Mayra Calvani's Blog, page 11

The Writing Life with Cheryl C. Malandrinos, author of 'A Christmas Kindness'

Little ShepherdA Christmas Kindness

Cheryl C. Malandrinos has been a writer since the age of fourteen. She just didn’t do anything about it until after all of her kids were born. She is the author of the Christmas picture books  Little Shepherd  and  A Christmas Kindness.  She is also an editor, ghostwriter, blogger, and book reviewer. Cheryl lives in Western Massachusetts with her husband, two daughters, and three rescue cats. She also has a son who is married. She’s here today to chat about  Little Shepherd,  right on time for the holiday season. Let’s give her a warm welcome!

What’s
inside the mind of a children’s author?

Oh, lots of
things: a plethora of ideas, numerous characters, holidays, teachable moments,
a wide array of emotions, and a desire to touch the heart of young people.

What
is so great about being an author?

Knowing I can
create a story that someone I might not know or have a chance of meeting
enjoys.

When
do you hate it?

It’s tough
dealing with rejection, but it’s part of the game.

What
is a regular writing day like for you?

There isn’t one.
I write in between my full-time duties of real estate agent, wife, mom, sister,
and friend. I usually spend the Mondays before my writer’s group meets trying
to come up with something good.

Do
you think authors have big egos? Do you?

They can. They
are just as human as everyone else. I don’t think I do. My skills are a gift
from God, and therefore, I can’t take the credit.

How
do you handle negative reviews?

I haven’t
received many, but they are tough. You cry for a few seconds and then you move
on.

How
do you handle positive reviews?

I thank the
reader and share them all over the place.

What
is the usual response when you tell a new acquaintance that you’re an author?

They usually ask
what I write and what the names of my books are. I’ve actually sold a few books
that way simply because I’ve connected with the parent of a child who likes the
messages they impart.

What
do you do on those days you don’t feel like writing? Do you force it or take a
break?

My writing time
is so limited it’s rare I don’t feel like doing it. Forcing it doesn’t work for
me. I get up and do something else for a while and then sit back down and try
again.

Any
writing quirks?

I tend to
research way too much. It’s easy because I love it.

What
would you do if people around you didn’t take your writing seriously or see it
as a hobby?

That’s not a
concern of mine. I take it seriously and that is all that matters.

Some
authors seem to have a love-hate relationship to writing. Can you relate? 

No. I love it
all. I’m even one of those crazy writers who really enjoys editing. I actually
think I am a better editor than a writer.

Do
you think success as an author must be linked to money?

Each of us
defines our own success. For some it might be money, but for others it might
just be getting those words down on paper. My success increases with each
child’s heart I touch.

What
has writing taught you?

Patience…but I
am still learning.

Leave
us with some words of wisdom.

There are no constraints
on the human mind, no walls around the human spirit, no barriers to our
progress except those we ourselves erect. – Ronald Reagan

////////////////////////////////////

Title:
A Christmas Kindness

Genre:
First chapter reader

Author:
Cheryl C. Malandrinos

Website:
http://ccmalandrinos.com/

Publisher:
4RV Publishing

Purchase
link: http://www.amazon.com/Christmas-Kindness-Cheryl-C-Malandrinos-ebook/dp/B00IGH5BOE/

About
the Book:

Eight-year-old Robert
is eager to share his wish list with Santa at the mall on Christmas Eve. When
he meets Glenn, who has only one request for Santa, Robert is confused over
what he  should do. Can he cast aside what he wants and ask Santa to bring his
new friend a special gift?

Interview with Joseph B. Atkins, author of ‘Casey’s Last Chance’

Joseph B. Atkins is a native North Carolinian who worked on tobacco farms and in textile mills in his youth, served with the U.S. Army in Vietnam, and studied philosophy in Munich, Germany. A veteran journalist, he worked at several newspapers in the South and as a congressional correspondent in Washington, D.C., before becoming a professor of journalism at the University of Mississippi. Atkins is author of Covering for the Bosses, a book about the Southern labor movement and journalists’ failure to tell its story. His fiction has appeared in Alfred Hitchcock Mystery Magazine and Hardboiled, and his novella, Crossed Roads, was a finalist in the Pirate’s Alley Faulkner Awards in New Orleans.

Q: Congratulations on the release of your latest book, Casey’s Last Chance. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?   

A: It’s 1960 in the South, when the region is about to bust wide open with the struggle over civil rights. Casey Eubanks is a small-time hustler in North Carolina on the run after a fight with his girlfriend Orella leaves his cousin dead. A crony sets him up with a big operator in Memphis, Max Duren, a well-heeled, politically connected former Nazi who needs a hit done on labor organizer Ala Gadomska for stirring up workers at a Duren garment factory in Mississippi. Casey’s hired, but things go wrong, and he’s on the run again—from Duren’s goons as well as the cops. Enter Martin Wolfe, an alcoholic journalist who tries to recruit Casey to join him and rogue FBI agent Hardy Beecher in a plan to bring Duren down. Casey steals Wolfe’s car and returns home to Orella, where a bloody shootout with a Duren goon convinces him to join Wolfe and Beecher. It’s Casey’s last chance, a wild plan that might work but could also blow up in their faces.

Several of the major characters in Casey’s Last Chance also appeared in an earlier, unpublished novel of mine, and I wanted to see what the future had in store for them. Also, on a trip to North Carolina a few years ago, a 90-year-old cousin of mine told me a story about the black sheep of the Atkins family, a man who’d been in and out of trouble and prison most of his life. After many dissolute years, the black sheep tried to return home but was turned out by relatives, who bought him a bus ticket to Charlotte and told him not to come back. Soon afterward, he’s walking down a city street, has a heart attack, and dies. The relatives pooled resources to pay for a headstone and grave. This inverse version of the prodigal son’s story helped inspire Casey’s journey.

Q: What do you think makes a good hardboiled crime novel? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A: It’s tempting to resist labeling, but it is what it is. I wrote for many years in a kind of Southern gothic mode, still do, but then I discovered Raymond Chandler, Dashiell Hammett, James Cain, Cornel Woolrich, that rich and very American school of hardboiled crime writing, where the writer, as Chandler once said, gives “murder back to the kind of people that commit it for reasons.” I thought to myself about these writers, “These are my people!” Much maligned by the literati in their day, they’re viewed as classics today. Lots of imitators are around, but the real deal can be found in the following: (1) A lean, honest, cut-to-the-chase writing style; (2) A storyline that deals with real people in real situations, even though it’s fiction, and written with authenticity; (3) A sense of the bigger picture, that underlying the actions and behavior of the characters are things in American society that help prompt them. I think my writing today is a combination of Southern gothic and hardboiled. I believe the South is every bit as noir as San Francisco or New York.

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?

A: A writer friend of mine gave me great advice along the way. In an earlier version of my book, I ended the story long before the final end that was published. “You’re just half way there,” he told me. “Now take it all the way.” And I did. That same writer gave me good advice again as I neared the final version of my novel. This time, he said, you’re taking too long to get to what this story’s about. I sliced the first three chapters to start where the published version now starts. That was hard! I had then to go back and work key elements from those three chapters back into the book in ways that would fit and be natural, but I did it. Keep the reader in mind as you work your way through the story. You want to keep that reader hanging on to the strap, gasping for air half the time and not daring to let go! End each chapter on a note of suspense so that reader just absolutely has to go to the next page, the next chapter.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A: Casey Eubanks is a guy haunted by his late mother’s sexual promiscuity, his family’s rejection of him, the lack of respect he gets from others. His girlfriend Orella is the only one who ever gave him that respect, but he has a hard time taking a chance on a woman, and he’s quick to see betrayal in them. He’s an angry man who blames others for his problems but deep down knows he’s at the bottom of most of them.

I have a book of extensive notes and character bios, clipped photographs (of real people past and present who I think looked like my characters), hand-drawn maps of rooms, buildings, and alleyways, pages of historical facts and other jottings, all of which helped me keep track of the tiniest details. If a character has dark brown eyes on page 30, he better still have dark brown eyes on page 230! Casey is loosely based on the earlier mentioned black sheep of the Atkins family, something that I’m sure has my father turning over in his grave! Still, I never got to know that black sheep like I know Casey.

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A: I’ve always been fascinated by old Nazis who escaped the hangman and are living out their lives in some remote backwater. I’ll never forget the great Jewish actor Nehemiah Persoff’s brilliant performance of one once on Twilight Zone. My German mother actually spent months in a Gestapo prison for a minor offense during World War II. A bit of anger can be a great motivator in writing. Don’t ever let it blind you, but I tell my students anger and especially righteous indignation helped spur a lot of the great writing and reporting in our country. My villain, Max Duren, is not only an old Nazi but he also looks suspiciously like a really bad boss I once had! Of course, that boss didn’t commit murder and mayhem, but I sometimes evoked him in the wee hours as I imagined Max the Big Mahah moving about his suite in the Peabody Hotel in Memphis.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A: Yes, as I said earlier, end each chapter on a note of suspense. Write in a fluid way that also makes that happen from sentence to sentence. Don’t get bogged down trying to tell too much at one time. Learn to sprinkle telling details and important information through your novel like so much stardust. Tantalize the reader, give him or her just enough to make them want to know more, and be cruel enough to make them wait a bit. Writing is an amazing exercise in honesty, truth, integrity. Keeping that reader in mind helps keep your ego at bay. You’re not writing to impress your readers with how smart and clever you are. You’re writing because you have a great story to tell. George Orwell said, “Be a windowpane.” He means don’t stand between your reader and the story. Make the reader even forget he’s reading a story. Make him live it!

Q: Setting is also quite important and in many cases it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A: I made the South my “beat”—both as a journalist and fiction writer—a long time ago. It was my great dream once to leave this damned frustrating region, and I did. A year in Vietnam, four in Germany, and eight in D.C. made me see the South in a whole different way. I returned a student wanting desperately to understand the forces that have made it what it is. Casey goes from one end of the South to the other, and this setting is a character in the book, just as Balzac’s Paris or Algren’s Chicago are to their books. Yet the setting ultimately is a metaphor. What you’re really probing is the human condition, yes, in a particular place and time, but still the human condition that transcends place and time.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A: I see a consistency in my work as a journalist and as a fiction writer. I may be a professor and writer today but I’m also still a working-class guy. My father was a tool & die maker, my mother a seamstress for many years, and I did blue-collar work into my late 20s. Most of the people who populate this novel are working-class folks, doing what they can to survive. Big forces are at play that affect their lives in significant ways and make it hard for them to see their way out. Not letting them off the hook, but it’s true. That was a theme of my book on the Southern labor movement, Covering for the Bosses, and it underlies the predicaments my characters in the novel find themselves in. The people running the South in both books have certain fascist characteristics that cannot be denied. It’s no accident Max Duren got himself a nice little setup down in Dixie.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?

A: Over-editing can definitely drain the juice out of a piece of writing. The writer can do this himself, and I may have done this with my first and still-unpublished novel. I kept taking it out of the oven and tampering with it, adding a bit of spice here, a squeeze of lemon there, then putting it back in till I burned the damned thing! Know when to let go. Eudora Welty once said a writer should quit on the third draft. Hemingway used to tease F. Scott Fitzgerald about excessive rewriting, yet Hemingway could be guilty of this too. It’s like everything. Every writer needs an editor, and it’s the rare early draft that doesn’t require a bucket-full of red ink, yet that can be overdone, too. Both the writer and the editor have to know when things are just right. I’m not sure there’s a demarcation line between craft and art, but you’ve reached the summit when you’ve created something that somehow just needed to be created. Writer-artist Chuck Trapkus told me that once, and he was quoting stonecutter Eric Gill.

Q: What three things, in your opinion, make a successful novelist?

A: You’ve got to strive for honesty in your writing. It takes a certain amount of integrity to avoid the shortcuts--the tired cliché, the borrowed phrase, the hackneyed description--and carve out a language that’s uniquely your own. Of course, we all start out borrowing, like I did in the 8th grade when I fell in love with Edgar Allan Poe and began churning out imitations so poor that Poe turned over in his Baltimore grave. You’ve got to work hard to find your own voice, of course, and not let every gust of wind throw you off course. If it knocks you down, pick yourself back up, and go at it again! Finally, you’ve got to define what success means to you. If it means a mansion on the hill and late-model sports car with a buxom blonde in the front seat, then you’re shooting for a different kind of success than I am. Not that I’m eschewing the fun money brings! Success for me is connecting with readers in a real and important way, where something I’ve written affected them and maybe, just maybe enriched or simply made their lives better in some way. The writer who achieves this has a deep empathy for people and the human condition. The ancient philosopher Philo of Alexandria once said, “Be kind to others for everyone is fighting a great battle.” The writer who’s successful in my book is the one who has a real and motivating sense of the truth of those words.

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A: You can say the same thing about a reporter, a journalist. You’re always taking notes of observations you make going through life. You never know when you might need them. I’ve kept a journal since I was maybe 14 years old, and I’ve gone back to them many times to refresh my memory about certain experiences or events. The writer of fiction should do this as well. Here I go quoting other people again, but a late good friend of mine, Marty Fishgold, once told me, you spend the first half of your life going to the carnival, and the last half telling people what the carnival was like. Well, I would amend that to say, you’re still going to the carnival the last half of your life, too!

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?

A: I got inspired early in life reading great writers like Edgar Allan Poe, Jack London, and Fyodor Dostoevsky. Later I discovered Dorothy Day, Raymond Chandler, and modern writers like William Kennedy and Andre Dubus. Reading about their lives as well as reading their work inspired and encouraged me. Books and essays on writing like Nelson Algren’s Conformity, Hemingway’s On Writing, and Jon Winokur’s compendium, Advice to Writers are rich in wisdom about this craft. Get to know some writers. I treasure the many hours I’ve spent with my good friends, novelists Ace Atkins (no relation) and Jere Hoar, talking about not only writing but also horses, dogs, guns, crime, film noir, women, and bourbon while we shared a few glasses of the latter!

Q:  Is there anything else you’d like to share with my readers about the craft of writing?

A: Only to say that beginning or struggling writers should go about discovering the passions that drive or motivate them, the ur-sources of what fire may be in their bellies. Maybe it’s an anger or righteous indignation about certain injustices out there. Maybe it’s an intense desire to understand why people are the way they are, what connects them or separates them. Maybe it’s a desire to come to terms with certain unresolved things within one’s own life, a desperate need for answers that may or may not exist. Find those driving forces, set out to get to the truth that underlies them, and do it in a way that’s honest and not afraid of hard work. If you do this, I know I’d like to read your book when you’re finished!

 

 

 

 

Talking Craft with Linda Lucretia Shuler, Debut Author of ‘Hidden Shadows’

Please give a warm welcome to debut novelist Linda Lucretia Shuler. Linda wrote her first story when she was six, Koko the Monkey, which she still has tucked into a drawer. Since then her stories and poems have appeared in anthologies and literary journals, and a handful of her plays have been produced in schools and community theatres.

Linda received a BFA in theatre from the University of Texas, and an MA in theatre from Trinity University while in residence at the Dallas Theatre Center. She taught theatre arts in college and high school for three decades, loving every moment and directing nearly a hundred plays in the process. She also wrote theatre arts curriculum K-12 for Houston ISD, conducted numerous workshops, and performed in community theatres.

Hidden Shadows , Linda’s debut novel, takes place in Willow City, a ruggedly beautiful section of the Texas Hill Country less than three hours from her home in San Antonio. Several other manuscripts are in the works, reaching across the genres. These include a prequel to Hidden Shadows, plays, and a collection of poems and a half-dozen different story ideas demanding attention.

Linda enjoys participating in Toastmasters, writer organizations, critique groups, and book clubs. She continues her love of theatre, delights in watching the birds flocking outside her office window, and is an enthusiastic fan of San Antonio’s championship basketball team, the Spurs.

Q: Congratulations on the release of your first novel, Hidden Shadows. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?

A: The story revolves around Cassie Brighton, a woman overwhelmed by loss. Devastated by the accidental death of her husband, she flees to a remote homestead deep in the rugged Texas Hill Country. Alone in a ramshackle farmhouse steeped in family secrets, Cassie wages a battle of mind and heart as she struggles to overcome the sorrows of her past, begin anew, and confront the possibility of finding love again.

What people are saying:

“Hidden Shadows is a wonderful novel of a women’s journey of self-discovery and search for purpose. The characters will win your heart (and sometimes break it) in this beautifully written and satisfying story of loss and renewal.”

Sandra Worth,

Award-winning author of The King’s Daughter: A Novel of the First Tudor Queen. 

My inspiration came, in part, from the remarkable women I’ve met who suffered incalculable loss, and yet somehow survived and lived each day with joy. I marveled at them, at their courage, their spirit. And I asked myself, “How?” What did they endure in private, what interior battles did they wage? What dwelled in their spirit that made them victorious over such sorrow? And I’ve met those who did not endure, those who forever walked in the shadows of grief. And I asked myself, “Why?” Why do some souls shatter under the weight of it, while others survive? Because I’ve experienced grief myself – who hasn’t as the years collect? It’s part and parcel of life – the need to write about it must have been there, lurking inside me, silent.

But the lure of landscape led me, too. I traveled through the thirteen-mile stretch of an isolated, rugged, glorious stretch of Texas Hill Country called Willow City Loop. And I fell in love with the place, with its craggy, impossible hills and winding country roads. And I fell in love with old houses, too – the sort that are scattered throughout the small towns of Texas, sporting wrap-around porches with swings or rocking chairs, and a weathered “come on in” look.

These elements were, in a small way, inspiration for Hidden Shadows. But there’s more, so much more. I could write pages. Some of it is unknown to me, odd as that may sound. That secret part of ourselves that reveals itself as we write.

Q: What do you think makes a good literary novel? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A: Literary genre is character-driven – which means that the truer your character, the truer the story itself. To write effectively about a character, you must know her (or him), know everything about her inside and out – especially things she doesn’t know about herself.  What motivates her? What are her dreams, her fears? What drives her nuts, or brings her joy? What life experiences has she had up to the moment the story begins, and how did they affect her? Know her physical self, too –  every element of her face, the way she moves, the sound of her voice, her unconscious gestures, and so on. Then you must listen to her, and allow her to guide you.

Literary genre is a style that’s dependent upon character. But all other elements that form a fascinating, well-structured story are necessary, too: plot, action, theme, language, etc. It’s all a grand mix. Sometimes trying to apply a single genre to a work is like trying to force a round shape into a square hole. How does one decide? For example, Hidden Shadows also includes romance, mystery, and a touch of magical realism.

Perhaps it’s the style in which a book is written that helps determine a genre. If that’s so, then one would assume language would be a huge factor. But I’ve read “literary” works written in styles far different from mine, so who knows?

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?

A: Because I let the characters lead the way, like an over-permissive mother, they had a tendency to wander, to explore this pathway or that, or just sit in a corner and pout. I had to ask myself many a time, especially in the beginning, “Where the heck is this story going?” I veered into side paths and bumped into dead ends before finally, at long last, settling us all on the right path.

I didn’t pre-plan; the plot was a vague, misty map in my mind. I knew the destination, but wasn’t exactly sure how to get there. As a result, I ended up tossing a lot into the trashcan, words upon words, page after page, bye-bye. The map finally came into focus, the direction clear, the steps taken. But I swear, cross my heart, that the next book (a prequel to Hidden Shadows) will be more carefully mapped before I begin the journey.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A: I saw Cassie clearly in my mind, as if I had glimpsed her in passing, or in a dream, or a photograph somewhere. I began by writing reams about her, developing a character study, exploring her past, asking her questions, discovering her inner life. Then I talked aloud to her, as I did to others in Hidden Shadows:

I visualized her sitting in the chair opposite me  – green velvet, an armless antique I inherited  – and asked questions about her feelings or actions, her fears and dreams. Sometimes I railed at her for being obtuse, or making bad decisions, or keeping her thoughts hidden. Or I just looked at her, at how she was sitting, or what she was wearing, the expression on her face. Once I changed places. I sat in that green chair and became Cassie for a short time, speaking as she would, responding to the questions. I had to laugh at myself, thinking if anyone were to suddenly appear and witness what I was doing, they’d swear I was crazy.

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A: Guy Wilkins, a wild mix of good and bad, is a wounded soul I ended up loving. Sometimes I hated him, too. I felt for him, cried for him, dreaded what he became. But aren’t we all a mix of good and bad and everything in between?

I found a photo of him in a magazine somewhere. I knew it was Guy the moment I saw it: the dark gaze, the creased face, the lean-muscled stance. I kept that photo in front of me while I wrote, a constant reminder, as if he were truly there.

Guy was real to me from the very beginning. He still lives in my thoughts. I can see him, hear his voice, feel compassion for his troubled soul. If a character is real in the heart of a writer, surely it must be so for the reader, too.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A: If I’m excited about what I’m writing, the narrative is usually exciting. If I’m bored, uncertain, stressed, or otherwise in a rut, the narrative reflects that, too.

Each one of us must find the approach that works best for our nature and genre. For me, I try to immerse myself in the moment, to put myself into the scene – to experience sight, sound, smell, touch as if I were truly there, right there, that very second. Sometimes I view scenes behind my eyes as if I were watching a film, with my characters the actors (including close-ups) speaking and moving within a particular setting. I want to meld with these characters, to see through their eyes, to think and feel through the filter of their minds and hearts.

Q: Setting is also quite important and in many cases it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A: I visited the surroundings, snapped photographs, studied dozens of other photographs and paintings of the Texas Hill Country landscape. I did the same with rambling, old country houses – the sort with wrap-around porches and a weathered, welcoming feel. I strolled through surrounding towns like Fredericksburg and Bourne, and meandered among the limestone walls of a century-old German homestead. Eventually everything became a part of me.

I try to sink myself into the setting as I write, really see it in my mind, hear the sounds all about, sense the air and sun and wind and so on, hoping to bring each moment to life for the reader.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A: I hadn’t consciously thought about themes, to be honest. It was more of an inner feeling, a silent voice that propelled me onward. I vaguely knew it would include dealing with a sense of loss, of loneliness and sorrow, and finding a way through it all, renewed. What I hadn’t realized was that almost every single character would end up experiencing grief, and facing it in different ways.

Nor had I planned the other themes resonating in Hidden Shadows, themes of healing and connection to the land, to our ancestors, to others, to ourselves – and to the redemptive power of love. These came unbidden, unfolding as I wrote. Sometimes I felt as though another hand, another heart, somehow spoke through mine. It all came as a surprise to me after the first draft, as if I had discovered hidden parts of myself.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?

A: How are we to untangle the two? Craft and art are like conjoined twins, inseparable. Each may have a different function, but neither can exist without the other. For example, assume a writer is eloquent with words; they spill from his pen like pearls, shiny and beautiful. But unless he knows how to use them effectively, what good are they?  Or what about the writer who thinks of a fascinating character or an action-filled plot and so on – but doesn’t have the skill to form them into shape?

Art and craft work together as a team. There may be times when one is dominate, but the other is always there. For example, many writers (such as myself) like to begin a chapter by writing writing writing without pausing for breath. For me, that’s the fun “art” part. Then I must go back and edit like crazy – the necessary “craft” part – for the work to be whole. Art and craft, craft and art – different functions, perhaps, but forever holding hands.

Can editing destroy the initial creative thrust? Sometimes, yes, if we’re over-enthusiastic. I’ve deleted many a thing, only to realize I killed something essential, and so put it back in again. But the reverse is true as well: I’ve left “as is,” like a mother refusing to toss out her baby, but in the end realized I had to edit. It’s akin to pruning a tree, cutting off the odd branches to help it thrive.

Q: What three things, in your opinion, make a successful novelist?

A: *Persistence, patience, perseverance – and determination, too. Writing a novel is a long, often demanding process.

*The ability to visualize the work as a unified whole – not as a series of slung-together segments – from beginning to end.

*Belief in oneself. (This isn’t as simple as it sounds, but it’s essential.)

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A: In a way this is true. No matter how enjoyable writing may be, it requires discipline, sticking to a schedule, plunking yourself down in the chair and getting to work. An aching tummy, a headache, not enough sleep? Too bad, gotta sit down and write. Want to browse the internet, pull up Facebook, watch that TV show, yack on the phone? Nope, not `til later.

Yet when all is said and done, if writing isn’t a joy in spite of the homework ills, then why do it? Life is too short, the years pass in the blink of an eye. I write because I want to write, for whatever reason. It makes me happy. It also drives me nuts, but that’s part of parcel of creativity.

The yin and yang.

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?

A: There are several terrific magazines for writers –such as “Writer’s Digest,” “ Writer’s Market,” and “Poets and Writers” – that I’ve found to be helpful.  As for books on how to write, I’ve bought a bunch – but after a chapter or two usually put them down, never to return.

What has proven to be the most beneficial to me, and the most enjoyable, is reading the works of other writers. All genres, all styles. If I like a particular novel, I ask myself, What did the author do to make this story fascinating, or effective, or not-put-downable?  How did she/he rev up the suspense? Develop the plot and characters? Employ dialogue, setting, the senses? And so on. If, on the other hand, I don’t respond to the book and find it a chore to finish, I once again ask why. What is it that didn’t work for me?

As for workshops, I’ve enjoyed professional writer organizations and conferences. I’ve found kindred souls as well as inspiration and information about the writing life. Networking is half the battle, so I’m told. I’ve met agents, editors, publishers, gifted writers via conferences.

Writer critique groups can be wonderful. I’m fortune to have found a terrific critique group. I can’t imagine a writing life without having these gifted people by my side. They were with me at the genesis of Hidden Shadows; their insightful comments helped me develop the story into what it is today. I’m happy to know they will continue to be with me as I begin the next project, a prequel.

I’ve also enjoyed book clubs. Not only have I ended up reading delightful works I may not have otherwise considered, I’ve learned a great deal about what readers respond to well, and what they don’t.

Q:  Is there anything else you’d like to share with my readers about the craft of writing?

A: Shakespeare said it best: To thine own self be true. We should strive to write from our own unique mind and heart and muse, to find our own voice and trust it. If we write from an inner truth, it will be true to the reader, and so believable – no matter the genre, no matter the style.

Talking Craft with S.W. O’Connell, Author of ‘The Cavalier Spy’

S.W. O’Connell is the author of the Yankee Doodle Spies series of action and espionage novels set during the American Revolutionary War. The author is a retired Army officer with over twenty years of experience in a variety of intelligence-related assignments around the world. He is long time student of history and lover of the historical novel genre. So it was no surprise that he turned to that genre when he decided to write back in 2009. He lives in Virginia.

Q: Congratulations on the release of your latest book, The Cavalier Spy. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?   

A: The Cavalier Spy is an action and adventure story about a young immigrant to the New World (Lieutenant Jeremiah Creed) who gets caught up in the American Revolution. It tells his story while presenting a unique look at the War for Independence through the eyes of those people (on both sides) caught up in the conflict and in espionage. It takes off where the previous novel in the series, The Patriot Spy, leaves off. George Washington has his back to the wall after the British take lower Manhattan. He launches the protagonist, Jeremiah Creed in a series of desperate gambits to save the American cause from crumbling just months after independence was declared.

Q: What do you think makes a good historical fiction work? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A: The history.  And remember, history ends in story. So the historical story should be compelling. This includes the setting and the historical characters (if any). Obviously the fictional plot should move along and entertain. It should also mesh seamlessly with the historic events. Finally, the fictional and historical characters should complement each other. The fictional characters should be true to the story line. The historical characters should be as true as possible to what they really were. The sweet spot is when they become as interesting as the fictional characters.

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?

A: One advantage of doing novels set against a military background is that the known military events can provide a guideline. For example, the main character can’t slip into British occupied territory and meet his significant other if he is 100 miles away fighting for George Washington. SO the historic setting provides a template for the writer, but it also places some restrictions on the writer. In my own writing, scope out the historic timeline first. Then, I settle on the fictional plot and sub plots that I must weave through it. Since this is a series, I can draw on a cast of existing characters, fictional and historic. But I always add new ones too. That’s the fun part. Getting to the second part of your question: I do improvise as I go along. I may take the plot anc characters in a totally different direction while crafting a scene. And I don’t typically decide who is good or bad up front.  I let the scenes I write draw that out. This doesn’t include my core protagonists…. Usually.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A: Well, Creed joined the rebellion to lead soldiers in combat but is unwillingly drawn into intelligence work by General Washington himself. So he is, at first, not very enthusiastic about his situation. However, he determines to make the best of it. I knew I wanted to create someone who was sympathetic and generally good guy. But one who could stand out and lead men into places they wouldn’t, or shouldn’t go. I wanted someone a bit self-deprecating and loyal to his values. He had to be valiant. He had to be upstanding. But he had to have a past. And he is somewhat mysterious – he has a past. Some of his past was revealed in The Patriot Spy. A LOT more is revealed in The Cavalier Spy. I didn’t really do any character interviews or sketches. I had the idea for how he should be pretty clear in my head. I do think he matures into his role in The Cavalier Spy. Just a real people involve when sent into combat and other stressful situations. He won’t be the same.

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A:  I need a foil on the other side for Creed. His name is Major Sandy Drummond. I decided up front to not make him a cartoon or stereotype. He, like Creed, gets thrust against his will into espionage work after he gets wounded in battle. He doesn’t know much about the work but grows into it quickly. To make him realistic I drew on what I thought a mid-level officer of the period would be like: professional, demanding, dedicated, etc. Since he is a dragoon officer he is a bit more used to operating on his own. Oh, and he is a Whig. That means he is from the political party in England that seeks reconciliation with the Americans. But, like the other Whig officers, he is committed to suppressing the illegal rebellion.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A: Having a lot of battle scenes helps! But actually, The Cavalier Spy is less of that than The Patriot Spy. However, there is lots of movement as the war turns to the maneuver phase. And this enables my character to engage with the populace along the way. He gets several secret missions. These enable me to craft scenes with suspense, intrigue and action. As for specific writing – I improvise scenes all the time. Although I have the plan, I never know where or when I will divert from it. That keeps it interesting to me, the writer, in the hope that it will be more interesting to the reader.

Q: Setting is also quite important and in many cases it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A: Well, I do lots of research on the war and the general events that provide the background to the story. Then I try to develop the timeline with the venues. The ones that will provide the background, I try and draw out through description or the events (scenes) that take place there. I have four major settings in The Cavalier Spy. Each helped drive the story and the characters. I also researched the weather for this one. As it played a major role in shaping events in two of the settings.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A: I’ll answer the second question first. Yes.  Since this is a series, I really just picked up where the first book ended as the saga of Jeremiah Creed, willing patriot soldier but unwilling spy, continues. Theme one is how he molds his men into soldier-spies. Another is his relationship with George Washington and Washington’s fictional chief of intelligence.  The overall them of the story is adversity and courage in the face of overwhelming odds. This goes for Creed, the American army, and the American cause. The story takes place, after all, during the times that tray men’s souls.  Apologies to Thomas Paine.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?

A: With regard to editing, not thus far. As a staff officer in the Army I learned to lose my sense of pride if I wanted to get my point across. Likewise, the advice of professional editors, particular with regard to the basics of scenes, characters, point of view, etc, seems very helpful to me. So long as they don’t try to inject themselves into it in ways that makes it theirs. I have yet to encounter that. As to where craft ends and art begins, who knows? If the story is good, and the characters are good, that’s what matters. But the sum of it is art-like,  almost like a painting made of words.

Q: What three things, in your opinion, make a successful novelist?

A: The dedicated writer must love the stories. I am dedicated to what I write because I love the stories want to get the stories out.  Stories about the American Revolution; about the soldiers and spies who fought it; and about the people who lived it. So, as hard as the writing is, and it is hard, it’s an enjoyable hard. Like running a marathon I suppose.

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A: I disagree. Homework is a drill. A better analogy is doing a term paper. But you get to pick the topic, length, etc. The process of writing is difficult and sometimes tedious. But if you are committed to the tale you want to tell, it’s not homework.

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?

A: For me it has been hard knocks, trial and error and trying to emulate (but not copy) some of my favorite writers.

Q:  Is there anything else you’d like to share with my readers about the craft of writing?

A: Pick something to write that excites YOU. Write often. Write what you love. Love what you write.

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Title: The Cavalier Spy

Genre: Historical

Author: S. W. O’Connell

Website: www.yankeedoodlespies.com

Publisher: Twilight Times Books

Purchase link: http://www.twilighttimesbooks.com/TheCavalierSpy_ch1.html

Amazon / OmniLit 

About the Book:

1776: His army clinging to New York by a thread, a desperate General George Washington sends Lieutenant Jeremiah Creed behind British lines once more. But even the audacity of Creed and his band of spies cannot stop the British juggernaut from driving the Americans from New York, and chasing them across New Jersey in a blitzkrieg fashion. Realizing the imminent loss of one of the new nation’s most important states to the enemy, Washington sends Creed into the war-torn Hackensack Valley. His mission: recruit and train a gang of rogues to work behind British lines.

However, his mission takes a strange twist when the British high command plots to kidnap a senior American officer and a mysterious young woman comes between Creed and his plans. The British drive Washington’s army across the Delaware. The new nation faces its darkest moment. But Washington plans a surprise return led by young Creed, who must strike into hostile land so that Washington can rally his army for an audacious gamble that could win, or lose, the war.

“More than a great spy story… it is about leadership and courage in the face of adversity…The Cavalier Spy is the story of America’s first army and the few… those officers and soldiers who gave their all to a cause that was seemingly lost…”

~ Les Brownlee, former Acting Secretary of the Army and retired Army Colonel

“Secret meetings, skirmishes and scorching battles… The Cavalier Spy takes the reader through America’s darkest times and greatest triumphs thanks to its powerful array of fictional and historical characters… this book shows that courage, leadership and audacity are the key elements in war…”

~ F. William Smullen, Director of National Security Studies at Syracuse University’s Maxwell School and Author of Ways and Means for Managing UP

Interview with Joan Schweighardt, author of ‘The Last Wife of Attila the Hun’

Joan Schweighardt is the author of several novels. In addition to her own projects, she writes, ghostwrites and edits for private and corporate clients.

Website / Facebook

Twitter: @joanschwei

About the Book:

Two threads are woven together in The Last Wife of Attila the Hun. In one, Gudrun, a Burgundian noblewoman, dares to enter the City of Attila to give its ruler what she hopes is a cursed sword; the second reveals the unimaginable events that have driven her to this mission. Based in part on the true history of the times and in part on the same Nordic legends that inspired Wagner’s Ring Cycle and other great works of art, The Last Wife of Attila the Hun offers readers a thrilling story of love, betrayal, passion and revenge, all set against an ancient backdrop itself gushing with intrigue. Lovers of history and fantasy alike will find realism and legend at work in this tale.

Purchase on Amazon

Q: Congratulations on the release of your latest book, The Last Wife of Attila the Hun. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?   

A: The book is about a Burgundian noblewoman in 450 a.d. who goes to the City of Attila to give Attila what she believes to be a cursed sword. There are two threads throughout the book, one describing what happens to her in the City of Attila and one illuminating the reasons she went there in the first place.

Q: What do you think makes a good historical novel? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A: My publisher is calling The Last Wife of Attila the Hun a “literary historical novel,” because every book that gets published has to have some genre classification and literary historical comes the closest. However, the book doesn’t fit neatly into that category. I researched two bodies of materials to write The Last Wife of Attila the Hun. I thoroughly researched Attila, not only regarding his life in his “city” but his relationship with the emperors of the eastern and western Roman empires during the very intriguing historical period in which the story is set. But I also researched Nordic legends that concerned the Burgundian tribes, some of whom seem to have had unfortunate dealings with Attila. I like to say the book is a “historical novel with a strong legendary component,” or “a novel based on legend within a solid historical setting.” I would say any book in this same unnamed genre should be well researched and should balance its influences so that the strands flow together and the world the writer creates feels believable.

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?

A: Since I was drawing on legend and history, the main plot points were there for the taking. But it was still no piece of cake. I had to fill in lots of gaps. Also, when I wrote the first draft it was in chronological order, which meant that the legendary stuff was for the most part in the first half of the book and the historical stuff was in the second. That didn’t work at all. I had to find a way to weave the legendary and historical stuff together, and that took several more drafts.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A: I got my protagonist from the legendary material, not the historical. Very little is known about the “personality” of the last wife of Attila. We only know that at some point near the end of his life Attila married a Germanic woman. I identified this Germanic woman as the Gudrun from the legends. The legends provided elements for the motivation and the plot I would develop to get her from A to B to C, but they still left me short when it came to her personality, who she was as a woman. That just kind of developed over time as I worked on each draft. The story is written in first person, which helps a lot with character development.

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A: The history books I researched had all kinds of interesting information about Attila. The Huns and Germanic people didn’t write back then, so most of the stories about Attila came from Roman historians. But, as ruler of half the known world and a man who felt his calling was to take over the other half, Attila was a hot topic among Roman historians, and I got some really juicy tidbits about his behavior, his relationships with his sons, his relationships with his various wives, his beliefs, his superstitions and of course his battles. A lot of this information found its way into the book. Even if a reader doesn’t care for the legendary stuff, they will walk away knowing a heck of a lot about the true historic Attila.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A: Unlike other novels, where I’ve had to really focus on plot, here I had to focus on what I should leave out of the plot so that the story would not become “congested.”

Q: Setting is also quite important and in many cases it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A: Again, a lot of it was there for me. There are descriptions of the great City of Attila in history books, so I was able to draw on that. The other main setting in the book is a rather dilapidated castle in a rural area of Europe in 450 a.d. I did research to figure out what life would be like in such a place, how people would bathe, how they would eat, what the inside of their dwellings would look like, etc.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A: I knew what themes were of interest to me when I started, but the great thing about fiction is that when you get done you see that there are other themes that worked their way in, things you didn’t really intend. The writer Susan Sontag once said she wrote to find out what she was thinking. I think this is what she was talking about.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?

A: If I never edited my work it would all be garbage. I can’t speak for other people, but for me craft is essential. Also, I have a few friends who are not only wonderful writers but also very honest in their critiques. I ask them to read early drafts of my work. When you get caught up in the day to day of writing a novel, you can take a wrong turn or get sidetracked by a really boring subplot. My three favorite fellow writers are all really different in their approach to writing. So once they each give me feedback, I feel I have the best possible picture of the weaknesses in my work and I can go back to the drawing board assured that the next draft will be better.

Q: What three things, in your opinion, make a successful novelist?

A: I am always surprised by the number of writers who don’t want to go back and polish. Maybe some are geniuses and they don’t have to. But most writers will find that it is impossible to write a really good book without going back over it a number of times. During the first draft you may want to concern yourself mostly with plot. The next draft you may want to work more on character development. The next one you may want to just go through and make sure your characters motivations are clear and setting descriptions are solid. Sometimes in my work I make assumptions about motivation; I think because I know why a character is doing something other people will know too. This is one of those areas where the help of other writers/readers has been invaluable to me. So, the three things I believe most writers need to be successful are: draft one, draft two, draft three (and drafts four and five can’t

hurt either).

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A: Most people would agree that “homework” connotes a task that is given to you by someone other than yourself for the purpose of ascertaining that you’ve learned certain lessons. Writing a book, on the other hand, is a task you’ve generated for yourself, for the purpose of telling a story that is important to you for one reason or another.

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?

A: Again, what I’ve found most helpful is insights from fellow writers. These days there are all kind of websites that provide help to writers too. Savvy Authors is one of my favorites, but there are plenty of others. There’s no shortage of ideas out there about how to do anything, whether it’s writing a book or changing out a toilet.

Q:  Is there anything else you’d like to share with my readers about the craft of writing?

A: A lot of young writers who start out writing short stories with the hope that they will write longer works in the future get bogged down by the idea of taking on a huge project. I would like to say to them, Why not try your hand at writing a novel based on history or legend? Maybe you have a time period that interests you, and you can develop it and then tell a story on top of it, so to speak. Or maybe there is a historical character that you’d like to develop a setting around. Or maybe there is a myth or legend that you’d like to bring into modern times. Jane Smiley took the story of King Lear, which is of course best known as a Shakespearian play, and made it her own in her novel A Thousand Acres. What’s really interesting to me is that Shakespeare borrowed his King Lear from a Celtic legend, and the legend likely had some foundation in history.

The other thing I’d like to say is, These are hard times to be a writer. It’s very hard to get published, and even if you do get published, it’s very hard to spread the word about your book, unless you are published by one of a handful of big publishers with money to throw at your work or you have zillions of followers on social media. But there are many other reasons to write besides the remote possibility of making a lot of money. Every book is a journey; it is an opportunity to explore another world, as well as your own mind. Every book will change you in some way.

Talking Craft with Dr. John Benedict, author of ‘Adrenaline’

Dr. John Benedict graduated cum laude from Rensselaer Polytechnic Institute and entered medical school at Penn State University College of Medicine.  While there, he also completed an internship, anesthesia residency and a cardiac anesthesia fellowship. He currently works as a physician/anesthesiologist in a busy private practice in Camp Hill, Pennsylvania.

Dr. Benedict has been writing stories since high school, but his creative side was put on hold to pursue a medical education and start a family—he now has a wife and three sons.  Finally, after a 15-year pause, his love of writing was rekindled and his first novel, Adrenaline—a gritty medical thriller with a realism borne of actual experience—was born.

Besides creating scary stories, the hallmark of Dr. Benedict’s writing is genuine medical authenticity—something in short supply these days in thriller fiction.  He draws on his 25+ years of experience as a board-certified anesthesiologist to infuse his writing with a realism that renders it both vivid and frightening.  As one of only a handful of anesthesiologists throughout the country writing fiction, he gives readers a taste of what really goes on in the operating room, the human drama inherent in this high-stress, high stakes environment where lives are continually on the line.  Readers will find out what it’s like to hold a patient’s life in their hands, as the author provides an illuminating glimpse into the fascinating, but poorly understood realm of anesthesia.

Q: Congratulations on the release of your latest book, Adrenaline. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?   

A:   Adrenaline tells the story of veteran anesthesiologist, Doug Landry.  When patients start dying unexpectedly in the Mercy Hospital OR, Doug winds up being blamed.  Doug is confused at first and wonders if he screwed up somehow.  However, as he investigates further, he unearths evidence of greed and corruption in his department.  As he struggles to unravel the secrets of the mysterious deaths and clear his name, it quickly becomes apparent that someone will stop at nothing to keep him from revealing the devastating truth.  Doug becomes trapped in a race against time to prevent more deaths, including his own.

I am an anesthesiologist in real life and Adrenaline is a classic medical thriller told from the anesthesiologist’s viewpoint.  To illustrate the real inspiration behind this book, I will need to relate a true story from 20 years ago:

One day it struck me—at 2:00 in the morning in the midst of another grueling 24-hour shift. I had just finished interviewing a nice lady with an appendix about to burst—we’ll call her Linda. I had done my best not to yawn as I went through the routine questions that an anesthesiologist is obliged to ask. She appeared nervous, which soon gave way to tears. I did my best to comfort her, took her hand, told her I would take good care of her. That I would watch over her carefully in the operating room and see her through surgery. And be there when she woke up in the recovery room. She appeared to calm down a bit. I wrapped up my pre-op assessment and asked her to sign the anesthesia consent form, while assuring her the risks would be minimal. She raised her eyebrows at this and the fearful look returned. I wondered: What the hell does minimal mean when you’re talking about life and death? More tears. She told me of her two young daughters at home that desperately needed a mommy. I felt my own throat tighten. I quickly buried my emotions, tried not to think about my wife and three sons, and focused on the task at hand as we wheeled her litter back down the hall to the OR.

After Linda was safely tucked in the recovery room, operation a success, anesthetic uncomplicated, I lay down in the call room to try to catch a couple of z’s. My mind wandered as I lay there. Rarely, I thought, does a person willingly surrender control of their mind and body to a virtual stranger. Yet, this is exactly what happens when the person is a patient being wheeled in for surgery and the stranger is their anesthesiologist, whom they have just met minutes beforehand. Talk about an extraordinary amount of trust. This degree of trust made a distinct impression on me that night, some twenty years ago.

Other thoughts followed soon thereafter. What if the trust Linda had exhibited earlier was ill-conceived and her doctor was actually bad? Not just incompetent or sleepy, but downright evil. Being an avid reader of thrillers, I thought this chilling concept would make for a good story. Too bad I wasn’t a writer. (Disclaimer time: I don’t want to scare people here. All the docs I have known in my 30 years of medical practice are highly competent professional people, who would never purposely hurt anyone.) But I still couldn’t shake the evil concept; it kept gnawing at me until eventually I had to put it down on paper—lack of writing experience be damned. So Adrenaline was birthed, my first medical thriller novel that explores this issue of absolute trust implicit in the anesthesiologist-patient relationship—specifically, what happens when that trust is abused and replaced by fear.  Adrenaline was finally published twelve years after my encounter with Linda.

Q: What do you think makes a good medical thriller? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A:  A good medical thriller must, first and foremost, be a gripping story usually in a medical setting.  It must also have memorable characters that people can identify with and care about what happens to them.  Finally, the medicine portrayed in the story should be authentic, adding to the realism.

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?

A: I discovered a lot of it as I worked on the book.  I actually wrote the climax scenes first of Adrenaline and then tried to make the rest of the story fit into the climax.  I don’t really recommend this technique in retrospect, but I was basically flying by the seat of my pants.  In writing subsequent novels, I tried to have a better idea of the beginning, middle and end of the book.  This is much more time efficient.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A: My main character in my first two books is Doug Landry.  Coincidentally, he’s an anesthesiologist, like I am.  Just kidding—it wasn’t a coincidence.  A lot of me goes into Doug, so I didn’t have to interview anyone or make a character sketch.  I’m not sure this is the best approach. It’s certainly simplifies the character development but you’ll likely take some flak from your family and friends.

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A: My villains tend to be petty evil because basically they’re doctors who are OK with murdering their patients.  So the trick is to humanize them to make them more believable, instead of just pure evil.  I would try to take parts of real people that I’ve run across—not enough to be recognizable—and blend them into a bad guy with some redeeming characteristics, like sometimes exhibiting a conscience or feeling remorseful for what they have done.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A: First, I love to do dialogue, always trying to add realism but also using it to highlight confrontations.  Second, I like to end chapters with a pique if possible to keep the reader guessing and needing to read more.  General foreshadowing is also a technique I employ to build tension.  One final note and this may be counter-intuitive but I’ve come to believe it is true. Rather than have a lot of action scenes, I think it builds tension more by putting off the actual action.  Instead, you continually set the stage for the final confrontation, so that everyone knows it’s coming, but they’re not sure when or how it will resolve.

Q: Setting is also quite important and in many cases it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A:  My books are generally set in a hospital or operating room or delivery room.  Because I am intimately familiar with these locations, I can describe them accurately and vividly.  This definitely lends a sense of realism to the stories, as readers can clearly envision the surroundings.  It certainly helps to be very familiar with your setting—real is better.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A:  The main theme in Adrenaline is the concept of some doctors being evil.  Patients implicitly trust their physicians with their lives routinely.  What if that trust is misplaced? What happens when the desires and goals of a bad doctor supersede the well-being of his patients?  Yes, this theme of doctors being evil is at the heart of all my medical thrillers.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?

A:  I feel like I create the story—this is the art part.  Good editing then helps the nuts and bolts of the writing—sentence structure, word choice, grammar and punctuation, and also addresses any inconsistencies in the story.  Good editing makes the story stronger and clearer.  Bad editing can destroy a story, if the editor tries to rewrite too much of the basic storyline.

Q: What three things, in your opinion, make a successful novelist?

A: 1) Creativity  2) ability to realistically depict characters, dialogue, setting and see the big picture of a story   3) perseverance/obsessiveness

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A: In my mind, there’s no way to sugar-coat this: writing is hard work that demands obsessive attention to detail and an enormous expenditure of time.  It generally includes extreme delayed gratification and exposure to painful criticism and rejection along the way. It’s not for everyone.

Basically you must write to fulfill a need to tell stories—not because you expect anything in return.

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?

A: I would recommend attending as many writers’ conferences as you can.  Here you can meet and interact with other authors to hear their stories and learn from their experience.  Also, it’s a chance to network with the all-important agents and editors.  Finally, after you finish your book, it’s a good idea to hire a professional editor to tune up your work—you can also learn a lot from observing what changes the editor might make.

Q:  Is there anything else you’d like to share with my readers about the craft of writing?

A:  My advice for would-be novelists is fairly straightforward.  Nothing worthwhile in life is quick or easy.  Writing is no different.  Expect to spend a long time learning the craft and improving upon it.  Don’t expect to become famous overnight or make a lot of money easily.  The best advice I can give is this: You shouldn’t write because you want to make millions or become a household name—you’ll likely be disappointed.  Rather, you should write because you enjoy the process and feel the need to tell a story.  Let the results take care of themselves.

Other things I’ve learned along the way:  I’ve learned to believe in myself even when no one else seemed to.  I’ve also learned the power of perseverance and patience. The path to successful book publication is notoriously long and arduous for most. Developing a thick skin is also helpful to protect oneself against the many rejection letters and obligatory nasty reviews that will come your way.  Finally, I’ve learned that writing a good book is probably only half the battle.  Getting it published and successfully marketing it may be the most difficult part.  Good luck and keep writing!

Interview with Stephen Caputi, Author of I Should Have Stayed in Morocco: "I wrote this by the seat of my orange jumpsuit!"

Steve Caputi is best known for his involvement in the creation, building and management of successful nightclub and hospitality businesses. Decades of experience in the industry and the good fortune to work with a succession of the best performers in the world gave him a broad base of skills… skills that were instrumental in his entrepreneurial quest and subsequent sparkling career.

As an Ivy-league student-athlete, he graduated from the renowned Cornell University School of Hotel Administration in 1979. Rostered as the ‘smallest player in NCAA Division 1 football’, he lettered under George Seifert, world-champion coach of the San Francisco 49’ers and played centerfielder on Cornell’s EIBL championship team of 1977, led by hall of fame coach Ted Thoren. Steve set several all-time team and NCAA records, one of which still stands 37 years later.

His career experience was equally as fortunate as he was trained by the best club management experts in the business while managing the Texas billionaires’ favorite watering hole – the ultra-private, magnificent Houston Club. In the early 1990’s, Steve was President of Michael J. Peter’s gentlemen’s club empire, featuring the world-famous Solid Gold, Thee Doll House, and Pure Platinum. It was during that era that adult clubs became legitimized. After redesigning and opening Club Paradise in Las Vegas, Steve became a partner in South Florida’s most successful long-term nightclub chain ever, Café Iguana. Over the decades, businesses under his direct control amassed nearly a billion dollars in revenue.

Steve was blessed with everything a man could want until he got tangled up in Scott Rothstein’s Ponzi scheme in 2009, at which time everything was lost… including his freedom. So began his most recent quest upon his release from the Federal Bureau of Prisons… to find out what happened, how it happened, and why!

About the Book: 

Stephen Caputi’s memoir, I Should Have Stayed in Morocco, is not just another forensic account of billionaire Ponzi-schemer Scott Rothstein’s life. Caputi opens his heart and soul as he takes the reader on a journey through two decades rife with personal experiences, misadventures and wild escapades with Rothstein, climaxing with their now-infamous ramble in Casablanca. It’s a frighteningly true story of how friendship and loyalty was dedicatedly served to a master-manipulator, just to be rewarded with deceitful betrayal and a prison sentence.

Website: http://www.stevecaputi.com

Read the First Chapter

Purchase from Amazon / OmniLit

Q: Congratulations on the release of your memoir, I Should Have Stayed in Morocco. What made you decide to write your own biography?

A:  It was kind of a happy accident, the result of an unfortunate circumstance. I was stranded in the “Hole”, (slang for solitary confinement) in a dingy federal prison in Jesup, Ga., with literally nothing to do but ponder the past. I had nothing to read, nothing to do, nothing to look forward to until the next bowl of gruel was tossed into the cell through a flap in the door, and nothing to watch since the tiny three-inch window slit was old and yellow and glazed. Total emptiness, which was driving me crazy. For a career claustrophobe, being thrust into a seventy two square-foot space that contained only a bed, toilet and sink constituted the worst case scenario. My worst nightmare had materialized, and there was no getting away from it. No relief. I knew why I was in prison, but I didn’t know why I was in the Hole.

I began writing out of desperation. My mind was still scrambled from the shock of being thrown in the Hole. As a last resort I started to chronicle everything that happened… which wasn’t much. I wrote down every item served at every meal, everything that the guards did and said, and kept a diary of sorts that was chocked full of their shenanigans. I figured that there was no way people knew how inmates were treated in prison… and wondered if anybody cared.

The process of reflection prompted me to search for answers... about my life, about the sequence of events that led me to federal prison, and about the system that put me away. It evolved into a full-fledged quest for the truth.

Q: Did you write by the seat of your pants, or did you structure the book in advance? 

A:   Actually, I wrote this by the seat of my orange jumpsuit!

Q: How would you describe your writing process? Did you find the process easy or difficult?

A: Tormented is the first word that comes to mind. Writing from a prison cell was far from idyllic. I wrote after every meal, and started by chronicling every mundane event—like the trips marching to and from the ‘recreation’ cage in handcuffs. Or the shackled treks to the showers, or after delivery of every meal. Every night I’d write for an hour before crashing, after the last of the day’s insipid counting rituals were duly completed.

For my protection, I was forced to stash the written notes I was taking in-between pages of books that I was reading. I couldn’t risk mailing them out from the Hole, so I waited until after I left to transport them out. Which presented another challenge, since everything we mailed out was subject to being inspected and read. Due to its content, my writings were extremely risky. If any of the brass got wind that I was keeping a diary of their antics, there were no imaginable limits to how they might retaliate.

As an example, an inmate buddy of mine had been the unlucky recipient of “diesel therapy”—an intimidating tactic so commonly used by the Bureau of Prisons that it commanded its own nickname. Since his arrival, he was overly insistent that his rights not be violated. Because of his annoyance, he’d been kept suspended on a perpetual road trip for a year and a half. The guards would transport him in chains in a Twilight-Zone-like ride to nowhere, on an endless bus ride from one federal prison to the next. It took months and a dozen letters from his Congressman to get him anchored somewhere. Their explanation was that they “lost” his paperwork. No apology. Acting with impunity was a routine... a matter of policy for the gatekeepers who harbored little or no fear of outside pressures or intervention.

Q: Did you suffer from writer’s block at any given time? If yes, how did you overcome it? 

A:    It was more like “cell-block” than writer’s block. The biggest challenge I faced in my writing exploits was finding the best way to properly and effectively communicate the emotion of the roller-coaster ride I was on… while I was on the ride! I had no alternative but to write about all the horrible things that were happening—to me and other inmates—while I was suffering the indignities that I was writing about in real time. The awful physical conditions, inedible meals, harsh treatment, lack of medical attention, arcane and oppressive rules and regulations, lack of exercise, heavy-handedness and the calculated, dehumanizing protocols of the Federal Bureau of Prisons were overwhelming. I struggled every day to balance giving an accurate representation of what was happening… without it being overridden with emotion and dripping with hate by the time my thoughts were scribed to paper. Controlling my own emotions was of paramount importance, since I had to keep my sense of humor intact and my wits about me in order to maintain at least some semblance of objectivity.

Q: That’s an interesting title. Did you choose it? 

A: It kind of chose me… but I knew it would be the perfect title the second I wrote the first line of the prologue. I was reliving the experience of the train pulling away from the station, on my way to federal prison, as my girl waved goodbye. It was a devastating moment for me, and that short sentence that I muttered to myself captured the essence of the book. In that singular moment, the trauma and drama of everything that I’d been feeling for the twenty-three months prior to my incarceration collapsed upon me. I was engulfed in a quagmire of heartbreak, despair, frustration, regret… and fear. It was the first moment that I really believed that I Should Have… Stayed in Morocco.

Q: Why should anyone read your book? What do you think they will gain from the experience? 

A: For one, the book gives a human portrayal of Scott Rothstein, the fourth largest Ponzi-schemer in U.S. history, from the perspective of a close friend… not from social media posts. I lived the experience with him, which was very much different than reading about him through regurgitated internet blogs. My experiences with him spanned several decades, and most of my stories are still unknown to the general public. What happened to me could have happened to anybody that was vulnerable enough to have complete trust in a valued friend of many years. A friend that suddenly went ‘AWOL’ and betrayed everyone around him without any conscience. This makes my story relevant to anyone who has close, trusted friends or business colleague whose integrity seems to be unimpeachable.

Additionally, I used my misfortune to fuel a truth-seeking mission. I wanted to know why and how the current prison system evolved into the monstrosity that it is. How millions of our citizens have been corralled into prison, and why there had been 518,000,000 arrests in this country since 1970. Why seventy million men and women now have criminal records. I was living in a prison population that consisted mainly of drug dealers, the vast majority of whom were non-violent marijuana ‘offenders’. The injustice of it all struck a nerve, and I decided to do a bona fide journalistic investigation of the subject. My findings are part and parcel of the book… and the truth is ugly. People need to know what’s really going on in America today—as well as what happened yesterday to facilitate it—and not rely solely on the mainstream media for information. The time for sticking our heads in the sand and ignoring the truth is over.

Q: How was your experience working with an editor? 

A:  Outstanding… and humbling, to say the least. Their input was just what I needed. The process enabled me to view things from different perspectives, and to visualize alternative (and improved) ways to effectively communicate my thoughts. I also enjoyed being challenged and forced to defend my positions regarding different elements of the story that I felt were important. The editing process required me to validate and support the facts as I presented them. It was actually as much fun, as it was constructive.

Q: What have you learned from the writing of this book? 

A: Writing the book forced me to sharpen my focus on all the subjects I was writing about, since I was determined to keep my objectivity despite my environment. I didn’t want to write anything resembling most of the propaganda and drivel that had been written about Rothstein. I became better at stepping back from my emotions, and took great care to substantiate my conclusions (or disprove them) based on solid research of the issues. I trained myself to look for the facts behind the apparent reasons, and to be open-minded to whatever truths I found.

Q: What’s on the horizon for Stephen Caputi? 

A: I am going to finish the last two books in the I Should Have Stayed in Morocco trilogy, and then reenter my career as a nightclub and restaurant entrepreneur. The next book will be the second in the I Should Have Stayed in Morocco series, entitled Club Fed Confidential: Inside the Perpetual Prisoner Money Machine. It will be a more in-depth look at what really goes on inside prisons. The final (untitled) book will provide a professional analysis of the real cost of the criminal justice and prison systems, and a critical look into the skullduggery of the prison industrial complex.

Q:  If there’s one thing you wish readers will take away from your book, what’s that? 

A: Despite what happened to me, I haven’t given up on friendship, love and trust… which doesn’t have to be treated as if it were a four-letter word. However, people who have a trusting nature (like I do!) need to learn to place limits, keep reasonable checks and balances intact, and listen to their instincts—their ‘guts’. If you’re in tune with your intuition, you cannot go wrong.

This equates to making the conscious choice of not ever engaging in any kind of behavior that you feel might be illegal, or just doesn’t feel right for any reason—or no reason. Not for friendship, love, or money!

Interview with Historical Novelist Donald Joiner

Georgia native Donald Joiner is a veteran who served during the Korean War era. A retired school superintendent and a lifelong student of history, Joiner has been married for fifty-two years and is a proud father and grandfather. He has taught Sunday school in his church for forty years. Joiner has also authored two previous books about antebellum churches in Georgia. Connect with the author on Facebook.

Q: Congratulations on the release of your latest book, The Antioch Testament. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?  

A: When the novel begins, it’s 2004 during the height of the insurgency in Iraq. An American army patrol manages to rescue a frightened group of Iraqi Christians fleeing Islamic militants. The refugees’ severely wounded leader, a priest, carries with him a mysterious bundle the group brought with them from an ancient Christian monastery in northern Iraq. Barely clinging to life, the priest insists on handing over the carefully guarded bundle to an American chaplain stationed at the army base.

When the bundle is unwrapped, the chaplain finds a large, scuffed, leather-bound ancient manuscript written in an unknown language. Fearing for the manuscript’s safety in war-torn Iraq, the chaplain arranges to have the manuscript sent back to the states. Eventually, the manuscript winds up in an Eastern Orthodox monastery where internationally-recognized linguists begin the arduous task of translating it.

What the linguists discover is absolutely astonishing; the manuscript is a first century AD testimonial in ancient Aramaic, the language Jesus spoke, describing what happened to Jesus’ apostles after his Resurrection. But time is running out. What the linguists do not know is that a fanatical Iraqi insurgent cell is bound and determined to retrieve or destroy the manuscript before its secrets can be revealed.

I’ve always been intrigued by the remarkable transformation that occurred among Jesus’ apostles after his Resurrection. The bible tells us that before that event they had a motley collection of fishermen, laborers, and revolutionaries seeking to drive out the hated Roman occupiers and the restoration of  David’s earthly Jewish kingdom. The New Testament tells us quite a lot about them before the Resurrection, but very little afterward.

What happened to them? Where did they go? What did they accomplish? How did they die? From the fragmentary evidence left to us in early Christian traditions, I decided to tell the rest of the story. The Antioch Testament is a work of historical fiction, but it is based on early church traditions.

Q: What do you think makes a good work of historical fiction? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A: 1. The historical setting is very important. Events that take place in your story must be based on actual events of that particular historical era. If you get these events, dates  or characters out of historical sequence, rest assured some of your readers will point this out and discredit you.

Characters in historical fiction should reflect knowledge available to individuals at that time. You don’t want characters of the first century AD, for example, carrying firearms centuries before firearms were invented or writing on paper centuries before paper was available.
The plot in historical fiction should be based on actual events that took place in that era or surrounded by known historical situations particular to the era.

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?

A: I tried to develop the individual characters of the apostles based on evidence about them available to us through their depiction in the New Testament as well as what ancient church traditions had to say about them.

Ignatius of Antioch. the character responsible for telling the story of the apostles, is believed by Syriac Christians to have been appointed bishop of that city by St. Peter himself and Antioch was in fact a central by way for early Christian disciples on their various missionary journeys in the East. Tradition tells us Ignatius was a companion of several apostles and because most of them traveled through Antioch I decided that Ignatius would be the ideal character to tell the story.

Early traditions guided the plot of the story. If tradition said an apostle carried out missionary activities in Persia, I placed him there in the midst of events going on in that era in that location. Once I placed an apostle in a specific location, actual historical events guided the plotting of the story.

As an example, since tradition said St. Peter was martyred in Rome, I had to get him there and have him arrested while preaching in the catacombs, and taken to prison, then to trial by a magistrate, then to a place said by tradition to be the location of his execution.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A: The army chaplain, the one responsible for sending the ancient manuscript to America, is a composite of several ministers I have known. Though very severely wounded in Iraq, he convinces his unbelieving brother to accompany him on his quest to have the manuscript translated. The character of the brother is based on someone I knew personally.

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A: The antagonist character  was easy to create. Osama bin Laden hated the West in general and the US in particular; despised Christians and plotted the events of 9 - 11. I modeled Zaid Al Rifia, the leader of the fanatical Iraqi cell, on what we know of bin Laden.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A: Throughout the book I placed telephone conversations between Zaid and his agent in America telling about the efforts of the insurgent group to track down and get their hands on the manuscript. Something outside the regular storyline can add tension and excitement to the main theme of the story.

Q: Setting is also quite important and in many cases it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A: I utilized a map of the Roman Empire with place names of the first century AD. I also inserted large chunks of historical events such as the Jewish revolt against Roman rule in Judea, the struggle of Queen Boadicea against the Roman legions in Britain, and the war between the Romans and Persians in the East. I also inserted Emperor Nero, Roman General Vespasian, and other historical characters to lend credence to the story.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A: My theme all along was to demonstrate the incredible sacrifices made by Jesus’ apostles in order to be obedient to his last command that they carry the Good News to the far corners of the world.

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A: I think writing is hard work. Writing historical fiction can be especially difficult. You better get the historical events in the story right. There are many history buffs out there who pride themselves on knowing intricate details about various historical eras. The author may be writing historical fiction, but he can count on his readers knowledge about the historical events surrounding the characters in the novel. If he gets dates wrong or mishandles historical characters or events, the reader will be sure to share his errors with others and cross him off the ‘must read’ list.

////////////////////////////////////////////

Title: THE ANTIOCH TESTAMENT

Genre:  Christian Fiction/Historical Fiction/Suspense

Author:  Donald Joiner

Publisher: Seraphina Press

Purchase on Amazon

About the Book:

Donald Joiner, a veteran who served during the Korean War era, is a lifelong student of history.  Joiner’s passion for history shines through in his debut novel, The Antioch Testament, a sweeping, suspenseful novel resplendent with rich historical detail.

When The Antioch Testament opens, it’s 2004 during the insurgency in Iraq.  An American army patrol manages to rescue a frightened group of Iraqi Christians fleeing Islamic militants. The refugees’ severely wounded leader, a priest, carries with him a mysterious bundle the group has brought with them from a northern Iraqi Christian monastery.  As he clings to life, the priest insists on handing over the carefully-guarded package to the American army chaplain. When the bundle is unwrapped, Army chaplain Charles Monroe finds a large, scuffed, leather-bound ancient manuscript written in an unknown language. Fearing for the manuscript’s safety in war-torn Iraq, the chaplain arranges to have the manuscript sent to Augusta, Georgia, his hometown.  Eventually, the manuscript winds up in an Eastern Orthodox monastery where internationally- recognized linguists begin the arduous task of interpreting it. What the linguists discover is absolutely astonishing: the manuscript is a first century AD testimonial in Aramaic, the language Jesus spoke, describing what happened to Jesus’ apostles after his Resurrection. But time is running out.  Unbeknownst to the interpreters, a fanatical Iraqi insurgent organization is bound and determined to retrieve or destroy the ancient manuscript before its secrets can be revealed.   Some secrets may be worth dying for—but these secrets might even be worth killing for.

Imaginative, inventive, and intriguing, The Antioch Testament explores the lives of the apostles after the resurrection. A thoughtful and thought-provoking page-turner, The Antioch Testament is a carefully-crafted page-turner with a pulse-pounding plot, and engrossing storyline.

Book Review: ‘Bach, Casals and the Six Suites for ’Cello’ by Steven Hancoff

Being an avid, life-long fan of classical music and having studied the violin in my later years, I jumped at the opportunity to review this ambitious work put together by internationally renowned guitarist Steven Hancoff.

Bach, Casals and the Six Suites for ’Cello, a project that took Hancoff eight years to complete, is a fascinating, immersive multimedia extravaganza that combines music, history and art, a gem for classical music enthusiasts.

The ebook has four volumes:

VOLUME 1: THE LIFE OF J. SEBASTIAN BACH

VOLUME 2: THE LEGACY OF J. SEBASTIAN BACH

VOLUME 3: PABLO CASALS AND THE SIX SUITES FOR CELLO SOLO

VOLUME 4: FROM TRAGEDY TO TRANSCENDENCE

Volume 1 is all about Bach’s life; volume 2 is about Bach’s death and the following 80 years of total obscurity until his music was discovered by Felix Mendelssohn; volume 3 focuses on Pablo Casals, his heroic life, and how serendipity brought him to Bach’s music; finally, volume 4 consists almost entirely on nine videos about the mystery and greatness of Bach, and how he didn’t allow his personal tragedy to define his music. Over one thousand illustrations grace the pages of the volumes, including three hundred works of contemporary art. There’s also a scholarly bibliography.

The four-volume ebook is available on iTunes and is accompanied separately by a 3-CD set recording of Hancoff’s acoustic guitar transcription of the suites. Readers may listen to samples here.

Like some other famous creative artists in history, Bach led a harsh life, losing his siblings and parents by the time he was ten, then having to work for years in an environment that didn’t support his music talents. He was even thrown into jail at some point. He never recovered from the death of his wife, whom he loved dearly. It was in times of deep pain and hardship that he created his sublime masterpieces, Six Violin Sonatas and Partitas for Violin Solo and then his Six Suites for ’Cello Solo.

The cello suites are a testament to the tragedy in his life, to all the pain and sorrow, but also to his determination and transcendence—a gift to his then gone beloved wife. Particularly interesting and surprising is how Bach’s prodigious music almost fell to oblivion if not for the efforts of Felix Mendelssohn’s great aunt, and how Pablo Casals discovered the suites in a little shop in Barcelona and how he studied them for over a decade before performing them in public.

Steven Hancoff’s passion and reverence for Bach and his music resonate throughout and shine through the pages of these volumes. He’s done an admirable job presenting “the miracle of Bach,” as Casals once put it. Moreover, his transcriptions of the suites in acoustic guitar are a pleasure to listen to: serene, bitter-sweet at times, filled with emotional power and depth, always sublimely beautiful.

Bach, Casals and the Six Suites for ’Cello is a feast to the senses, a testament to the greatness of Bach and comes highly recommended from this reviewer.

Useful links:

Listen to a samples Steven Hancoff’s transcription of the six suites here:http://www.stevenhancoff.com/music.html

Watch Hancoff’s various videos on the subject: http://www.stevenhancoff.com/videos.html

Connect with Hancoff on Facebook and Twitter @StevenHancoff.

My review was originally published in Blogcritics.

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Interview with JJ Sherwood, Author of 'Kings or Pawns'

On a cold winter night, wind howling into the desert sky, one ordinary hospital gave witness to a historic event. JJ Sherwood was born at 2:30 a.m. on December 31st, just barely managing to squeeze in to supplant New Year’s Eve. JJ has always had a flair for the dramatics.

Sherwood began writing in the womb after a harrowing incident in which Mother Sherwood swallowed a pen—and thus, destiny was born. JJ’s first work was completed by the age of 5: a riveting tale of a duck attempting to climb into an apartment during the pouring rain. Unfortunately this book is not in print, but it served as the first spark that spurred on a lifetime of creativity.

Much of JJ’s childhood was spent tearing through the woods, playing out fantasy worlds, and tying Barbie to the roof so that the Power Rangers might rescue her. Middle and high school carried on this roleplaying, while college encompassed creating and refining over 250 characters in the world of Aersadore.

After escaping college, finally armed with the tools of the trade and a lifetime of development, JJ set to writing what would become the Steps of Power series: it was then that Eraydon slew his first dragon, Jikun battled the warlord Saebellus, and Taranus rebelled against his brother’s throne.

When not orchestrating the lives and deaths of the people of Aersadore, JJ’s hobbies include drawing, video gaming, wearing a bathrobe, and eating too many baked potatoes. JJ Sherwood lives in Cincinnati, Ohio with one loving and extremely patient spouse, a bearded dragon, a monk parakeet, and four cats who look far too similar.

Q: Congratulations on the release of your book, Kings or Pawns. To begin with, can you gives us a brief summary of what the story is about and what compelled you to write it?   

A: As with any intrigue/suspense, the less you know, the better. The story is about an elven nation riddled with corruption and balanced on the brink of all out war with enemy warlord Saebellus. I have always loved the fantasy genre but have been disappointed by the lacking number of fantasy books geared for adults. Having grown up on Dragonlance, I always hoped to find a series as large and complicated, full of strong characters, set in a rich world, well-written, engaging, and enthralling—but geared for adults. So that’s what I write now.

Q: What do you think makes a good fantasy? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A: Easy, actually: world-building, realism, and strong characters. I love the fantasy genre, and I believe those three things make or break fantasy.

World building is the scope, history, development, and strength of the world where all of the events and characters take place. Tolkien is a great example of a massive, fully developed history and world that allows readers to delve into a series and find themselves wonderfully lost within the depth of the world—and hungering for more.

Realism is the careful balance between fantasy and believability. In my case, I focus on realism to ensure non-fantasy readers can pick up and fall in love with the book. Even the magic systems—while retaining airs of fantasy— have a foundation of scientific understanding.

Strong characters is the last and possibly most important element—characters who rise above stereotypes and embed themselves into your memory… characters who drive and shape the story by their faults and strengths, heroics and mistakes. Characters whom you can fall in love with.

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?

A:  I plotted my story from bullet-point to bullet-point, but as the characters fully drive and shape the story, elements very often shift away from my original plan as characters argue that they “would not have done something quite that way”—and that single shift causes a ripple effect throughout the entire story ’til the end.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A: There are multiple points of view and multiple protagonists, but I’ll address General Jikun—as his visage is most seen in our series artwork. Jikun was always an arrogant, cynical individual—just since the moment I began thinking he shaped himself that way—and I find once I write the first sentence of a character’s existence, the rest just… materializes and carries forward as though he’s always been a complete and full individual. I have little control over how the characters “create themselves.”

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A: Antagonists/villians have long since been some of my favorite individuals. I find that the most interesting and REAL characters are those that are not “good” or “evil” per se, but rather those characters who have “both traits.” Thus, my antagonist is simply an individual on one side of the coin, with admirable traits and flaws, making him an understandable, complicated, and interesting individual—and I prefer the same thought process with my “good” characters as well, including the aforementioned General Jikun.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A: I wrote from several points of view and I focused on each point of view as being distinct and entertaining. For example, when writing from General Jikun’s point of view, I infuse a lot of dry humor, cynicism, and metaphors into the writing—readers know they are getting a skewed but unique view of events/characters/the world. Then the next point of view might be from the  mute servant girl, Alvena, who is spunky, bubbly, and very optimistic—a stark opposite to General Jikun and a new, fresh look at everything going on. Keeping such strong characters and contrasting points of views allows readers to always feel like they are getting varying perspectives of the world/events/characters. Then they can begin to form their own passions, theories, and opinions: which means the readers can invest in the world and truly feel a part of it.

Q: Setting is also quite important and in many cases it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A: I have not read a lot of fantasy in years—and I consider this to be a strong suit. Instead, I focused on interesting studies in linguistics; Japanese; witchcraft, healing, & studies in secluded religions; forensics; astronomy; human anatomy; history; mythology; etc… This allowed me a unique, fresh take on the world not heavily influenced by other writers, but rather thoughts and ideas from cultures and humanity all over our world—and I’ve been developing it for nearly twenty years before the publication of the first novel. It has a history and life entirely its own.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A: The themes of the novels often develop organically based on the strengths and flaws of the characters in the series. In The Kings part of the Steps of Power series, each book has several themes within and the four book series will have an over-arching theme based on the growth and change of the characters involved.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?

A: Editing perhaps can, but not in my experience. My editor only helps the series grow stronger—driving points and characters home. There are times we will disagree on what I define as an “artistic” touch (particular wording in a sentence that is done for artistic purposes and not just the “straight forward” information it could be written as), but at the end of the day, the author has the final say.

Q: What three things, in your opinion, make a successful novelist?

A: Determination, hard-work, and natural creativity.

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A: It is absolutely true. I have to read my book several times just to keep track of the cycles of the moon, consistencies in linguistics, history, dates, etc… I find myself constantly “studying” my own world and having to take notes about it. I even have calendar books filled with events just pertaining to an individual novel!

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?

A: Roleplaying. As strange and laughable it might sound to some people: roleplaying. Through roleplaying over the last (nearly) 20 years, I have developed the world, characters, and history of the world to a degree that many authors do not get to reach for years of writing novels and receiving feedback. By roleplaying online and in person with individuals all over the world, I can test history, characters, stories, etc… before they ever even make it into draft form. I can shape and change events for years before they ever touch the pages of a novel and yet not have to slow down the speed at which I write.

Q:  Is there anything else you’d like to share with my readers about the craft of writing?

A: I edit my novels about thirty times before they ever end up in your hands—most of those edits involve adding and shaping nuances that allow you to really fall in love with the characters and the world. It is my favorite part of the writing process.