers a lot of details based on what we know about how people become great at things–and we know a lot more now than we did even 20 years ago. Before that book, though, I have this novel about Lucifer I want to get back to.
If you could only read one book for the rest of your life, but you could read it over and over again, what would you choose?
That would be a special kind of Hell for me: I'm not a fan of repeating things. I would probably choose something fat and full of all kinds of different elements, like the Penguin History of the World or The Complete Works of Shakespeare. This may be cheating, but I've never claimed to be much of a rule-follower, so I won't lose any sleep over it.
What should I have asked that I didn't?
Well, "should" is a strong word, but how about novelists whose work I particularly love? I won't dwell on the ones people have likely already read (Rowling, Tolkien, Lewis, etc.) but it's also hard to go wrong with Philip Pullman, Jonathan Stroud, or Orson Scott Card. James Maxey comes up with gobs of wild ideas and weaves them into plots that never stop turning, Maya Lassiter has a knack for getting close with characters you quickly come to feel real affection for, and Judson Roberts has used an epic knowledge of Viking culture to make stories in that setting come alive. I'm neglecting other good novelists, but those are a few good suggestions if anyone's looking.
Anything you wish I hadn't asked?
No, you completely steered clear of the whole counterfeit ferret thing, so overall I'm relieved.
Thank you, Luc!
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January 30, 2012
Book Review: Queen City Jazz
It took me a long time to figure out what I thought about this book. Even after finishing it, I can't be quite sure what I just read. It was all very surreal and dreamlike, and main character Verity seemed more like a reporter than an actor. In the end, I'd say this book was about a world, and that the world was the only real character in it.
If you're really into weird and creative science fiction, this might be for you. I cannot fault the author's imagination, nor her descriptive ability. She did make an absurd world come to life for a short time. The trouble is that it wasn't particularly fun to imagine. This, I think, was due to the lack of characters. As I said, I didn't feel there was a single human character in the book — only a world.
As far as possibilities go, nanotech is one of those science fiction buzzwords that often takes the place of magic in fantasy novels. In this case, nanotech seems to have destroyed the world as we know it, and replaced it with something else, something broken, something that might have stripped the humanity out of humans. This made me think of this book as a horror novel.
It did ask one of those essential science fiction questions: What is the nature of humanity and what makes us human?
I recommend this if you like weird, vividly constructed science fiction worlds. I can't recommend it if you, like me, fixate on strong central characters.
Rating: 2/5
Title: Queen City Jazz
Author: Kathleen Ann Goonan
ISBN: 0765307510
Published: May 30, 2003
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January 26, 2012
Tips for Writers: The Cliffhanger
Series are very much the thing these days. Readers love to stay with their favorite authors and characters book after book, and publishers love to keep selling the stories! Authors often love the chance to tell a longer, fuller, or more involved story as well. Yet there are very few rules, or even guidelines, for serializing a story. So how do you handle that transition from book to book?
I don't have the answers, but I do have one point I'd like to make: It is easier for readers to remember one big question than it is for them to remember many questions, big or small.
For those of you writing epic series, in which your many lengthy volumes are essentially one story, you may protest what I have to say. And your goals may require you to accept the tradeoff. That's okay, although I think it can behoove everyone to at least understand the psychology.
My favorite cliffhanger of all time happened at the end of the third season of The 4400, a scifi series that was canceled too soon, but which had some of the best plot movement of any show I've ever watched. Questions were constantly being answered; we were always learning new things, but then, there were always more things to learn. At the end of the third season, a lot of plot points had been tied up, but they left the viewer with one picture in their heads: A drug, making the rounds on the street, could give you superhuman powers. Or it could kill you. Your odds: 50/50.
This was a summer series, but I remembered that one question for nearly a full year, until the next season began.
On the other hand, I gave up on Smallville after (I think) the fourth season. At the end of that season, every character was in some kind of individual crisis, and the world as a whole was in trouble. I only had to try to remember all of that for four months, but I couldn't keep it all straight, and in the end, I decided I might as well quit watching, since I couldn't remember the salient plot points and the show had been going downhill anyway.
Now, I'm not saying the carefully orchestrated single-big-item cliffhanger made or broke either one of these shows for me. In both cases, other elements were at play. But think about it this way: Subsequent books in fantasy series often take a year or more to arrive, and unless you've given the reader something to cleave to, they may not remember enough about your earlier books to bother picking up that sequel. A single, powerful cliffhanger, is something you can give them. One question that won't quit.
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January 24, 2012
Cassie Scot Update
The publication of the first Cassie Scot novel is still a year off, but I am pleased to say that I have recently turned in my second manuscript in the series, tentatively entitled "Secrets and Lies." The third book, "Mind Games," is in final revisions, and I expect it to be finished soon.
What does this mean? It means that while you do still have to wait a year for Cassie Scot: Paranormal Detective, the sequels will be arriving within months of one another. I know how it is when you read a book and have to wait a year for the sequel — you can't remember what happened in the first one! I hope to spare you that.
The final volume in the Cassie Scot series is still in its drafting phase, but I am hopeful that it will still come out soon after the others — I do, after all, have a few months leeway here. 
No word on editing or cover art yet. For the record, Twilight Times Books sends its books through at least two editors. The first tends to be more thorough, looking at the big pictures (plot structures and inconsistencies) as well as the little things. The second is more of a thorough copy edit. As you can imagine, the first takes longer, so I don't expect to be working on those edits until this summer.
I'm still very excited! I've got some great surprises for you in each book, and I'm learning more and more about my own characters as I revise. There may very well be spin-off sequels, dealing with some of the secondary characters, after Cassie's story is finished. (But I promise her story is over in four books!)
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January 23, 2012
Book Review: Dancing with Werewolves
Delilah Street is an orphan, supposedly named after the street on which she was abandoned. She lives in a world where magic is "out" and weather witches don't just alter the weather — they report it. Delilah is a reporter at a station where "Dead Ted" — a vampire — anchors the news.
Delilah's life turns upside down when she sees her doppelganger in a Las Vegas crime show. The woman looks just like her, even down to the piercings. So when she loses her job, she heads to Vegas to begin investigating.
Vegas is a crazy town, run largely by werewolves who won the war with the vampires for control of the city. She meets interesting people there, particularly Ric, whose special gift is his ability to find dead bodies buried underground. Like dowsing for water, but creepier. The two of them hit it off in a fiery way after they both relive the erotic last minutes of a couple who died long ago.
I've seen this book criticized for being "too weird" and I guess I can see that. Parts of it are almost surreal, but I didn't at any point feel like I was out of touch with Delilah herself, which I find more important. She is living in a weird world, and she is trying to understand it for us. (And for herself.) She is haunted by past memories that may or may not have even happened. In fact, Delilah herself was the strongest part of this book.
I did have a couple of issues with this book, however. First, I really wasn't that engaged with the romance. It was just kind of there. Second, and more importantly, there was no resolution at the end of this. I know it's a series, and I expect series to keep part of the plot alive for the next book, but I admit that I have become partial to stories in which something is resolved at the end of the book — usually the mystery, while world and personal relationships carry on. (And yes, I may be biased because that's how I framed my own Cassie Scot series!) The thing is, the more open-ended a volume in a series is, the more difficult it is to remember the salient points in the next book (unless you read them back to back, in which case they become more like one long book instead of many smaller ones). One big question at the end is a cliffhanger; many big questions at the end is a recipe for forgetfulness. At the end of this book, I still don't know who killed the couple they found at the beginning, I don't know where things are going with Ric, I have many questions about the history of Vegas, the werewolves, and the vampires.
I do plan to pick up the second volume in this series — and it's probably best to do that sooner rather than later! When I do, I will probably have a different impression of this first book, but for now, I'll call it good. If you like urban fantasy, go for it!
Rating: 3/5
Title: Dancing with Werewolves
Author: Carole Nelson Douglas
Genre(s): urban fantasy, mystery/suspense
ISBN: 0809572036
Published June 16th 2009
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January 11, 2012
Book Review: In Too Deep
This tenth volume in the Arcane Society series finally gets us up close and personal with Fallon Jones, head of the J&J investigative agency. Fallon is a chaos theory talent — he sees order in chaos, connections where none seem to exist, and some think that makes him a bit of a conspiracy nut. But in Scargail Cove, we'll find real conspiracy nuts, not to mention real conspiracies.
If you've been reading arcane (written under Amanda Quick for historical, Jayne Ann Krentz for modern, and Jaynce Castle for future) then you pretty much know the drill here. Two psychics experience a heated physical and paraphysical reaction to one another and they solve some kind of mystery.
On the suspense/mystery front, this is a cozy, familiar read. It had just the right amount of danger, the ending wasn't obvious, and it was well-written.
As far as the heated connection between the two characters…well, did you notice I didn't file this review under romance? I have to, because if I did, I wouldn't be able to rate it very highly. There's just no romantic tension in these stories. The powerful, up-front, and very obvious psychic drama doesn't leave any room for doubts, and in this case, even foreplay.
So don't read this as a romance. It's a paranormal mystery/suspense with a couple who hooks up. That's what you're getting. And that's what's well done.
Rating: 4/5
Title: In Too Deep
Author: Jayne Ann Krentz
Genre: Paranormal Suspense
ISBN: 0399157026
Publication Date: December 28, 2010
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January 10, 2012
January 5, 2012
Booke Review: Family Skulls
Sixteen-year-old Sean Quitman has a problem: No one will help him. At all. For any reason. You literally wouldn't give him the time of day, because that would be helping. If he can't do it alone, he can't do it at all.
Sean's is only the latest generation to inherit this curse, which has passed down through his mother's line for over a hundred years. They can't even help one another, although they manage a loophole by exchanging bags of beans for favors. (Infants can be helped…the curse doesn't set in until full childhood, about 7 or 8.)
Well, Sean is fed up. He wants to be an engineer, but how can he go to college without recommendations? No one would help him like that. In the first chapter, he misses the bus and simply wants a ride home, but what would be simple enough for the rest of us turns into a nightmare.
So Sean, against the advice and urging of his family, goes to the source: The curse keeper, Jerry Larsh. The last time a member of his family tried such a thing, he was given an extra curse of insanity.
This was a fun adventure, and it was interesting to consider just how much humans do rely upon one another for help, and how difficult it would be to completely rely upon oneself. Sean and Chloe, a girl who sticks her nose in his business, were both good characters. They even had a sweet minor romantic subplot going through things.The magic in this book was subtle and well done.
My only problem with this book was that I felt like it could have used a bit more polish, and a bit more editing. For this reason, I found it difficult to get into the story at first. Credibility was a problem (for that reason), and I spent a lot of time in the early chapters doubting the curse or how it could possibly work. When we found out that infants don't inherit the curse until they're older, that helped ease many of my issues. (Mother of two young children here, and trust me, they need help! I'm not even sure my son, who's six, would be able to go solo in a year or two. )
But I will say that in the end, my doubts were addressed, and that the story itself was very good. I read the second half of this book in one sitting. I recommend this to teens and young adult fans.
Rating: 3.5/5
Title: Family Skulls
Author: Luc Reid
Genre: YA Fantasy
ASIN: B00573Y36W
Published December 21, 2011
Note: This book is currently only available as an eBook.
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December 29, 2011
Tips for Writers: Making Magic Believable
One of the primary struggles of fantasy and science fiction writers is to convince their audience to suspend disbelief, even though the readers know the events couldn't really happen. Could they?
The good news is that your readers expect magic. (For science fiction writers, let's call any sufficiently advanced technology magic.) The bad news is that magic doesn't mean anything can happen, at least, not if you want others to read and enjoy the story. For example, human nature, if you are dealing with humans, must remain intact. And we will even need a basis for understanding non-humans. All this brings me to my first general piece of advice:
1. Make use of reality whenever possible. (Also known as: Check your facts.)
Your story cannot depart from our present reality on every single point, or we will have no context for understanding or enjoying it. Whether your setting is another planet, another realm, or some distant future, you can draw inspiration from what you know.
I am particularly fond of creating relateable characters to help guide a reader through all the strangeness of another world. For example, in The Immortality Virus, I show a far-future dystopian world a piece at a time through the eyes of Grace Harper, a private detective without any particular technical expertise. A lot of complicated things happen around her, some that she doesn't fully understand at the time, but by living the story through her perspective, the reader has a sort of "in" to the world.
But humanizing characters isn't the only thing that can basically be a reflection of known reality. Are your characters riding horses through your fantasy realm ? Do you know anything at all about horses? You should! What do you know about wilderness survival? Marshall Arts? Swords? Guns?
Basically what I'm saying here is that you don't make up *everything* in a science fiction or fantasy story, and it is critical that if something is a reflection of reality, it acts the way we expect it to act. This is true even if you are not an expert in a certain subject. Become one. Know what you write. (Sort of like write what you know, but with the added benefit that you can always learn new things.)
2. Sound convincing.
This is true anywhere, actually, whether you're writing fiction or a persuasive speech. If you sound like you know what you're talking about, people assume you do, even if it's not entirely true. One of the big things that I feel separates an intermediate writer from an advanced writer, and in some cases an advanced writer from a published writer, is the ability to write with confidence and daring.
Don't hold back. Don't apologize. You did just walk twenty miles through the Fire Swamp, steering clear of flame spurts and lightning sand, and battling rodents of unusual size. If you start to wonder about the improbability of rodents growing so large without a more stable food source than the occasional human who crosses their path, then your readers will wonder, too. (They might anyway. You can get away with a lot more in humorous situations, which is why so many people enjoy The Princess Bride.)
3. Write well.
I won't go into exactly how this is done. If you need help with grammar, spelling, sentence structure, active phrasing, or any of the rest there are plenty of workshops that can help you. And of course, practice will help you. I just want you to understand that if your writing is sub par, it will hurt your credibility and believability. If you can write, it goes a long way to sounding intelligent and competent.
4. Bring in expert witnesses.
It's a strange thing, but even when you make them up alongside every other character in your book, bringing in experts can help your case. Some strange disease is slowly eating away at your organs from the inside out? Bring on the doctor to tell the reader all about it! Nanites running amok, infecting everyone in your world like a virus? Let's hear from an engineer! If you're trying to survive in the wilderness, a survival expert will help convince your readers that you're doing the right things.
Not every situation requires an expert witness, of course, but bringing them in here and there to back up key points can go a long way to convincing readers to believe. And of course, your expert witness has to make sense. If your doctor mistakenly places the heart on the right side of a human chest, we might have trouble believing anything he says.
5. If you can't explain, at least acknowledge.
Sometimes, when you know something is going to be difficult to believe at first, a simple acknowledgment can go a long way. For example, in an early episode of Lost, a group of survivors found a polar bear while exploring a tropical island. Before I had a chance to say, "What's a polar bear doing on a tropical island?" one of the characters asked that very question aloud. Now, instead of believing the writers are incompetent idiots, I believe they have a plan, and a mystery that will be solved if I am patient enough. So if you find yourself thinking, "Be patient, I'm getting there," you can help your case a lot by giving us a hint that you're aware of what you're doing, and that answers are coming.
6. Have realistic expectations.
This is the place where I tell you that you can't please everyone, and you'll probably never make everyone believe. We all have such different experiences, and when we read your story, we come with baggage. We aren't blank slates, not even when we read the first sentence. As a result, there are things we are more likely to accept, and things we are less likely to accept. Even when those things are the truth.
A few years ago, I wrote a scene into a short story based on an experience I had at the age of sixteen, when I went to see a retina specialist about my vision problems. He had diagnosed me with Stargardt's Disease, but he didn't tell me that at the time. He didn't tell my mother or I anything, in fact, but only went out in search of some medical students passing through, telling them they wouldn't get many chances to see this. I then waited in a chair while no less than three medical students got intimate with my eyeballs, all the while wondering what the *#$! was wrong with my eyes. I was proud of the scene, because I had called on my real feelings at the time and tried to put them out there, raw and exposed. Then, when I gave it to a peer to read, she said a doctor would never do something like that, and she didn't believe it.
Well, I guess there's no convincing everyone. Of course, you still want to convince most people, so if too many people are flagging something as unbelievable, you might need to rethink it, even if it's true. Is this thing really possible? Or perhaps, do you need to find a way to sound more confident?
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December 28, 2011
Short Story Review and Three-Question Interview: Spidersong by Alex Shvartsman
I must confess that I read very little "flash" fiction (short stories under a thousand words), so I don't consider myself an expert on the subject. All I know is that I found Spidersong by Alex Shvartsman be satisfyingly creepy.
The spiders are coming, but with the adults chattering endlessly, the children cannot hear the song. So they ask one adult for a story, while the spiders grow ever-closer.
A good read if you like creepy scifi! Check it out online at Daily Science Fiction. It won't take long!
Alex Shvartsman is a writer and game designer. His adventures so far have included traveling to over 30 countries, playing a card game for a living, and building a successful business. Alex resides in Brooklyn, NY with his wife and son. His blog can be found at www.alexshvartsman.com
Three-Question Interview
Is flash fiction a preferred style for you, or was this an exception? What do you see as the advantage to the extra-short format?
Most of the stories I've written to date are flash fiction. Partly it's because of how little time I'm able to claw out of an average day to spend on this. More importantly, I tend to be very concise in my writing, and that compliments the flash format very well. Most of my friends struggle to get their manuscripts under the word limit guidelines of their target markets. I, on the other hand, often struggle to hit the lower accepted limit instead!
Perhaps the greatest advantage of flash stories is their accessibility to the reader. Our readers lead busy lives and it's a lot easier for them to find a couple of minutes to read a flash piece from Daily Science Fiction or Every Day Fiction on their coffee break than to sit down and enjoy a 5,000 word story, no matter how great that longer story may be. Personally I often snatch a few minutes to read flash pieces on my cell phone.
In terms of crafting a story, flash is challenging because you have very few scenes to work with (often only one) and a limited amount of time to develop the characters. Trying to cut a story down from 1200 words to a thousand really helps cut down those excessive words – a skill that can and should be applied even when the word limit is less stringent.
Are you afraid of spiders?
I find all manner of insects unpleasant. While seeing a spider doesn't make me run for the exit, I wouldn't ever want to hold or even touch one of those large fuzzy pet tarantulas.
This story was inspired by the photo of trees in Pakistan that were completely covered in spiderwebs. http://pics.livejournal.com/alexshvartsman/pic/0000w2rp/
The image was equally beautiful and spooky. It made me imagine giant spiders that covered entire forests with their silk. I worked this image directly into the story. It's the scene where two of the children meet a spider for the first time.
What are you working on now?
I'm in a process of writing another Conrad Brent story. This is a series of light, action oriented urban fantasy short stories set in my hometown of Brooklyn, NY. I delight in using titles that reference popular books and movies about the borough. The first story, titled "A Shard Glows in Brooklyn" will be published at Buzzy Magazine in 2012. The one I'm working on currently is titled "Requiem for a Druid" and has the protagonist butting heads with a fictionalized version of Donald Trump.
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