Mayra Calvani's Blog, page 6

Meet Barb Caffrey, Author of ‘Changing Faces’

Barb Caffrey is a writer, editor, and musician who holds two degrees in Music.
She has a particular fondness for the clarinet, lived in Nebraska for the better part of three years, and appreciated the ability to combine both her loves with the writing of Changing Faces.

Her other books are An Elfy on the Loose and A Little Elfy in Big Trouble (otherwise known as the Elfy duology), while her short stories have appeared in a number of places (most recently in Realms of Darkover). She's also the co-writer of the Joey Maverick series of stories (with late husband Michael B. Caffrey), so the next story you might see from her could be military science fiction—or better yet, military science fiction with romance.

She lives in Wisconsin.

Barb Caffrey's Elfyverse: https://elfyverse.wordpress.com

Link to book: http://www.twilighttimesbooks.com/ChangingFaces_ch1.html

Amazon (US): https://www.amazon.com/dp/B01N3CQKWJ

INTERVIEW:

Q: Congratulations on the release of your latest book, Changing Faces. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?
A: Thanks for having me! I appreciate it.

Changing Faces is about the importance of love regardless of form, and takes place in present-day Nebraska. Clarinetists and graduate students Allen Bridgeway and Elaine Foster love each other deeply and passionately, but Elaine is hiding a big secret. From early life, she has identified as transgender, and has a great deal of gender-fluidity in her makeup, besides. Allen only knows that Elaine is bisexual, not this other stuff, and when it comes out, it throws him for a loop. He's willing to keep trying with her; he just doesn't understand why Elaine, who is a feminist scholar who will always see herself as female whether she becomes male outwardly or not – she admits this to him, even – wants to become a man. And when things come to head, she decides to leave him rather than talk it out.

You'd think this is it, right? (Well, not if you've read many romances of whatever type, but I digress.) But it's not. There are two angels involved also, who want Allen and Elaine to be happy together. And they only way they see toward doing this is changing Allen and Elaine's faces…which happens because Allen prays, "I will do anything, absolutely anything, if Elaine doesn't leave me." And the angels take Allen at his word.

Now, Allen is in Elaine's body, unable to tell anyone he's Allen. And Elaine is in his, in a coma, talking with one of the angels. If she can just wake up, they'll have a second chance at love…but it's not going to be easy, and poor Allen in particular is going to get put through the wringer.

Q: What do you think makes a good fantasy-romance? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?
A: I think honesty is important. A story that matters is also important. And a willingness to explore that story wherever it goes is also important.

Ultimately, it's these three things that make – or break – any book, but most especially a fantasy-romance, in my opinion.

Q: How did you go about plotting your story? Or did you discover it as you worked on the book?
A: The story came to me over fifteen years ago. I knew that Allen and Elaine were in a car accident and that she ended up in his body, talking to an angel about what went wrong and why she needs to be with Allen again, even if they're both in the wrong bodies.

At the time, I had no idea what gender-fluidity was about, though I did know something about transgender issues because I had a few transgender friends. Elaine insisting she was always female regardless of her outward body threw me, at first, but I kept after it, and after five major revisions (including a late-round revision just last year in 2016), CHANGING FACES is finally ready.

So I guess it's half and half. I knew right away what the story was on Elaine's side, but I discovered Allen's as I wrote it.

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 two protagonists here, but I'll choose Allen for ease of reference. Allen has always been confident in his body. He's not handsome, knows it, but is centered, down-to-Earth, and is desperately in love with Elaine. But he did not realize what his prayer was going to do to him; all of a sudden, he wakes up in Elaine's body – the body of a beautiful woman – and doesn't know what to do.

As for how I developed Allen? I understood him right away. Here's a guy who will always be male, but is in a female body and no one else realizes it but him. (As Elaine is still in a coma at this point, and can't help him.) So it was more a matter of putting Allen in situations where he'd be confronted by his own assumptions as a male, and then see how someone ostensibly female was treated.

I didn't do any character interviews with Allen, mind. I did do a few, down the line, with Elaine, as she was far more complex than Allen in certain respects and I wanted to do justice to her complexity.

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: In this case, the villain is Elaine herself (in a way). She's going to sacrifice everything because she's so uncomfortable with admitting who she is.

But the reason she's uncomfortable – and it's why I said "in a way," above – is because she was gang-raped at fifteen. So the villains who made her uncomfortable in her own body were those five rapists. And we do see a little of them in this novel, and how she manages to overcome that to form a good love-relationship with the only person who's ever truly mattered to her, that being Allen.

As for making the villainy realistic? People sabotage themselves all the time, sometimes for what seems like good reasons. That's what is realistic about what Elaine does.

In addition, I don't know how anyone would deal with being gang-raped when you already know you're transgender at the tender age of fifteen. So for Elaine to still be confused years later is not altogether a surprise.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?
A: I wish I knew how to give practical, specific tips. The only thing I can tell you is that both Allen and Elaine had to confront a lot of deep, dark things – most of them being in Elaine's past – to get to be able to have that second chance. And to accept the fact that the second chance would not be easy, would entail them both being in the wrong bodies for the rest of their lives, was also not an easy thing for either one of them.

The only practical tip I've ever seen that worked for me, as stated by renowned author Lois McMaster Bujold in various places, is this: "What's the worst thing I can do this guy? Then do it."

I think that's what happened here, at least with regards to Allen. (And Elaine's journey is far from easy, either, as you'll see.)

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 lived in Nebraska for three years when I went to graduate school. I felt the heat, I saw the vivid colors of the sunsets and sunrises, I felt the scorching cold, and I knew exactly how to describe it.

It's hard to explain, otherwise, but I'll do my best.

If you've experienced something, that helps you to describe it. And I experienced Nebraska. I even met some LGBT people in Lincoln, when I lived there; there weren't many, but there were some, and most of them, at the time (this being the late 1990s/early 2000s) did not want to call attention to themselves. The goal at that point was for civil unions to be accepted in various churches, and there were many disagreements about this.

So, it was important to me to set this story in Nebraska. These are two people who could live anywhere. They have talent in music, they are creative, they are honest, they love each other. But one of them is transgender and gender-fluid, and yet their love is like anyone else's, and their communication problems are like anyone else's, too.

It's important that society as a whole comes to realize that people are people, and regardless of gender expression or sexuality, they are deserving of love and happiness and care. Whatever form that love and happiness takes (providing it's consensual, preferably monogamous, and with people who are adult so they can make their own choices and take their own risks) ultimately does not matter.

Only the love matters. And that's why I set this story in Nebraska in the first place, because it showcases just how much times have changed…and yet, remained the same.

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: Oh, I knew the themes right away. Could I describe them right away, though? No, probably not. I just saw that the Allen and Elaine were good people, and that their outsides were not important. What was important were their souls, and how they loved each other, and how they were going to go on despite this radical change in their outward circumstances.

And no, this is not a recurrent theme in my work, at least not in this way. In my two previous novels, AN ELFY ON THE LOOSE and A LITTLE ELFY IN BIG TROUBLE, my main characters Bruno the Elfy and Sarah, his mostly-human girlfriend, are also in love and have a cross-species romance. But they are both straight. So it's not as hard in some respects for them, though in others it probably isn't easy because Bruno doesn't come from this Earth at all.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?
A: I think editing helps authors. There are sometimes mismatches between editors and authors, sure. But a good editor helps you clarify your thoughts. I was very fortunate that I had Katharine Eliska Kimbriel on my side as my editor for CHANGING FACES, because she helped me enormously. I also had a good copy-editor, Janne Kafka, who gave some late suggestions that I implemented. Without them, CHANGING FACES wouldn't be half as good.

As far as craft and art goes? I think we have to put in many hours of thought and effort to do good work. Whether someone sees it as craft or art is up to the eye of the beholder; I won't make that decision for them. But do I want them to see it as an interesting work of art and craft, both? Yes, I do. (Does that answer your question? It's a tough one!)

Q: What three things, in your opinion, make a successful novelist?
A: Persistence, hard work, and a willingness to tell your story no matter where it leads.

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. Thoughts?
A: In a way, that's true. Authors do research settings, we do think a great deal about what we're doing, and we spend an inordinate amount of time on our work.

But I like to think of it as an expression of my own creativity as much as it is "homework," because thinking of it as homework takes some of the fun out of it. (Picture my big, evil grin here.)

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?
A: Yes, there are a number of them.

First, the Forward Motion Writers Group online is an incredibly valuable resource. They talk craft, they talk about marketing sometimes, they have writing prompts, and the community of writers there is second to none.

Second, I recommend Anne Lamott's BIRD BY BIRD and Ralph Keyes' THE COURAGE TO WRITE as helpful books when you get stalled. Lamont's book reminded me that other authors also struggle through various revisions, while Keyes' book told me that we all struggle to be honest and give our best effort as writers. I find them both useful references.

Third, if you want to share your work as a new writer but are worried it's not that great and need critiques that will help you, I recommend Critters.org along with the Forward Motion community (as notated above). Note that you will get some very strong and pungent critiques there, so you had best have a thick skin…but you will get help if you are willing to work at it and can check your ego at the door.

And finally, I strongly recommend the group Marketing for Romance Writers. Like Forward Motion, like Critters, Marketing for Romance Writers is absolutely free of charge, and there are many wonderful writers there; you do not have to be a romance writer to become a member, either.

Q: Is there anything else you’d like to share with my readers about the craft of writing?
A: Just tell your stories. No one else's. That's all you can do. Be honest, tell stories that matter to you, and readers will respond to that.

Keep trying, keep working, do not give up, and continue to believe that what you are doing matters whether anyone else sees it or not. That's the only way to succeed in this business.

Anything else is just window dressing, in my not-so-humble opinion.

Meet Jim Nesbitt, Author of ‘The Right Wrong Number’

For more than 30 years, Jim Nesbitt roved the American Outback as a correspondent for newspapers and wire services in Alabama, Florida, Texas, Georgia, North Carolina, South Carolina and Washington, D.C. He chased hurricanes, earthquakes, plane wrecks, presidential candidates, wildfires, rodeo cowboys, ranchers, miners, loggers, farmers, migrant field hands, doctors, neo-Nazis and nuns with an eye for the telling detail and an ear for the voice of the people who give life to a story. He is a lapsed horseman, pilot, hunter and saloon sport with a keen appreciation for old guns, vintage cars and trucks, good cigars, aged whiskey and a well-told story. He now lives in Athens, Alabama.

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

A: The Right Wrong Number is a hard-boiled tale of revenge and redemption set in Texas and northern Mexico. It’s more of a thriller than a whodunit and features Ed Earl Burch, a cashiered Dallas homicide detective eking out a living as a private eye. He’s an ex-jock gone to seed, a guy who’s been smacked around by life and has the bad knees, wounded liver and empty bank account to prove it. In this story, he’s been hired to protect an old flame threatened by the partners ripped off by her husband, a high-flying Houston financial consultant who has disappeared. These partners include some mobsters from New Orleans who send a pair of hitmen to get back their money, drugs and jewels and kill anybody involved in the score. Ed Earl finds himself locked in a deadly contest where nobody can be trusted and he’s tempted to forget his own rules by the money and sex offered up by the old flame, who has a lethal knack for larceny and betrayal. When his best friend is killed in Dallas by hired muscle, Ed Earl blames himself and sets out for revenge that winds up being a bloody form of redemption.

My primary motivation is the desire to write well-told, hard-boiled crime fiction. I’ve always regarded hard-boiled or noir stories and movies as a particularly American art form. And when you read the novels of Hammett, Chandler and more contemporary writers like James Ellroy, James Lee Burke and the late, great James Crumley, the stories are so much more than a whodunit. They’re commentaries on politics, crime, art, sex, culture, music and the time and place of the stories being told. That’s the kind of hard-boiled fiction I wanted to write. Still do.

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

A: Crackling dialogue, rich and detailed narrative that gives the reader a vivid sense of time and place and lots of action. To me, plot takes a back seat to those three elements, although I know a lot of damn good writers will forcefully reject this notion.

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

A:  I didn’t do a detailed plot, more of a skeletal outline that gave me a general notion of where I wanted to go and where I wanted to wind up. But I also wanted to make sure I had enough freedom to let the characters and action take me where they wanted to go. If you’re strait-jacketed by an intricate plot, you might miss some marvelous surprises along the way. That said, you always have to make sure those surprises serve your story. If they don’t, kill them off and look at that rough outline again.

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 didn’t do any character interviews or sketches, but I did a lot of thinking about who this guy is, what he’s experienced in life, what he’s done as a result of those experiences and how to make him utterly human. I wanted him to be strong, flawed, reckless, cagey and cynical, a guy who has a code he sometimes forgets to live by but returns to under pressure. I didn’t want him to be a Spade or a Marlowe—I wanted him to be more angst-ridden and tortured than those guys.

Ed Earl’s a bit of an Everyman who’s been smacked around by life. He’s fatally attracted to women ready, willing and able to drive a stake through his heart. He’s also a little slow on the uptake, but not dumb. He’s dogged rather than brilliant. And he sure isn’t supercool like Frank Bullitt—he’s the polar opposite of that. He’s Columbo without the caricature—people he goes up against underestimate him and he makes them pay for that mistake. Sometimes with a bullet.

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 learned a hard lesson from my first novel, The Last Second Chance, when I made the main villain way too over the top, haunted by visions of Aztec heart sacrifice and nightmares of flying serpent demons. I tried not to make that same mistake with the two villains in this book—the old flame and her fugitive husband. They’re smart, remorseless predators. She’s got a violent temper and a relentless sex drive; he’s an utterly cold and charming sociopath who just knows he’s the smartest guy in any room he walks into. They aren’t haunted by otherworldly demons—the devils that drive them come from good old-fashioned human evil.

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

A: There’s a great Raymond Chandler line in response to a question about solving plot dilemmas—something like: “I just have somebody open the door and walk into the room with a gun in their hand.” Not a bad rule of thumb for keeping your narrative exciting. Chandler wasn’t a stickler for plot—his novels are driven by snappy dialogue, rich narrative and sudden and surprising action. I keep that in mind when writing my novels, not that I’m anywhere near the same galaxy as his talent. There’s something else I learned the hard way by reading Chandler and other great writers—everything they write is in service of the story they’re trying to tell. If it isn’t, kill it. You can see this discipline even in the wretched excess or wild tangents of a James Ellroy or Hunter S. Thompson. My books are pretty graphic—they aren’t for the Sunday school crowd. I’m frank in my descriptions about sex and violence because I think using euphemisms insults the reader and doesn’t serve the story I’m trying to tell. The characters in my books aren’t nice people. Even my main character, Ed Earl Burch, is profane, violent and reckless, with a mean streak a mile wide. These folks can be flat nasty whether they’re killing somebody or having sex with them. That’s who they are, so that’s how I tell it. You may not like them, but they won’t put you to sleep.

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: You’re preaching to the choir on this one. I believe the setting of a novel IS a character unto itself. You should use rich, detailed descriptions to give readers a vivid sense of time and place and give your characters a compelling landscape for what they say and do. How they react to and interact with that landscape gives depth and authenticity to your story. Too many writers don’t bother to do this and their story reads like a cardboard cutout. As for the tools of the trade that get you where you need to go, nothing beats being there. Nothing beats walking the ground, as the Brits would say. My latest novel takes you from Dallas to Houston and New Orleans and winds up in the stark, arid beauty of the Texas Big Bend country and northern Mexico. I lived in Dallas in the mid-to-late 1980s and knocked around Houston, New Orleans and West Texas and northern Mexico as a roving correspondent in the early-to-mid 1990s, which is the timeframe for this book. If you can’t walk the ground, you do the next best thing: research. You read about the places you put in your story and the time you’re trying to portray. Find historians who know that time and place and talk to them, get their recommendations on what you should read. Find friends who have lived there and talk to them. That’s what I did to give me a deeper understanding that added strength and authenticity to my writing.

Q: Did you know the themes of your novel from the start or is this something you discovered after completing the first draft? Are these themes recurrent in your other work?

A: Only in the subconscious sense when I wrote the first one because I was so focused on the specifics of character backstory and motivation and was having a helluva good time seeing where these guys would next take the story. I started out with a couple of simple rules about Ed Earl -- he doesn’t get the girl, he survives but winds up a little more battered physically and spiritually, he reclaims a bit of his life by remembering his code and returning to it. But I really didn’t think about the overarching themes of my books until an old Houston friend who loves Ed Earl penned a review of The Last Second Chance and shot me a note that said: “Your book is about revenge and redemption.” So is The Right Wrong Number in an equally subconscious way. Not surprising since I grew up Baptist but like to think of myself as more of an Old Testament kind of guy.

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

A: The raucous laughter and hoots you’re hearing right now come from all the editors I left bloody when I was a word-proud journalist too enamored with his own turns of phrase. I’m a little older and wiser now—and far less pig-headed. That doesn’t mean I meekly allow any editor to take a chainsaw to my work because I still believe bad editing can kill creativity while great editing can make it shine. It’s the difference between that chainsaw and a surgeon’s scalpel. As to where craft ends and art begins, I think about that question quite a bit but I’m not sure I have an easy answer. I do know that too many writers rely on artifice and obedience to the conventions and templates of their chosen genre and too many editors try to force writers into those cubbyholes. I think good writers learn about those conventions and master that template, then turn them on their ear and use what works best to tell the story they want to tell. You have to be brave enough to chuck the rules and let the story fly but smart enough to know if you’re taking a flight to nowhere.

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

A: Storytelling talent, ego and dogged persistence.

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 a cruel mistress who gives me no choice but to obey her.

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

A: I think the best thing a writer can do is keep reading good writers, keep talking with other good writers to learn and get better and keep that butt in the chair to write that next story.

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

A: There’s no silver bullet. You hone your craft by doing it and reading the work of great writers.

 

 

 

 

Interview with Tom Carter, Author of ‘Nashville: Music and Murder’

Bestselling author Tom Carter is a longtime Nashville who lives with his wife, Janie, a few miles from Nashville’s legendary Music Row.

Connect with the author on the Web:

http://www.authortomcarter.com/

https://www.facebook.com/authortomcarter

https://www.instagram.com/authortomcarter/

 

Q: Congratulations on the release of your latest book, Nashville:

Music & Murder.  To begin with, can you give us a brief

summary of what the story is about and what compelled you to

write it?

 

A: The book is scheduled for release on February 7, 2017.  It's

a murder mystery set in Nashville, Tennessee, the home of recorded

country music.  In part, I wrote the book due to the popularity

of country music, as 107 million Americans now listen to that

genre of music once daily, according to the Country Music

Association.

 

Q: What do you think makes a good mystery book?  Could you       

narrow it down to the three most important elements?  Is it even

possible to narrow it down?

 

A: Try to make each page magnetic.

 

Q: How did you go about plotting your story?  Or did you discover

it as you worked on the book?

 

A: I discovered it as I worked on the book.

 

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 writing.

 

A: My protagonist is an insecure and neurotic celebrity whose

popularity is dwindling.  I've met many such folks in Nashville,

Tennessee, my home.

 

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 won't identify the antagonist.  That would spoil the

mystery.

 

 

Q: How did you keep your narrative exciting throughout the novel?

 

A: I did not reveal the villain’s identity.  But, on many

occasions, I almost did.

 

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: The setting is "Music Row," that part of Nashville, Tennessee

where the production of country music lies inside recording

studios, celebrities' offices, and music publishing houses.  I

used to live on Music Row among its people.  I still visit that

neighborhood and its people regularly.

 

Q:  Did you know the themes(s) of your novel from the start or it

this something you discovered after completing the first draft? 

Is this theme(s) recurrent in your other work?

 

A: I did not know the theme of my novel until I'd written most of

This theme is not recurrent in my previous books. Those

books were mostly non-fiction.

 

Q: Where does craft end and art begin?  Do you think editing can

destroy the initial creative thrust of an author?

 

A: I don't know where the craft ends or art begins.  To me,

masterful crafting IS an art.  Editing didn't destroy my creative

thrust.  I allowed only copy editing, nothing else.

 

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

novelist?

 

A:  A vivid imagination, daily writing, and promotion.

 

Q: A famous writer once wrote that being an author is like having

to do homework for the rest of your life.  Thoughts?

 

A: I agree with that statement as long as the writer writes.  If

he retires from writing, he'll hopefully return to spare time and

what to do with it.  I've been writing professionally for 47

years.  I still write daily.

 

Q: Are there any resources, books, workshops or sites about craft

that you've found helpful during your writing career?

 

A: I earned a five-year, Bachelor's Degree in Journalism.  I

learned more about writing in one week while working at a daily

newspaper and by reading other newspapers and novels.  I found

that workshops or sites are largely inhabited by failed or

inferior writers who want to sponge from other failed souls.  To

me, those venues are friendly but inefficient.

 

Interview with Tom Carter, Author of ‘Nashville: Music and Murder’

Bestselling author Tom Carter is a longtime Nashville who lives with his wife, Janie, a few miles from Nashville’s legendary Music Row.

Connect with the author on the Web:

http://www.authortomcarter.com/

https://www.facebook.com/authortomcarter

https://www.instagram.com/authortomcarter/

 

Q: Congratulations on the release of your latest book, Nashville:

Music & Murder.  To begin with, can you give us a brief

summary of what the story is about and what compelled you to

write it?

 

A: The book is scheduled for release on February 7, 2017.  It's

a murder mystery set in Nashville, Tennessee, the home of recorded

country music.  In part, I wrote the book due to the popularity

of country music, as 107 million Americans now listen to that

genre of music once daily, according to the Country Music

Association.

 

Q: What do you think makes a good mystery book?  Could you       

narrow it down to the three most important elements?  Is it even

possible to narrow it down?

 

A: Try to make each page magnetic.

 

Q: How did you go about plotting your story?  Or did you discover

it as you worked on the book?

 

A: I discovered it as I worked on the book.

 

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 writing.

 

A: My protagonist is an insecure and neurotic celebrity whose

popularity is dwindling.  I've met many such folks in Nashville,

Tennessee, my home.

 

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 won't identify the antagonist.  That would spoil the

mystery.

 

 

Q: How did you keep your narrative exciting throughout the novel?

 

A: I did not reveal the villain’s identity.  But, on many

occasions, I almost did.

 

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: The setting is "Music Row," that part of Nashville, Tennessee

where the production of country music lies inside recording

studios, celebrities' offices, and music publishing houses.  I

used to live on Music Row among its people.  I still visit that

neighborhood and its people regularly.

 

Q:  Did you know the themes(s) of your novel from the start or it

this something you discovered after completing the first draft? 

Is this theme(s) recurrent in your other work?

 

A: I did not know the theme of my novel until I'd written most of

This theme is not recurrent in my previous books. Those

books were mostly non-fiction.

 

Q: Where does craft end and art begin?  Do you think editing can

destroy the initial creative thrust of an author?

 

A: I don't know where the craft ends or art begins.  To me,

masterful crafting IS an art.  Editing didn't destroy my creative

thrust.  I allowed only copy editing, nothing else.

 

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

novelist?

 

A:  A vivid imagination, daily writing, and promotion.

 

Q: A famous writer once wrote that being an author is like having

to do homework for the rest of your life.  Thoughts?

 

A: I agree with that statement as long as the writer writes.  If

he retires from writing, he'll hopefully return to spare time and

what to do with it.  I've been writing professionally for 47

years.  I still write daily.

 

Q: Are there any resources, books, workshops or sites about craft

that you've found helpful during your writing career?

 

A: I earned a five-year, Bachelor's Degree in Journalism.  I

learned more about writing in one week while working at a daily

newspaper and by reading other newspapers and novels.  I found

that workshops or sites are largely inhabited by failed or

inferior writers who want to sponge from other failed souls.  To

me, those venues are friendly but inefficient.

 

Talking Craft with Dark Romance Author Jane Jordan

Jane was born in England, and grew up exploring the history and culture of London and surrounding counties.  After some time spent in Germany in the 1990’s she immigrated to Detroit, USA, eventually settling in South West Florida. She returned to England after a fifteen-year absence, to spend six years in the South West of England living on Exmoor.  Here, inspired by the atmosphere, beautiful scenery and the ancient history of the place, she began writing.

Jane is a trained horticulturist, and also spent time working and volunteering for Britain's National Trust at Exmoor's 1000-year-old Dunster Castle.  Gaining more insight into the history and mysteries surrounding these ancient places, and having always been intrigued by the supernatural, inspiration came for her fourth novel, The Beekeeper's Daughter, a supernatural thriller.

Jane Returned to Florida in 2013, and lives in Sarasota.

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

 

A: The Beekeeper’s Daughter is a historical dark romance primarily set in the Victorian Era.  It combines the lives of the cottagers, blacksmiths and wealthy landowners in a story that is full of intrigue.

 

Annabel Taylor is The Beekeeper’s Daughter, she also has the ability to charm bees.  She has grown up on wild Exmoor, which lies in the South West of England.  When she meets Jevan, the blacksmith son, her life dramatically changes, they form an unbreakable bond, until they are forced apart when Jevan leaves for London.  Annabel is heartbroken, and believes her life is over.  By chance she meets Alex, the heir to vast estate lands and the foreboding Gothelstone manor house.

 

Socially they are worlds apart, even though Annabel is inexplicably drawn to him, she feels that Alex’s attention is merely a distraction from her true love.  Alex has other ideas.  When Jevan eventually returns, Annabel realizes just how precarious her situation has become.  When Jevan’s life is threatened, she has to make a heartbreaking choice that could mean Jevan will hate her forever.

 

But darker forces are at play. Alex and Annabel are merely pawns in someone else’s sinister plan.  Annabel must use her inherent ability to stop a diabolical plan coming to fruition, and destroy a powerful witch.

 

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

 

A: I would say three is a limited number, Dark Romance can have so many components to it.

 

An important element is the central characters that have a love interest, which is often conflicted, a story that can enter the realm of horror, but still engage the reader.

 

Attention to detail, and dialogue is important.  Characters have to been portrayed as believable, if my characters are in love I want readers to feel that, if they hate each other, then, I want readers to feel the animosity and the conflict.

 

Dark Romance should be about anticipation, longing and hope. Questions should be raised. Are these people good and bad in equal measures?  Are they corrupt?  I like to explore these ideas, and this genre explores a world that is dark and mysterious, but it still has to have an attainable light in that darkness.

 

Dark romance is frequently linked to gothic fiction, and I do enjoy the gothic element.  For me, it’s as much about the mood of a place as the setting, which brings the whole story to life. The atmosphere sets the mood and gives an anchor to the story.  The mood can be anything that inspires your imagination from mist covered moors, a foreboding old house with secret rooms, to the presence of a raven suggesting an omen of bad luck.

 

The supernatural is often associated with dark romance and the classic gothic tale, and by weaving this through a story it gives the writer the potential to send a shiver up their reader’s spine.

 

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

 

A: I had the basic idea.  I wanted to write something of the Victorian period, and I completed a lot of research so that all the historical elements could be accurately portrayed.

 

I had the beginning for a long time, but Jevan’s character would not come until I had the right name for him.  As strange as that sounds, not only do I have to visualize the details, but the name has to be right or I can’t imagine that person, in turn the character then has to live up to the name.

 

There are so many different factors to this book, the love triangle, the bees and Annabel’s supernatural power over them, witchcraft, a Victorian asylum, the moors, and the city of Bath as well as society life, which made it a complex undertaking.

 

I found it useful to write and work to a timeline.  It changed several times, but it helped me tell the story and know how everything would happen, which was especially important, since the story started centuries before the Victorian times.  Ultimately, knowing the order of things and how they progress helped me see the bigger picture, and where to conclude the book.

 

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: Annabel is the protagonist in The Beekeepers Daughter.  I knew what I needed to accomplish in the story and for that role, she had to be confident, a little hot headed and unafraid as well as beautiful.  There had to be an underlying darkness to her character, because of her own heritage.  Even though, she is a complex character she was easy to write.

 

I like strong women, and their characters to be of substance.  Annabel had to be somewhat fearless given the adversity she has to conquer, but I do show her vulnerable side. Like many women, when it comes to romance, she still has a profound weakness for the man she loves.

 

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: Cerberus Saltonstall is the antagonist in The Beekeeper’s Daughter.  He was interesting to develop.  Darker and more wicked characters are complex on so many levels.  I portray him as evil, but evil is a point of view.

 

If Cerberus was asked why he behaves in this manner, he would answer: everything he does is borne out of love for a woman that has died.  The darkness manifests in Cerberus because he cannot accept that fact.  It is clear that he is driven by his own demons and dabbling in the dark arts has caused further corruption. His grasp on reality has become obscure, and part of the thriller of this novel is unravelling Cerberus’s evil plan.

 

I drip feed just enough information throughout the book to let readers realize that he has another agenda, but his scheme does not become clear until the appropriate time

 

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

 

A: I keep paragraphs and chapters relatively short. I don’t pad out my story with useless information, if I write it, then, it’s there for a reason.

 

One of the worst things when reading a novel is to become bored and skip pages. Some writers take two or three pages to write what could of actually be said on a single page, so I try to keep my story moving at a good pace.

 

When I worked with my first editor a few years ago, he cut 10,000 words from my manuscript, and I was horrified.  As a writer you invest so much time and energy into each and every word.  To my mind they were all needed and were all significant.  But that editor taught me so much by explaining why he cut the words.  He made me see how to write the same thing with less words and by doing so, have more impact.  So when I read through the story, I could see how much sharper and polished it had become.

 

The lesson learned was if you can say it in six words, don’t use twenty.

 

Although, there is always an exception to the rule, and some scenes just need a long descriptive, especially if you are trying to portray a place or setting you know your reader will have difficulty imagining. Even so, most everyday things can be simplified.  For example, I may want my reader to know that a character ate a sandwich, but I don’t need to describe the contents in detail, tell them if the bread was white or brown, or how big it was--too much information.

 

I try to write dynamic dialogue and have to immerse myself in the character of the people I am writing about.  One of the best ways to check your writing, is to read aloud to yourself.  Hearing what you have written has a way of telling you when something is not right.

 

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:  As this book is set on Exmoor, and there is a scene in the city of Bath.  I could draw on actual experience of these places.  I have walked around the city of Bath, and taken inspiration from the famous Georgian architecture.  I studied old pictures to see how it would have been without cars and buses in a time when there were only carriage and horses for transport.  I researched Victorian dress and fashionable clothes ladies used to wear when they walked around the Royal Crescent, or what it was like to be invited to balls or go to take the waters at the famous Pump Room.

 

I have lived and worked on Exmoor, so I know the places I write about well.  Exmoor is a land of extremes it has the highest coastline on the British mainland.  It is dramatically barren with heather covered moorland, and breathtakingly beautiful with deep wooded valleys.  It is a place where artists, writers and poets have been inspired to produce a myriad of work.

 

Gothelstone Manor house was an amalgamation of several different stately homes that I have visited, and the Victorian asylum was constructed from researching several of those harrowing establishments.

 

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 my theme would be a darkly romantic tale with a mysterious gothic element, there would be supernatural and some horror.  My characters would be complex because of their connections to each other.

 

This theme does occur in my other work, primarily because I have used the moors as a setting before, but also London, because any city has a dark and dangerous aspect.  Scotland too is full of mystery and so I like to draw on all those aspects when I write

 

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

 

A:  Not if it is done correctly. Editing strips away the nonsense, and the repetition.  When you have written 120,000 words it’s hard not to say the same thing twice or even more, so editing highlights these repetitions.

 

Writing a substantial novel, takes a long time.  I don’t believe many authors start at the beginning, work through till the end, and finish.  It is more a matter of going back and revisiting chapters.  Writing a book is mostly about editing and re-editing, until you get it as perfect as you can.

 

I have been writing for long enough now that I can edit my own work, but I would always want a professional editor to look it over, no-one is infallible and I often find that I have misspelt something or my spell checker has changed a word.

 

My current editor did not change my story at all, she only corrected spelling mistakes and some grammar issues.  If you work with a good editor, then, you should be able to see that your editor’s suggestions make your work read better.

 

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

 

A:  1.  The ability to tell a story through written words that makes readers engage with the story concept, so that they become engrossed and don’t want to put the book down.

 

The confidence to believe in your story and the idea’s, however obscure that go along with it. The confidence to put different or unusual things together and still come up a believable and interesting story.

 

I always marry different themes or places together. In my first book, I explored the idea of a vampire existing on Exmoor, I took my reader to London and to Stonehenge, I incorporated a love story and a few paragraphs about the Chinese opium wars and smuggling in the 19th century on the southwest coast of England.

 

In my second novel, I began on Exmoor, and then my readers discovered the hidden underground tunnels in London, then, India at the time of the British Raj, while exploring the roots of Italian witchcraft and the very beginnings of vampirism.  As well as writing about a significant train derailment, and the famous Brookwood cemetery in London.

 

In my third novel, I started in Scotland, and explored clairvoyance and tea leaf reading, the famous Green Lady ghost of Stirling Castle, a London opera house, a ballerina and a gothic stately home with its resident vampire and heartbroken ghost.

 

The persistence to see it through, even when you hit a roadblock and cannot figure a way around it, but you have to keep going. Sooner or later you will know how to overcome the obstacle.  Some chapters are harder to write than others, they may take patience and passion in equal measure to make everything come together

 

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:  Yes that’s probably true.  I am always learning new things. I constantly research ideas or themes, which can be very time consuming, but the upside is that you find out interesting or obscure facts that the majority of people don’t know about, which makes for interesting conversation pieces at the very least.

 

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

 

A: The internet of course is an inexhaustible supply of research of both fact and fiction, as well as myths and legends from around the world.  I have read dozens of books in my pursuit of research, everything from period costumes to bee-keeping.

 

I don’t visit writing sites, as I believe that every writer is different, what works for one will not work for another.  It’s best just to find your own way of doing things. I am more interested in talking to other authors in person when I get the opportunity.

 

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

 

A: No book or website can tell you how to write.  They can improve your grammar and give you a formula to follow, but writing is so much more than that.

 

The driving force behind every good writer is that they have a story that needs to be told, and they have the passion and perseverance to see it through.

 

I believe that most people are capable of writing a story, but a novel is a completely different undertaking.  It requires a lot of emotional input and hard work to craft a story of 80,000 words or more that is capable of captivating an audience.

 

I also think that too many people write in a genre because of a current bestseller, instead of writing in a genre that they have a true understanding or connection with. The trouble with doing this, is by the time the novel is finished, the publishing industry will have moved on.

 

It’s far better to be true to yourself and to where your personal interests lie. Your writing will be so much better because of it.

 

 

 

 

Spotlight: 'UNEXPECTED PRISONER: Memoir of a Vietnam Prisoner of War' by Robert Wideman

Title: UNEXPECTED PRISONER: Memoir of a Vietnam Prisoner of War

Genre: Memoir

Author: Robert Wideman

Website: www.robertwideman.com       

Publisher: Graham Publishing Group

Find on Amazon

About the Book: 

When Unexpected Prisoner opens, it’s May 6, 1967 and 23-year-old Lieutenant Robert Wideman is flying a Navy A-4 Skyhawk over Vietnam.  At 23, Wideman had already served three and a half years in the Navy—and was only 27 combat days away from heading home to America. But on that cloudless day in May, on a routine bombing run, Wideman’s plane crashed and he fell into enemy hands. Captured and held for six years as a Prisoner of War in Vietnam, Wideman endured the kind of pain that makes people question humanity.  Physical torture, however, was not the biggest challenge he was forced to withstand.  In his candid memoir, Unexpected Prisoner, Wideman details the raw, unvarnished tale of how he came to understand the truth behind Jean-Paul Sartre’s words: “Hell is other people.”

A gripping, first-person account that chronicles the six-year period Wideman spent in captivity as a POW, Unexpected Prisoner plunges readers deep into the heart of one of the most protracted, deadliest conflicts in American history:  the Vietnam War. Wideman, along with acclaimed memoirist Cara Lopez Lee, has crafted a story that is exquisitely engaging, richly detailed, and wholly captivating. Unexpectedly candid and vibrantly vivid, this moving memoir chronicles a POW’s struggle with enemies and comrades, Vietnamese interrogators and American commanders, lost dreams, and ultimately, himself.

With its  eye-opening look at a soldier’s life before, during and after captivity, Unexpected Prisoner presents a uniquely human perspective on war and on conflicts both external and internal.  An exceptional story exceptionally well-told, Unexpected Prisoner is a powerful, poignant, often provocative tale about struggle, survival, hope, and redemption.

About the Author: 

Robert Wideman was born in Montreal, grew up in East Aurora, New York, and has dual U.S./Canadian citizenship. During the Vietnam War, he flew 134 missions for the U.S. Navy and spent six years as a prisoner of war. Wideman earned a master’s degree in finance from the Naval Postgraduate School. After retiring from t he Navy, he graduated from the University of Florida College of Law, practiced law in Florida and Mississippi, and became a flight instructor. Robert Wideman holds a commercial pilot’s license with an instrument rating, belongs to Veterans Plaza of Northern Colorado, and lives in Ft. Collins near his two sons and six grandchildren.

Connect with the author on the web: Facebook / Twitter / LinkedIn

Talking Craft with Mystery Author S.K. Nicholls

S.K. Nicholls is a crime romp novelist that lives in Central Florida where her family has owned and operated Cypress Cove, a nudist resort, since 1964. A Registered Nurse and former Sexual Assault Nurse Examiner, (S.A.N.E.), she has a special interest in sex-trafficking. Social issues are at the forefront of her writing that is always blended with humor. When she’s not writing, she can be found tracking down Snorlaxes, wandering city parks with the homeless, or sipping margaritas on the bow of a boat. She is a member of Sisters in Crime, Florida Writer’s Association and Writers of Central Florida…or Thereabouts.

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

A: Naked Alliances is the first book in the Naked Eye Series. It’s a 74,000 word crime romp set in the seedier side of Orlando that the amusement park industry tries to hide from public view.

In it, a lone wolf private investigator reluctantly goes undercover in a nudist resort and teams up with the unlikely custodian of a girl on the run to solve a cold case and bring down the mastermind of a sex trafficking ring. No possibility of encountering a concealed weapon there! With bodies piling up, Richard juggles both cases and works hard to keep his balls in the air. As his pulse-quickening quest for answers leads from the dark corners of Orlando’s Little Saigon to the sunny exposure of the Leisure Lagoon, Richard will be put to the test. Just how much will this Naked Eye have to bear…or bare?

I love to read books by Tim Dorsey, Carl Hiaasen, Tim Baker, and Randy Wayne White. I like the local Florida history woven into their work along with the humorous approach to crime fiction. I had been writing dark fiction for a while and my husband challenged me to write something with a humorous edge, lighter reading, and more softcore. I’m crazy about Chablis in John Berendt’s Midnight in the Garden of Good and Evil. We attend the comedy shows at the Parliament House here in Orlando. It’s a great gay resort and home of the Footlight Theater. Characters and plot started forming in my head and Naked Alliances was born.



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

A: Readers must be entertained and held in suspense.

Grab them with a hook in the first chapter that’s filled with action and interesting.
Use comic relief to temper the suspense and pace the reading.
Characters must have agency. The characters must drive the plot, rather than the plot driving the characters. In the words of Chuck Wendig, “Character agency is, to me, a demonstration of the character’s ability to make decisions and affect the story. This character has motivations all her own. She is active more than she is reactive. She pushes on the plot more than the plot pushes on her. Even better, the plot exists as a direct result of the character’s actions. The story exists because of the character. The character does not exist because of the story.”

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

A: I started out with the story in my head and began writing in a word doc. With mystery and suspense, there are so many elements that must be gradually revealed. I was scribbling notes on anything I could write on, making mind maps and schematics. The characters took over and started doing their own thing. I quickly moved into Scrivener to outline and stay organized. I love how you can set up a binder where you can easily move between chapters, keep your outline on index cards in the top right corner of your writing screen, and manage all the finite details of your writing process like word counts and targets. Adding the photographic images of famous people as my characters to refer to in profiles was fun, too. It’s a mild learning curve to use it effectively, but once you get it down, you’ll never go back to writing any other way.

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: As mentioned above, character development is key to success. I go all out with character sketches separate from my manuscript and drop their histories into the novels in bits and pieces, gradually revealing details. Naked Alliances has dual protagonists, and each had to have their own background, their own stories, their own struggles and challenges.

Richard Noggin, P.I. is a gambling man, a loner, and somewhat reserved, but open-minded. His family life was strained, and his sister went missing in his childhood. Brandi is an exotic dancer at the Parliament House, a gay resort complex. She was formerly an E.O.D. Specialist in the Army and had a brief stint as a cop that didn’t turn out too well. She’s transgendered, biracial, and has developed a morbid fear of guns.

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: Being a dual plot thriller, there is also more than one antagonist. Several people die, and several are abducted. I can’t tell you who the murderers and villains are, but I can say they also had histories and their conflicts are intertwined in the story. They have their every-day-lives that keep them real.

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

A: Comic relief helps break the tension when instituted at the right time. It also helps with pacing to take a break from the suspense, letting both the characters and the reader breathe, then pick the story back up. When writing an action-packed thriller, these moments of reprieve can be those times when you dribble in back story, drop in some history of your characters, and build your ancillary character’s background. You don’t want any character coming across as cookie-cutter. They all need their own stories. Narrative builds to support a plot.

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: Florida is notorious for its zany “Florida Man” and “Florida Woman” stories. In a crime novel people are not as interested in setting as they would be for, say, a fantasy novel. Readers are cued to examine plot elements. However, the setting in any story creates the flavor of the book. My writing is regional specific and reality based. I try to add as much actual description of places as I can without distracting from the plot. Weaving in historical information is also a way to keep the narrative interesting and describe setting.

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: Social issues are at the forefront of all of my writing, whether I am writing historical fiction with tons of research, or quirky crime novels. Racism, prejudice against people who are different from us, phobias, substance abuse/addiction, and mental illness will always be a part of my work. I have these things in my mind before I ever begin to write anything down on paper about characters or plot. In Naked Alliances, sex-trafficking, a horrendous crime that exists in all communities whether urban or rural, is examined as part of the ongoing theme in the Naked Eye series. That thread begins with book one, but will return in subsequent books, laying the fabric for the series. A theme of crazy characters who do outrageous things also underpins Florida regional fiction. Honor, loyalty, justice, revenge and other underlying themes are usually not revealed until the work is complete.

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

A: Art is the unique spin put on your work. Craft is the skill with which you can pull off that spin. Especially in writing crime novels, craft can be learned. There are wonderful crime novel craft book writers, like Larry Brooks, who can have anyone writing the next best-seller. The art of writing is something that I feel is inherent. It comes from the soul you are born with, and some people have it and some people don’t. It’s a gift of the right brain. Craft work is left brain stuff.

Can editing destroy the initial creative thrust of an author?

Yes, and no.

I edit as I go, but still require professional editing when I’m done. I have beta readers (advanced copy readers) who tell me if and when things don’t quite seem cohesive, or when I’m doing a really fantastic job. These are early readers who are privy to my worst faults. Hearing negative feedback can make you want to shelve your idea and quit, but you can’t do that. You have to suck it up and tell yourself, “These are my readers. This is my audience.” But be careful that you’re not hearing just one person’s opinion. I look for consistency in complaint among my beta readers. If everybody says a fight scene isn’t working because of this and that, I know I need to reexamine, but if only one person had issue with it…it’s probably their perspective. Once that beta reading and those edits are completed, I still send the work to a professional editor.

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

A: I can’t give you three things, only one. Ask yourself one question, “Am I enjoying what I am doing?” If the answer is, “No,” do something else. Life is short. Work is a four letter word. If you’re enjoying it, it’s not work. When you get to the point where you’re not working any longer, you’re successful.

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 would have been a professional student if there had been anyone willing to pay me to be one for the rest of my life. I love research as much as I love writing. Learning is the only way to stay alive.

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

A: I’m a member of Sisters in Crime, Florida Writer’s Association and my local critique group, Writers of Central Florida…or Thereabouts. Writer’s Associations are wonderful ways to network and get in touch with agents, acquisitions editors, copyeditors, fans…networking, in general.

A local writer’s critique group can also offer the practice and encouragement you need to persevere in the worst of times. My local group offers writing prompts for short stories, which we read aloud in a public venue, as well as one-on-one critiques of our written work, helping members over the rough places.

I also attend Sleuthfest in Boca Raton yearly in February. It’s sponsored by Mystery Writers of America and offers both a wonderful opportunity for networking and a fabulous opportunity to attend workshops on the craft covering a variety of topics with both expert panelists and best-selling authors sharing tips and tricks.

Larry Brooks, is the USA Today bestselling author of ten books, including six psychological thrillers (novels he calls “relationship thrillers”), and three #1 bestselling writing craft books, published by Writers Digest Books.

He is the creator of the popular fiction writing website, http://www.storyfix.com/. He has a method for writing suspense that I am studying, and I have read and been highly impressed by the work of some of his students, like crime writer Sue Coletta author of Wings of Mayhem. He has mastered tension building and suspense, and she has absorbed every ounce of what he teaches.

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

A: If you are a writer, never give up. If you are a reader, tell us what you think when you’ve read our work. I read all reviews personally so that I may continually write what people are wanting to read. Naked Alliances is Book One in the Naked Eye Series, your feedback is crucial. And thank you for your support. Peace, and keep the faith.

Talking Craft with Sally Fernandez, Author of ‘Climatized’

Sally Fernandez, a novelist of provocative political thrillers, wasn’t always twisting facts with fiction. Heavily endowed with skills acquired in banking, she embarked upon her writing career. Fernandez’ focus on computer technology, business consulting, and project management, enhanced by business and technical writing, proved to be a boon. Her books of fiction also reflect the knowledge garnered from her business experiences, while living in New York City, San Francisco, and Hong Kong.

Fernandez’ foray into writing fiction officially began in 2007 when the presidential election cycle was in full swing. The overwhelming political spin by the media compelled her to question the frightening possibilities the political scene could generate. As a confirmed political junkie, she took to the keyboard armed with unwinding events and discovered a new and exciting career.

Climatized is Fernandez’ fifth novel and the first in the “Max Ford Thriller” series, featuring Maxine Ford as the female protagonist. Her prior series, “The Simon Tetralogy,” was comprised of Brotherhood Beyond the Yard, Noble’s Quest, The Ultimate Revenge and Redemption.  Each book provided an exhilarating platform for the next, with a gripping narrative that challenges the reader to put the book down. The ever-elusive Simon’s daring escapes add unheard of dimensions to the classic cat and mouse game. Her development of the other characters has created a lasting bond between them and the reader, especially now that Max has taken center stage.

A world traveler, Ms. Fernandez and her husband, also the editor-in-residence, split time between their homes in the United States and Florence, Italy.

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

A: In Climatized, Max is hired by the wife of a prominent senator to determine the cause of his untimely death. It leads her to discover that three world-renowned scientists had lost their lives days before they were scheduled to testify before the late senator’s investigative committee. Meanwhile, a fourth scientist has gone missing. Max determined he is the key to unearthing the motives behind the deaths. Following the many twists and turns, Max and her associate, Jackson Monroe uncover a powerful organization responsible for the killings. Cogent evidence is provided to the president, forcing him to make a crucial decision—to cover up a diabolical plot—or bring down a multi-trillion-dollar world-wide economy.

In the course of conducting research for two earlier novels, I discovered there is a disconnect between the scientific data that explains global warming and the public policy. Climate change undoubtedly, is a topic up there with religion and politics that creates not only heated conversations, but much confusion. As with all my novels I weave fact with fiction as a means of creating an entertaining read, but also to inform my readers. Climatized will put to rest much of the confusion and shine a light on the real science.

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

A: Francis Bacon said, “Truth is hard to tell, it sometimes needs fiction to make it plausible.” This statement became the impetus for my plot lines, therefore most of the political events are factual and weaved into a fictional plot. This greatly increases the plausibility. To further the realism, I have used my knowledge in technology to some degree, as well as my international travels in the plotline. Oftentimes, I have used a location and real characters where I shared experiences. Overall, my style of writing is to create an entertaining read, to inform the reader and to challenge the reader to ask the ultimate question, “What if?” In the end, the reader will be left with the challenge to sort out what is real and what is fictional. If I accomplish my goal, then that is what makes good political fiction.

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

A: In the course of writing a book, the plot for the next book begins to gel. Invariably, I come up with a beginning and end, although they may be modified later, but not to any great degree. Then I let the story develop starting with chapter one. As I create new chapters I name them as I go along, which might actually be the chapter title I eventually use in the publication, or I might assign a temporary title and change it later. This gives me the flexibility to add chapters in between or to reorganize the chapters as I move forward and keep track of the content. Primarily, my novels read much like a movie, so in essence I write reel-to-reel in a stream of consciousness as it rolls forward in my mind.

With regard to the characters, I keep track of the total image to include ages, personal appearance, and physical locations, to ensure my new characters emerge fresh and unique. And depending on the complexity of the plot, I may create a timeline to maintain accuracy in timing and sequence.

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: After developing a series of strong male characters in the tetralogy, it was time to create an alter-ego. Maxine Ford represents my fantasies of one day becoming a secret agent. And even though a few of the male characters from the prior series will reemerge in this new series, Max’s antics will hold center stage.

Max debuts as the female protagonist in her role as a private investigator. Her character was first introduced in Noble’s Quest, the second book of “The Simon Tetralogy,” as the trusted deputy director for the States Intelligence Agency, where she worked side-by-side with Noble Bishop, the director. And while her character continued to develop, this new series provides Max challenging avenues to strut her stuff fully. She is intelligent and attractive, but her determined nature and formidable mouth will shape her persona. She also possesses a life-changing backstory that will slowly ooze out, allowing the reader to become increasingly enchanted by her dynamic character. Yet, at all times Max remains believable, not a sci-fi super being, but someone you could sit down and chat with over a glass of wine.

In my mind’s eye, if Climatized were a movie, Megan Boone would star as Max. Currently, she plays Elizabeth Keen in Blacklist…One time she dyed her hair blond, resembling Max. Now she is back to being brunette, but her attitude is Max all the way.

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: In all honesty, as with Max, my characters just come to me and I develop them as I plod through the storyline. Simon, my antagonist in “The Simon Tetralogy” series appeared in the same way. I set off to make him charming and mysterious and then slowly he became more treacherous. The readers and the other characters were led first to admire him and then slowly grew to fear him. In Climatized, my assassin named L, materialized without any forethought. He simply appeared on the scene and I weaved him through the story in the most interesting ways.

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

A: I attempt to create a mini cliffhanger at the end of each chapter to keep the pages turning. I also vary the word count in the chapters; some may only be one page. And because I tend to deal with a lot of political facts the narrative can sometimes bog down the chapter, so I mix it up with as much dialogue as possible to lighten the intensity without lessening the information and/or the message. Oftentimes, I will have my characters reading from some form of media, and break up the narrative by saying, “Hold on, let find my notes,” or “Are you following?” or “Listen up, this is cool stuff,” etc.

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 often use a location and real characters where I’ve shared experiences, but I also will use a location, hotel, restaurant, or street where I’ve never ventured. In both cases, I believe it is crucial that these places be described accurately to add to the realism. Thanks to the internet and satellite maps there is no reason not to make them as real as possible. Given my reel-to-reel writing style the reader always has a clear vision of the local scene.

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: As I mentioned, while I’m writing one book the theme for the next book starts to gel. And being a political junkie I find it fascinating to take current political events and weave them into a fictional tale; again forcing the ultimate question, “What if?” Because I write several novels as part of a series there may be cross-over in characters and flashbacks to prior cases, but I strive to keep the theme fresh and current.

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

A: The craft never ends and is always being honed. Over the course of my writing career, I’ve become extremely detailed and rather picky. The narrative must be grammatically correct, but I allow for colloquial expressions in dialogue. That along with the appropriate style of language will keep the characters genuine. In total I’ve become a better student of words and grammar and it has become apparent in normal discussions and presentations. The art, in my case, had been dormant and surfaced in 2007. I’m fortunate that I discovered storytelling was in my DNA. As for editing, my husband is my editor. He has never tried to change the narrative and has only helped to enhance my storyline. Most important, my creative juices are still in full thrust.

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

A: You have to have a story to tell and be able to express it in an captivating way. The characters must be believable and in my genre, research must be impeccable.

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: Someone also said, “If you love what you do, you’ll never have to work a day in your life.” Although the inevitable marketing and promotional aspects can become unwelcome chores, it is superceded by the joy of the creative process.

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

A: Naturally, the Chicago Manual of Style is the bible. I also find www.wordsmith.org a great place to discover words, covering the gamut from archaic to modern campy, along with their etymology and usage. It is a great source to improve one’s vocabulary.

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

A: Write, write, and write. Don’t get caught up initially, in grammar, editing, and organizing; that is why cut and paste was invented. Let your thoughts flow, they can be shaped later.

 

 

Talking Craft with Suspense Author Gabriel Valjan

Gabriel Valjan is the author of the Roma Series from Winter Goose Publishing. Also the author of numerous essays and short stories that continue to appear online and in print, Gabriel lives in Boston’s historic South End, where he enjoys the local restaurants. His two cats, Squeak and Squawk, tolerate the occasional empty food dish and his traitorous fondness for dogs.

Q: Congratulations on the release of your latest book, Corporate Citizen: Roma Series Book Five. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?   

A: Corporate Citizen has Bianca returning to Boston. She was last in Boston in Wasp’s Nest (Book 2). She’s here now to help the cantankerous Clemente, who has enticed her with a cryptic reference to her past employer, the covert agency named Rendition. While in town, Bianca will confront her past through a new member to the team, a former soldier with PTSD. Readers will learn more about her past, what makes her ticks; this installment will present major revelations Book Five turns the corner into new territory.

I wrote Corporate because I had watched the banking crises with interest (no pun intended). After I had written the novel, I watched the movies The Big Short and Spotlight, and felt a weird sense of discomfort. In books three and four, Threading The Needle and Turning To Stone, I had visited the ideas of financial and institutional terrorism, but after viewing those two films, I felt I had captured and conveyed the magnitude of cynicism (The Big Short) and corruption (Spotlight) in Corporate Citizen, although my characters fight the good fight. A day doesn’t pass without news about the deeds or misdeeds of a corporate conglomerate. This disquieting news plays as background noise in our lives.

I introduce a new character, a veteran who is both dangerous and compassionate. Nick was modeled (loosely) on a deceased family member. When I was a kid, he wouldn’t talk explicitly about combat but he did mention that he and other selected infantry soldiers had been given large doses of Dexedrine, an amphetamine, and, on one occasion, LSD. He would die at the age of forty as a result of exposure to Agent Orange.

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

A: Ambiguity. Pace. Tension. A good mystery-suspense is like a kettle on the flame; you know that the water is heated and at some point you will hear the water roil and then see whispers of steam before the kettle screams. A writer is responsible for how much water is in the pot and the degree to which the flame is pitched. The water will boil, the whistle will blow -- suspense and tension. Is there a potholder nearby? An enjoyable mystery-suspense book is one that gives you an unexpected ending such that when you think about it, you see all the pieces had been there and had come together.

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

A: With Corporate, I knew where I was going with the story. I knew what I wanted to achieve and how I was going to go about it. Corporate Citizen is a game-changer in many ways. Writing it, the intention was a calculated risk, but I don’t believe in a formulaic approach. Life has its changes. New challenges are necessary for my characters to grow. With change, there is discomfort, catharsis, and renewal.

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:  Bianca is an amalgam of people I’ve known. I once knew a notorious hacker. Another friend of mine, now deceased, was beyond brilliant, with a 200 IQ, but unable to interact with people. You could tell when you dealt with him that he was thinking about things on another plane and that he struggled to put it all into words. Bianca is a combination of these two individuals, and there is an element of my younger self. I was cold and very Spock-like when I was younger. It was a defense mechanism. I’ve mellowed some. I don’t do character sketches, but it isn’t difficult for me to access the people I’ve known and anticipate what they would say and do in certain situations.

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 think pure Evil is rare. Human beings have a primitive instinct, a survival impulse to avoid such people. It’s more realistic that a person is flawed, that they have a genuine impulse to do good, but the end-results are problematic. History is littered with individuals who are one nation’s hero and another’s nightmare. I aim for ambiguity. Here, the title matters. Is a soldier, who has killed for his country, a bad person? Objectively, he has taken lives. Is the politician, who has ordered an assassination to maintain hegemony and political stability, evil? Readers of the Series know that Rendition had started with the best of intentions. In Corporate Citizen, there are two new characters: I let the readers decide whether they are villains.

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

A: Writing a novel is like the race between the tortoise and the hare. First, I think you have to a clear and fast glimpse of the finish line. What does each character want? What is the price (assumed and real) of what they want? What will they have by the last page? If you have rough answers to these questions and you know your characters well enough that they speak to you inside your head then write it all down. That is the slow part of the process. You could vary the pace, like a director with a camera, with a cutaway to another scene, to another character, but end your chapter with a question or a revelation that is picked up later. The more you write, the more you read, the better you will get at knowing what to do, when to do it, and the more likely you’ll have a sense of how to do it. I know that sounds vague, but the more you read other authors, the more you become aware of the tricks of the trade. This is why reading widely across genres helps. There is also some excellent writing for serial television, such as Breaking Bad. Enjoy it first and then make a case study of it so you teach yourself how the writer(s) did it. Jane Austen almost never describes what her characters look like and yet she writes dialogue, often in close combat, that has withstood the test of time. What you teach yourself, the knowledge you acquire, is on your terms, in your own language, and what you know, you’ll never forget.

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: It helps that I’ve lived or traveled to the places that I use in the Roma Series. However, special precautions are necessary when a writer uses a foreign locale. I wrote an article for Writer Unboxed about avoiding stereotypes. When I think the story is as good it’ll be, I’ll send it to my Italian friend in Milan, Claudio Ferrara, who is also a talented writer and translator. He does what I call ‘cultural editing.’ Simply put, there is a point where, despite all of my research and empathy, a native speaker helps with authenticity – whether it’s an Italian word, or a detail about a place. A foreigner often sees touristy things but a native will point those things that are the heart of the city and culture. Let me give you an example. I live in Boston, the city that sparked the American Revolution. There are so many touchstones to the historical past: the Freedom Trail, the Old Meeting House, and the Boston Tea Party, but I’ll point to one curious memorial. On School Street, where there used to be a Borders bookstore, there is a plaque commemorating the site of the first Catholic Church building in Boston and the city’s first public Mass in 1788. The Puritans settled New England in 1620.  Think about that gap in time and its implications for religious tolerance. It’s all a matter of perspective and insider knowledge.

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 recurrent in your other work?

A: The recurring themes throughout all of the Roma Series books are friendship and loyalty among friends while they negotiate dangerous situations. I know from the start where the story will take place, and which aspect of organized crime I will present to the reader. Where I strive to be distinctive in crime fiction is in how I show that organized crime is more than just some thug like Tony Soprano, though they do exist. Organized crime in Italy is the vampire that feeds off superstition and fears, but yet has morphed, paradoxically, into a very modern, sophisticated and multinational corporation.

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

A: A writer’s skill is craft, but the art of it all is a collaboration of invisible hands. Editing and revision is where there is Art. My friend Dean Hunt copy-edits my writing and has proofread my novels. Suzanne Rindell, author of The Other Typist and a doctoral student in American literature, remarked that “F. Scott Fitzgerald’s spelling [was] so awful sometimes I think if he had auto-spell Gatsby would not have died.” Not comparing myself to the wonderful Fitzgerald or Rindell, but writers need guard rails. Line editing requires an attentive ear and knowing the writer. Dave King has helped me in this regard. He also has helped me with structural editing for the plot’s arc. I have readers who spot-check for continuity. I’ve already discussed Claudio’s work with me as my cultural editor. When my novel visits James’s desk at Winter Goose, I hope that it is as clean as possible, and yet he’ll find nits and wrinkles. The point to all this is that a book in hand – what we call Art -- is the product of many different talents and minds at work.

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

A: Item #1 is a quote from screenwriter Aaron Sorkin.

Stupid people surround themselves with smart people. Smart people surround themselves with smart people who disagree with them.

In a word, you rise to the occasion because smarter people, those who’ll call you on it, make you a better writer and person.

Item #2: The ability to create characters who want something, and an obstacle in the way of fulfilling that desire. The character should start somewhere and arrive somewhere else.

Item #3: The writer should be invisible to the story. The story should reveal itself without any authorial intrusion, which means no verbal pyrotechnics, no showing off what they know, or forced jokes or gratuitous violence. Whatever happens in the story should be organic and logical to the initial premise and appropriate to the personalities.

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 agree. Writers are sensitive to language and the ‘homework’ is studying other writers. For example, I have little interest in rap music, but I admire and appreciated what Lin-Manuel Miranda did in his musical Hamilton. He used contemporary music to teach history, tell a story, a tragic one. I had read and enjoyed Chenow’s Hamilton, but the musical Hamilton brought the historical person of Alexander Hamilton, a brilliant and at times monumentally insecure man to life in my imagination.

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

A: I consult Dave King and Rennie Browne’s Self-Editing for Fiction Writers and visit Writer Unboxed online, along with Kristen Lamb’s blog. While I respect advice, exercises, and strategies, I think you’re best left to figure it out on your own, using your imagination and learning lessons from reading for decades.

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

A: Do it. Write. Put your butt in the chair and hands on the keyboard and see what comes through the fingertips. Readers want a story that entertains them, moves them, and changes their way of looking at the world. Trust your imagination, draft and revise it. Have fun and write that story.

Talking Craft with John DeDakis, Author of ‘Bullet in the Chamber’

Journalist, Novelist and Writing Coach John DeDakis is a former Senior Copy Editor on CNN's "The Situation Room with Wolf Blitzer." DeDakis (pronounced deh-DAY-kiss) is the author of three mystery-suspense novels, Fast Track, Bluff, and Troubled Water.

Strategic Media Books is publishing Bullet in the Chamber, the fourth novel in the Lark Chadwick series, on October 1, 2016. The story deals in part with the death of John’s 22-year-old son Stephen in 2011.

During his award-winning 45-year career in journalism (25 years at CNN), DeDakis has been a White House Correspondent and interviewed such luminaries as Alfred Hitchcock, Jimmy Carter, and Ronald Reagan.

DeDakis is a writing coach, manuscript editor, writing workshop leader, and has taught journalism at the University of Maryland – College Park, and American University in Washington, D.C.

John’s website: www.johndedakis.com. 

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

A:        Thank you.

In a nutshell, Bullet in the Chamber, begins on Lark Chadwick’s first day on the job as a White House correspondent for the Associated Press.  The Executive Mansion is attacked, launching Lark on a deadline-a-minute thrill ride.  The president is missing, the first lady’s life is in danger, and the man Lark loves disappears.

The book is the logical next step in Lark’s developing journalism career, but her story took an unexpected detour when my son Stephen died of an accidental heroin overdose. I was literally compelled to write about it, but folded it into a bigger story of drugs, drones, and journalism.       

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

A:        1. By definition, the one essential element you need for a thriller is the ticking clock. There’s nothing like a deadline to get a journalist’s (or a reader’s) heart racing.

I think another critical element is High Stakes. And there’s no stake higher than life or death.
And there needs to be a dash of mystery – the unknown. Who’s the bad guy? Or, if the villain is known, how will he or she be stopped? In my opinion, everything else (setting, dialogue, other characters, etc.) is texture.

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

A:        By nature, I’m a planner.  I don’t like to figure it out as I write because, for me, being a seat-of-the-pantster feels like I’m spinning my wheels.  I prefer having a map, yet I often give myself permission to take detours.

But creating Bullet in the Chamber was different.

I write in the first person, so that automatically makes my job more difficult because my point of view is limited only to what Lark, my protagonist, sees and knows. It’s a lot like real life that way.

But, as the writer (God) I also know what Lark doesn’t.

In Bullet, I knew who the villain would be, but I didn’t know how Lark was going to figure it out. So, about halfway through the first draft, I would begin writing a chapter not knowing how it would end. No amount of ruminating or advance planning would suffice. I just had to write. And, as I wrote, the path became clear.  Spooky.

That agonizing approach lasted all the way to the final paragraph where I could have gone in three different directions. I wasn’t able to choose until I was actually writing.

So, by creative necessity, I’ve incorporated seat-of-the-pants writing into my tendency to plan. I’m now a plantster.  

Q: Tell us something interesting about your protagonist and how you developed him or her.

A:      Lark can be angry and impulsive – but she’s working on it.  At times, she can be courageous, but often she’s riddled with fears and insecurities, which she masks by pressing ahead anyway. She’s well (perhaps too well) acquainted with grief and loss.  When it comes to men, she has a highly calibrated bullshit-o-meter, yet she still vexes herself by the choices she makes, which leads her to distrust men all the more – and herself.

I first began writing as a woman because someone suggested I should write in a way that stretches who I am.  I settled easily into the Lark persona when I realized that emotions aren’t gender specific, so I just took my emotions and put them into her.

But, in my experience, women are more nuanced than men in how they express those emotions. It helped that as I was creating Lark, I was also in daily contact with young women where I worked at CNN. When I’d ask them questions, they’d open up and tell me stories about their careers, their parents, their boyfriends, and their lives. Their voices became embedded in my psyche and subconscious. Later, I would let them read early drafts of my manuscripts to see if Lark seemed authentic to them. Their feedback has been – and still is – invaluable. 

Q: Did you do any character interviews or sketches prior to the actual writing?

I do some of that, but not too much. Usually, one sit-down “job interview” with a new character is enough to get the creative juices bubbling.  I’ll ask a question and just listen to the voice that pops into my head, then dutifully transcribe it.  Usually those exercises don’t end up in the actual story, but they serve to bring the character to life in my mind and imagination. 

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:        Before retiring from CNN in 2013, I’d been working in day-to-day just-the-facts-ma’am journalism for forty-five years.  There’s nothing like real-life villainy to introduce a writer to evil antagonists.  They’re everywhere!

But a good villain (so to speak) is not perfectly evil any more than a realistic hero is perfectly perfect.   Heroes have flaws and villains have at least some redeeming characteristics.  If you think about the villains in your life, chances are you’ll realize that at first those people didn’t appear to be villainous.  In fact, in some cases, you might even have married that person before you saw their true colors.

So, I feel the best rule of thumb when creating your villain is to find a way to like and empathize with that person.  It makes them resemble the complex people we all are. 

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

A:        The writing technique that works best for me I got from the book The Weekend Novelist by Robert Ray.  He strongly suggests writing the first draft all the way through with your Inner Editor turned off. Just write. Don’t self-sensor. Don’t loop back and get bogged down correcting nitpicks. Just write.

Ray argues that after you’ve completed the first draft you should read it through objectively, like a reader, to see (and feel) where the narrative drags and needs fixing.

Another trick I learned goes back to my days as a broadcast journalist. There’s tremendous pressure to write tight because time is of the essence and attention spans are short. So, even after I’m two words into writing a sentence, my Inner Scold barks, “It’s too long!”

So, to answer your question, first I write long and uncensored to find out what’s going on in my subconscious.  Then, I go back, and look for ways to tighten so that the story moves along briskly.  

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:        The next best thing to being there is to talk with someone who’s in that setting now.

When I was a White House correspondent between 1985 and 1988, Reagan was president, the Internet as we know it didn’t exist, and there were no cell phones.  I needed someone to help me understand how the presidency is covered in the digital age.  Fortunately for me, Josh Lederman, a former CNN intern who took the broadcast news writing class I used to teach in CNN’s D.C. bureau, is now a White House correspondent for the Associated Press – the same job my protagonist Lark Chadwick has.

So, Josh agreed to read an early draft of the Bullet manuscript and then met with me over drinks to give informed insight into my portrayal of covering the president in the Twenty-first Century.  Josh then wrote a generous blurb for the book:

"Bullet in the Chamber” manages to capture all of the intensity, grit and breathlessness of covering the presidency in an age of nonstop news and fierce competition. Lark Chadwick stands out as a protagonist who is at once compelling and compulsively true to form. John DeDakis gets inside the head of a modern-day White House journalist who has no idea what's in store for her when she begins this rollercoaster of a ride. 

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:        For me, the act of writing is how the theme emerges.  At its most basic, my novels are about a young woman trying to figure out what to do with her life.  Arguably, that’s a universal theme that’s true for all of us every day of our lives. 

Q: Where does craft end and art begin?

A:        Oooooo. That’s a tough one. The question presumes that craft comes first.  It can. But it doesn’t have to.  Sometimes art (inspiration) comes first – the spark that ignites a story. Craft then takes the idea and gives it shape.  But, it seems to me, when creativity is at its height, art and craft work in sync like an internal combustion engine firing on all cylinders. 

Q: Do you think editing can destroy the initial creative thrust of an author?

A:        Absolutely not! (Unless you’re cursed with a heavy-handed editor who can suck the creativity out of what you’ve written. I’ve endured my share of those throughout my journalism career!) But, when writing fiction, you’re your own editor for most of the process.  In that context, editing is like the buffing and polishing that transforms a hunk of stone into a shiny sculpture. 

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

A:        1. Courage to move forward in spite of your fears

The ability to learn from your mistakes.
Diligence and persistence to see your project through to the end and not give up. 

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 that’s probably true. It all depends on your perspective. It’s a daunting thought if you hate homework.  If, however, your philosophy is to be a life-long learner, then writing is no longer drudgery, but something one pursues eagerly.  

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

A:        When I was first teaching myself how to write fiction, Writer’s Digest magazine was an excellent resource.  Now their resources are just a click away at writersdigest.com.  Robert Ray’s The Weekend Novelist is an indispensible practical guide to the novel-writing process, especially if you have a day job and other responsibilities that threaten to muzzle your muse.  Finally, I suggest finding writers’ conferences that stress craft, feature author speakers, and are attended by agents looking for clients.  There are many good writing conferences, but one of the better ones is Killer Nashville (killernashville.com).  Finally, I was rusty when I began to write my fourth novel, so I bought an inexpensive writing program, StoryWeaver, to jump-start my creativity. It’s available at storymind.com. It helped me a lot. 

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

A:        If you have a strong desire to write because you feel you have a story to tell, then don’t give up. Giving up guarantees that your story will remain untold and you will remain unpublished.