Mayra Calvani's Blog, page 8

Talking Craft with Western/Fantasy Author Thomas Rottinghaus

Thomas Rottinghaus became fascinated with the written word and the power of imagination at a very young age, reading virtually everything he could get his hands on by authors as diverse as Jules Verne, Louis La’Mour, JRR Tolkien and Stephen King. He went on to study literature and writing at Colorado Mesa University, formerly known as Mesa State College, before pursuing a career in agribusiness. His writing blends genres into an entertaining amalgam of fantasy, westerns, science fiction and adventure. He resides in a small town in Colorado with his wife, Lisa, a very energetic blue heeler named Jake and a herd of cats.

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

A: Graywullf details the exploits of a group of gunslinging lawmen in a fantasy world called Norland. The lawmen, known as magii’ri Warriors, enforce the Code at the direction of the magii’ri Wizards, but the Warriors are unaware of the fact they are being used by some corrupt Wizards for their own gain. When that fact is revealed, Norland erupts in a Revolution. The Warriors enlist the aid of a dark Wizard, Lynch, who encourages them to create the Dragonspawn, a magical blend of a warrior and a Dragon.

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

A: A good western/fantasy must have larger than life characters, fantasy elements that blend seamlessly with the gritty action of a western and a suitable setting.

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

A: I knew from the beginning what was point A and what was point B, but Graywullf took a very different path getting there than I had envisioned when I first conceived the idea of 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: When I envisioned Lorn Graywullf, I imagined him in the same type of mold as the surly, silent characters played by Clint Eastwood in the so called spaghetti westerns.

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

A: The antagonist was a combination of all of the truly bad qualities embodied by political leaders worldwide. To make him realistic I simply gave him human desires as the root cause of his actions.

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

A: I like action, so I tried to keep the pace moving fast and keep the reader on his toes by throwing in some unexpected twists. I also tried not to let the story bog down with too much unnecessary dialogue. I let the actions of the characters carry the story forward.

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 tried to write descriptions of the setting in a manner that transports the reader to that place.

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 the general theme of Graywullf from the beginning and yes, the theme of good versus evil is recurrent in my other work.

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

A: Writing is a blend of craft and art from the beginning. Yes, restrictive editing can limit what a writer is trying to accomplish.

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

A: Obviously, the ability to transfer the contents of your imagination to paper in a coherent form is probably the most important. That element of imagination is another, and persistence is also very important.

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 have to agree to a point. Research is homework, but the actual writing is an escape.

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

A: Honestly, not yet. I attended a few workshops and met with a writer’s group but I’m too much of a realist to get much from groups like that. I prefer input from readers.

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

A: The ability to write is a gift. Many people I speak with are in awe that the Dragonspawn series is over 1200 pages long, they simply can’t conceive that many words strung together. So if you can write, use it. Even if you never become famous or rich, there will always be people who appreciate that ability.

 

 

 

 

Interview with Children's Author Michelle Nott

Before becoming an author, Michelle Nott enjoyed
being a French teacher (pre-K to university levels) in the U.S., working for a
French company in Paris and an art gallery in NYC. She has also edited and
written articles for numerous on-line and print magazines in the American and
European markets.

In 2004, Michelle moved to Belgium. When she
noticed that her daughters' book collection included more French titles than
English ones, she decided to put her creative writing degree to use. Many of
these early stories can be found on her blog Good Night, Sleep Tight where she also reflects on raising Third Culture
Kids.

In 2015, Michelle and her family returned to the
U.S. But with American and French citizenship, they travel to Europe regularly.
Their favorite places include the French Alps, the Belgian countryside, and the
Cornish coast in the UK. Her family's life and adventures prove great
inspirations for her stories.

Freddy, Hoppie and the Eyeglasses is Michelle's
first book for children. Her future children's books are represented by Essie
White at Storm Literary Agency. She is a member of SCBWI, Children's Book
Insider and Houston Writer's Guild.

Connect with Michelle on the web:  

www.authormichellenott.com

www.gn-st.com

@MimiLRN

What’s inside the mind of a picture book/early reader author?

Children! Their daily lives. New experiences.
Scary experiences. Loving experiences.

What is so great about being an author?

One of the best parts of being an author is
having an excuse to write every day, to dream every day, to invent people and
places and other worlds. As an author, I also love interacting with my readers
and the adults in their lives. I really enjoy book signings. And as I used to
be a teacher, I am thrilled get back in the classroom for what I loved most
about teaching – the interaction and excitement that comes from working with
students.

When do you hate it?

Hate being an author?? This question perplexes
me.

What is a regular writing day like for you?

A regular day is irregular. I try to get up at
5:30 and write before breakfast, go for a bike ride or a swim, come back and
write for at least four more hours, take a break when my daughters come home
from school, and then write more or read in the evening. When my day pans out
like this, I feel like a superhero. But, there are days when life puts a wrench
in the plan or I may have interviews, school visits, or social media or other
networking opportunities planned.

Do you think authors have big egos? Do you?

I think some people have big egos and some don't.
I don't think authors would have any bigger ego than anyone else. As far as the
writers I know, I think we all understand that writing is a tough business and
whether or not someone is published yet does not make them the better person.
Everyone's writing journey is different.

So no, I don 't think I have a big ego either.
There is so much more I can learn and do to improve my craft.

How do you handle negative reviews?

Publishing is a very subjective business. And
readers each have their preferences when it comes to literature. As there are
lots of published books out on the shelves that I do not particularly
appreciate, I keep that in mind if someone happens to not like my book. It's
just part of life. You can't please everyone all of the time.

How do you handle positive reviews?

It always makes me smile when I read positive
remarks about my books. I'm always very flattered when people take the time to
say something nice about my work.

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

Most people find it intriguing and mention how
they plan on writing a book once they retire or ask what kind of books I write.
When I say I write for children, the reactions are mixed. Most people find it
very admirable, while others may say it's “adorable” and not think any more
about it.

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

I do really try to sit and write no matter how I
feel. But if nothing is coming, then I go outside. Usually a swim, a bike ride
or a walk does the trick and then I rush home to write down all my ideas.

Any writing quirks?

I try to put myself in the atmosphere of the
world in which I'm writing. For example, when working on a MG fantasy that
takes place under water, I put out seashells and a sea-salt scented candle on
my desk while listening to beach sounds. While working on a MG magical realism
story that takes place in Brussels in the 1930s, I surrounded myself with
images of particular places in Brussels and listened to French music of the
era.

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

Probably at first, on the inside, I'd be fuming. But
then I'd calm down and remind myself that they just don't understand. They may
never have been so overtaken by a sunset, or the scent of an unexpected plant
in the forest, or the feel of a child's cheek on his to want to write it down
so to never forget it, and to incorporate it into a story for other people to
experience as well.

People who see writing as a hobby may not realize
how touched their lives have been by a good book, or a beautiful phrase.

They may not realize that writing is the same as
any profession. A certain amount of inner talent does play a role, but so does
a lot of perseverance, discipline and hard work.

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

I love it. Always.

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

Absolutely not. Sure, it would be nice if all
writers could actually make a decent living from their words. But I knew from
the start what a high expectation that is.

For me, success is when families, librarians, and
teachers are enjoying my books and using them to send a positive message to
children.

What had writing taught you?

Writing has taught me
that many, if not all, of my life experiences have served some purpose. Even
though many years went by before jumping into children's writing, all those
years were valuable and rich with emotions and adventures that I can use in my
current stories.

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

Title: FREDDY, HOPPIE AND THE EYEGLASSES

Genre: Early Reader

Author: Michelle Nott

Website: www.authormichellenott.com

Publisher: Guardian Angel Publishing

Purchase link: http://www.guardianangelpublishing.com/freddy-hoppie.htm

About the Book:

Freddy and his
imaginary frog Hoppie jump into each day. But numbers smudge, words blur, and
classmates snicker. By the end of the week, there is no more spring in their
step. Freddy knows he should tell his mom about the trouble they are having,
but how?

Talking Craft with Horror Author Patrick C. Greene

As a toddler, Patrick C. Greene was creating horrors in crayon and magic marker upon every available surface. Not surprisingly, he soon discovered comic books and immersed himself in the fantastic worlds found therein. Horror fiction and films came next, and despite spending nights of terror hiding under covers, he always found himself drawn back to tales of dark fates.

Greene cut his fangs in the screenwriting business but found his true calling in the world of prose fiction of the kind his heroes King, Barker and Koontz create. With the success of his first novel PROGENY, and the upcoming THE CRIMSON CALLING from Hobbes End Publishing, Greene presents a brand of horror as emotional as it is terrifying, as engaging as it is suspenseful.

Living at night, deep in the mountains of Western North Carolina, Greene answers the call of his morbid muse when not enjoying monstrous helpings of horror, kung fu and doom metal.

Connect with Patrick on the net: Website / Facebook / Twitter

Check out The Crimson Calling on Amazon.

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

A: Centuries after their eradication and the death of their Queen in the Great Fire of London in 1666, the Vampire population now numbers in only the hundreds. A few of the remaining survivors regrouped and a High Council was born. Now a new threat has arrived: modern day military is not only tracking members of the council, they are attempting to create their own vampire soldiers. Enter Olivia Irons. Ex Black Ops. Doing her best to live a normal civilian life, but it never feels right. No family, no friends, and trouble always seems to follow. When the Sanguinarian Council offers her the chance of a lifetime, the biggest risk of all seems like the only path left to choose. How will she answer The Crimson Calling?

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

A: It’s a bit of a balancing act, given that there are so many vampire films and books now. You have to meet certain expectations while defying or reversing others. For me, I’m never going to read a vampire romance novel but they aren’t written for me. For me, it has to be scary.

Three elements I think are necessary are intelligence on the part of the vampire (s) whether they are pro or antagonist, some sort of relationship between mortals and vamps, and, lastly, some erotic undertones. Vampires have become as much a symbol of sex as of death.

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

A: Most of it was on the fly. I knew there would be a loner recruited by (more-or-less) benevolent vampires. It surprised me that the loner was a young female, as I had pictured a male.

Some times during the process, I could outline a few scenes ahead, but then I had to leave it alone and hope for the best upon finishing that sequence. By the midway point, it basically stream of consciousness. Even as a writer, I don’t like to peek too far ahead.

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 wrote a brief bio for Liv, the kind of thing you might pick up in a conversation with someone you’re stranded in an elevator with for an hour or so. Beyond that I did find myself revising some elements of her but not to the point of deus ex machina, if that makes sense. Sometimes you have to lay down the cards and leave them, see what play off of them.

 

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

A: With Crimson and my previous novel Progeny, I tried to intersperse exposition-heavy scenes with the more action driven elements of the story, which often means jumping around a bit in the timeline. It’s important to know, for instance, that Olivia is dealing with heavy emotional baggage, but my reasoning was that the source for said baggage need not be tossed right onto the table as one complete package. We all understand loss. We all throw up barriers against its effects. It’s interesting to me to understand not just the loss itself, but the coping strategies as well, through the action, not outside of it. So, though there’s no set formula, I try to create a scene that leaves the reader with a feeling of “Good lord, why’d they do that?” then offer a piece of backstory that serves as a brief respite while giving some clarity while the event is still fresh.

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: When reading Ian Fleming James Bond novels as a youth, I found that 007’s globetrotting gave the character a sense of confidence and coolness. I personally tend to have some trepidation about being in places with which I’m not familiar, and Bond was always up on local traditions and customs. So the setting becomes a character inasmuch as it is viewed through the character. When discussing the various international locales of Crimson, I sought to deal with their strangeness rather than their familiarity. Vampire stories need an air of mystery, which is one of the few small differences from zombie stories, for instance, which work better with a sense of familiarity.

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: Redemption is the only theme isn’t it? Even if it’s never achieved, we’d all like to have done something differently at some point, or get a shot at a similar situation so we can use what we have learned. A good many characters get a shot at redemption in Crimson and their success levels are wildly divergent.

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

A: Eye of the beholder, simplistic as it sounds. Think of a movie or book that terrified or thrilled you as a child, yet seems almost laughable all these years later. If the creator felt some sense of accomplishment beyond the financial payoff, they can be said to have endeavored in genuine art, by definition.

Editing is an absolute necessity for an author, and all authors should learn to crush their egos underfoot for the sake of the work itself. You need beta readers, you need a sense of neatness and fulfillment throughout your work, and you need to realize that as a creator at any professional level you are giving away that work and letting it become the property of your patrons. So learn to value criticism and outside input. If you can’t cut the fat, be willing to hire someone who will.

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

A: Hm. If I’m limited to three I would say third is an enjoyment for at least some part of the process, be it the writing itself or reading the reviews.

Second would be a very thick skin. This plays into the above comment about editing; criticism is unavoidable, unless you’re never putting your work before the public. Unreasonable, even hateful criticism is very likely. Welcome it.

Finally is the habit, discipline or irrational impulse that, like a whispering devil on your shoulder, says you have to do it. Even if it’s only a few sentences, or just a few letters – if you’re not impelled to write something daily with an irresistible force, just forget it. Go back to your smart phone. Some of us are trying to take a serious crack at this and you’re making us look silly.

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: Disagree. Writing is like entering worlds with more meaning and adventure and love than anything you’ll find in reality. You can enter this world essentially at will and bring the essence of its joy or sorrow or strangeness back with you and cloak yourself in it. You can move people, and that’s a gift not a curse.

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

A: Of course I read Stephen King’s On Writing, and of course I recommend it. I don’t know if they still print that big ass Writers Market manual every year, but if not you can track down copies pretty easily, and they always have several articles about the process from famous and successful writers. I recommend those.

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

A: I would say to all those solitary writers out there languishing on obscurity or oppressive isolation – you are not alone, clichéd as it sounds. You’re tethered to me and a million other world makers, and we are feeding one another.

Talking Craft with Horror Author Brian W. Matthews

Brian W. Matthews grew up in a small town in southeast Michigan. The oldest of three boys, his days were occupied with school, friends, and when he got older, work. Lots of work. He has been gainfully employed every year since 1977, running the gamut from making pizzas to waiting tables to working in a hospital to being a child therapist. He currently works as a financial planner and writes in his free time. He is married with a daughter and two step-daughters. The Conveyance is his third book.

The Conveyance can be purchased directly from the publisher at www.journalstone.com or from Amazon.

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

A: I loved watching horror and science fiction movies as a child. In Detroit, on Wednesday afternoons, one of the local channels would show a classic horror or sci-fi movie—Godzilla was particularly popular, but you would also see movies like see 20 Million Miles to Earth or The Fly. I would race home from school each Wednesday to sit in front of the television. This instilled in me a love for the bizarre, so when I started writing, I naturally gravitated toward speculative fiction and the supernatural. My first two novels were mash-ups of horror and urban fantasy and alternate history. When the time came for my third novel, I wanted to branch out. My mind kept returning to 20 Million Miles to Earth and its central question: how did life come to exist on Earth? For The Conveyance, I decided to approach that topic but with a twist, to keep the story fresh for the readers.

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

A: First, don’t focus on the zombie/alien/monster element of your story. You need to start with people—vividly drawn characters—and their relationships. The zombies/aliens/monsters are simply vehicles to apply pressure on your characters; to test their strengths and weaknesses. That is what makes your readers care about your characters, how they end up rooting for your heroes. If they don’t care about your characters, you’ve failed.

Second, the true horror is not the zombie/alien/monster theme: it is the extremes to which your central characters are pushed by these creatures. What is more horrific, a zombie attack or how it forces a mother to kill her child rather than let him or her become an undead fiend? If you’ve done your job well—if your readers really care about the mother and child and their relationship—then that act of mercy will be gut-wrenching; your readers will be far more horrified by it than by any graphic description of a zombie eating a human. This is exactly what made Night of the Living Dead such a hit; the movie was more about the people in the house and how they reacted and interacted under stress rather than the zombies.

Third, the readers’ imaginations are far more descriptive than anything you can write. Yes, you can horrify using literary tricks like shifting narrative distance and time expansion and such, but if you over-describe your scene, you rob the reader of his or her input into the story. They can’t make it their own. Find one or two or three (at the most) elements of a particularly frightful scene and describe them, but only allude to the other elements. Let your reader fill in the blanks. Not only will they feel more a part of the story, this will help keep the reader from becoming fatigued.

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

A: I’m not big on story plotting. I typically have a beginning and an end, and I develop certain points I want to reach during the novel’s progression. Then I go ahead and write it. My main fear with plotting is that I will unintentionally telegraph what is coming. If I don’t know what’s going to happen next, how can the reader? In addition, discovering the novel as it progresses helps keep it fresh in my mind; I get excited by developments, my blood starts to race. Writing is a long, painful process, and this excitement keeps me writing with the energy I need to make the story effective.

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

A: The main protagonist is Dr. Bradley Jordan, a child psychologist. I have a graduate degree in clinical psychology and spent many years as a child therapist. While Brad Jordan isn’t me, I used my experiences as a therapist to make him credible. I do utilize character interviews before I start writing, and I did with him.

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: This is a harder question to answer because the antagonist is more a concept than an actual person. There are a few big baddies in the story, and similar to Brad Jordan, I did a character interview for each one. But these are mainly highlights. I enjoy coming up with character idiosyncrasies while I’m writing. The trick is to keep them straight and consistent throughout the book.

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

A: Conveyance is written in first person. That’s a difficult tense to use because a writer tends to revert to telling and not showing what is going on. There’s a tendency to overuse visual cues, and this can result in stale prose. I made a conscious decision to show and not tell as much as possible, and to rely on two other senses (touch and hearing) to help expand the narrative stage. Also, I vary my sentence structure and paragraph lengths. Reader fatigue sets in quickly with the same five sentence paragraphs, all fully formed and complete. Vary it up to keep the reader interested.

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

A: Well, as I said in the last question, a writer needs to include descriptions other than the visual. I do use visual as a core descriptor, but I also try to triangulate the narrative stage for the reader by using the senses of touch and hearing. This helps the reader obtain the necessary spatial sense of your setting; your world becomes more realistic. Also, try not to describe too much. (I was guilty of this a lot in my early writing.) Let the readers supply some of the context. This will help pull them into your story and keep them reading, which is the brass ring on this particular carousel.

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 need a theme in order to begin. I can’t simply say “a monster invades a small town in Michigan’s Upper Peninsula” (as in Forever Man). Instead, I need a central struggle for my main character: Izzy Morris, a wife, mother, and the town’s Chief of Police, has always struggled with her role in life, and when her daughter goes missing, she is forced to confront this conflict head-on and grow into the person she was always meant to be. You tell me, which one is the more compelling story? For me, the combination of the two—a basic plot arc and a central conflict for the main character—is what makes me decide to write the novel.

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

A: For me, you really can’t separate the two. For my first draft, I go for the fences. I write like no one is going to read the story so it ends up as big and bold as possible. But what you have after that first draft is a hot mess. That’s fine. The editing is there to turn your hot mess into a logical, artful story. Don’t underestimate what thoughtful editing can do for your story. There is a book called Self-Editing for Fiction Writers. If you’re serious about writing, pick up a copy. Read it over and over. I helped my writing tremendously.

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

A: This one is hard to answer, because success means different things to different people. My vision of success is first completing a novel. I put a year or two of my life into writing it, and finishing it gives me a sense of satisfaction. Second—having people enjoy what I read. I wouldn’t want to put in so much effort and sweat only to have it panned by everyone. Thankfully, that hasn’t happened…yet. I suppose third would be some sort of financial success. It is certainly a gauge of how well received a novel is, but so few people can make a living at writing, and I’m reluctant to emphasize the monetary aspects too much. For most writers, it may never reach the level they think and still be terrific authors.

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 he was 100% correct. If you want to be a writer, you need to write every day. For some, that includes holidays and vacations. It’s like homework. My wife is a teacher. Each evening, we sit down and do our homework: she corrects papers, and I write.

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

A: As I mentioned earlier, the book Self-Editing for Fiction Writers is an invaluable asset. Another is the book, Scene and Structure, which delves into the framework of a novel. Both are very helpful. Also, join whatever organization represents your genre. I’m a member of the Horror Writers Association and the International Thriller Writers Association. I attend their conferences. That is where I’ve met other writers, picked up ideas about writing, and generally received considerable support knowing you’re not alone with your writing.

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

A:  While there are many benefits to writing, it is a difficult and lonely endeavor. You sit for hours by yourself, typing on your computer or writing in a notebook. It can take months to years for your work to see the light of day. Be prepared and be disciplined. In the end, the payoffs can be amazing.

Talking Craft with Horror Author G.A. Minton

From his early childhood, G.A. Minton has always been a diehard fan of science fiction and horror. Whenever a scary movie was playing down at the local theatre, he was there in attendance with his friends, loudly screaming in terror alongside them. G.A. enjoys many hobbies, but the game of golf is one of his favorites, having lettered on his high school golf team. Besides writing, he also enjoys reading, traveling, fishing, swimming, snorkeling, working out, listening to hard rock music, and watching great movies—especially those genres that encompass horror, science fiction, mystery, and comedy. G.A. is married, and lives in Texas with his wife, a son and daughter, and two Bengal cats.

Strangely enough, it was only after G.A. was rear-ended by a drunk driver and suffered a closed-head injury, that he developed a newfound passion for writing (even though this story has the makings for a cheesy Stephen King horror novel, it is nonetheless true—he is now called “the savant horror writer” by his friends).

G.A. penned his first novel, Trisomy XXI, which oddly enough also has 21 chapters, in only three months. He begins with chapter one and writes in a freestyle manner—almost in a stream of consciousness—using no outlines, formats, or templates to assist him. The narrative flows freely from his vivid imagination, creating a thrilling tale of terror that is formed from an ordered sequence of events.

After his devastating car accident, G.A. suffered from both memory loss and problems communicating with others, which frustrated him to no end. After numerous visits with the neurologist and weeks of taking medication used by patients afflicted with Alzheimer’s Disease, G.A.’s brain slowly began to mend itself. But now, after completion of the healing process, something was very different. G.A. noticed that he had developed this overwhelming urge, this compulsive drive to put on paper a story that had formed de novo in his mind. That’s how Trisomy XXI was born. One could surmise that the damaged neurons in G.A.’s frontal cortex had rearranged themselves into a different pattern, thereby enhancing the creative elements in his brain. God only knows. . .stranger things have happened!

G.A. has recently completed his second novel, a dark, supernatural tale of horror that takes Good vs. Evil to a whole new level. Currently, his brain is busy at work, meticulously processing the text for another story of the macabre—one that will both entertain and horrify its unsuspecting reader!

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

A: Trisomy XXI is a story about the thrilling adventures of Joshua Allen, a sixteen-year-old boy who was born with an extra chromosome—a genetic aberration known as Trisomy XXI, or Down Syndrome. When a serious accident leaves him in a coma at the hospital, Joshua receives a mysterious injection that endows him with supernatural powers. The transformed teen is linked to a string of bizarre, unexplained deaths that have both the town’s sheriff and the coroner completely baffled. But when a ghastly creature from another planet lands on Earth and begins its hunt for Joshua—viciously slaughtering anyone in its path in order to complete its deadly mission—Joshua and his friends are thrown into a world of horror that is totally out of control. What follows is a horrific life-and-death struggle with the seemingly-indestructible extraterrestrial being. The salvation of an entire race of aliens hangs in the balance!

I was inspired to write creatively after sustaining a closed-head injury when rear-ended in my car by a drunk driver traveling at 80 to 90 mph. Immediately after the accident, I suffered from memory loss and aphasia, a problem with expressing my speech and communicating with others. When the damage to my brain finally healed, I was left with an overwhelming desire to write a story, hence, the birth of Trisomy XXI. From my earliest recollections as a young child, I have always loved the genres of horror and science fiction.

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

A: There are multiple components that contribute to the makings of a good horror story, so it is very difficult to narrow it down to only three essentials. I believe that three of the most important elements are fear, surprise, and mystery. Utilizing various writing skills, an author can use fear, especially fear of the unknown, as a tool to scare the reader. The element of surprise is another important component of any good horror story, if used properly. Mystery, often involving murder(s) with an unknown killer(s), can be used to keep the reader’s interest in the story trying to guess who is the culprit. When the elements of fear, surprise, and mystery are all combined in a synergistic fashion, then it makes for one helluva great horror story!

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

A: After my brain healed from the devastating car accident that I was involved in, I have fortunately been able to conceptualize the storylines for my novels as I write—similar to a free-flowing stream of consciousness—thus allowing the creativity of my mind to function as if it were on autodrive.

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: Joshua Allen, the sixteen-year-old boy with Down Syndrome and the protagonist of Trisomy XXI, was invented in the grey matter of my mind. The character was loosely based on a mentally-challenged cousin of mine, who I shared many wonderful experiences with during my childhood years. Unfortunately, he succumbed to cancer as a young man a long time ago.

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: Without giving away any of the storyline, there is more than one antagonist in Trisomy XXI. The main antagonist, though, was horrifically spawned from the deepest reaches of my inner mind!

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

A: That’s why it’s called creative writing! As an author, it is imperative to not only create life-like and interesting characters, but also to develop their personalities. Be sure to make their dialogue both engaging and thought-provoking, and don’t forget to leave something to the reader’s imagination. Leave enough information out of the story in order to pique the reader’s curiosity—provide just enough of a savory taste to stimulate their appetite.

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, especially in a tale of horror, sets the mood for the story, and enables the writer to intertwine the plot to the setting. If the setting is based on a real location, it helps if the author is familiar with its geography, terrain, etc. Make sure that the setting you choose for your story will have the proper atmosphere for your genre.

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: When conceptualizing the storyline for Trisomy XXI, the underlying messages or themes fell into play as I concocted this thrilling tale of horror, science fiction, and mystery. Without getting too esoteric, I try to relay positive fundamental messages of goodness, morality, and humanity that will transcend every culture of man living on this big blue ball we call planet Earth.

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

A: The craft and art of writing should blend together, becoming one, creating an art form that can be enjoyed by its reader. The editing process should be accomplished so as not to detract from or eliminate any of the unique creativity that its author has contributed.

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

A: Writing talent, discipline, and creativity (a little luck along the way never hurts, either)!

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

A: For me, I don’t view writing as having to do homework. I have a passion for writing, and fortunately for me, it comes quite easily. I am able to pen my novels freestyle, almost in a stream of consciousness, relying on no outlines, formats, diagrams, or templates for assistance—the narrative is able to flow freely from my imagination, ending up with a storyline that contains an ordered sequence of events. To me, it’s a creative art form, much like painting—each stroke of the brush is analogous to writing a sentence. When the artist has delivered enough brushstrokes to the canvas, a beautiful painting is created, similar to an author penning a given number of sentences together to produce a thrilling novel.

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

A: Read, read, and then read some more—it’s all about learning, and fine-tuning your craft. Select any pertinent information about writing on the web, in book form, or through a workshop that you think will be beneficial for you, and would help to make you a better writer.

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

A: In order to better hone your craft, read as many books by different authors as you can. If you truly have a love for writing, don’t allow yourself to get discouraged—and most importantly, never give up. Perge!

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

Title: TRISOMY XXI

Genre: Horror/Sci-fi/Mystery

Author: G.A. Minton

Website: http://www.worldcastlepublishing.com/author_g_a_minton.html

Publisher: World Castle Publishing

Purchase links:

http://amzn.com/B01D3OSZ38 for eBook at Amazon

http://amzn.com/1629894443 for Paperback at Amazon

http://www.barnesandnoble.com/w/trisomy-xxi-g-a-minton/1123520769?ean=9781629894447 for eBook and Paperback at Barnes & Noble

https://www.smashwords.com/books/search?query=Trisomy+XXI for eBook at Smashwords

http://www.worldcastlepublishing.com/author_g_a_minton.html for Paperback and eBook at World Castle Publishing website

https://readersfavorite.com/book-review/trisomy-xxi for 5-Star Reviews at Readers’ Favorite

https://www.goodreads.com/book/show/29546925-trisomy-xxi?from_search=true&search_version=service for 5-Star review of TRISOMY XXI at Goodreads website

About the Book:

Sixteen-year-old Joshua Allen was born with an extra chromosome—a genetic aberration known as Trisomy XXI, or Down Syndrome.  A serious accident leaves the mentally-challenged adolescent in a coma at the hospital, where he receives a mysterious injection that endows him with supernatural powers.

The transformed teen is linked to a string of bizarre, unexplained deaths in town that have both the sheriff and the coroner baffled. A ghastly creature from another planet lands on Earth and begins its hunt for the teenager—viciously slaughtering anyone in its path in order to complete its deadly mission.

The salvation of an entire race of aliens is in the balance, as Joshua and his friends are thrown into a horrific life-and-death struggle with the seemingly indestructible extraterrestrial being.

TRISOMY XXI provides an epicurean feast of horror, science fiction, and mystery—all seasoned with a pinch of humor that will satiate the appetite of even the most gourmet of readers. If the likes of Stephen King, Clive Barker, and Michael Crichton were ever to have collectively penned a spine-tingling tale of horror, this would be it!

Delivering a roller-coaster ride full of thrills for its unsuspecting audience, TRISOMY XXI will intrigue every intelligent reader with its alluring array of unforeseen twists and turns. Packed with tension and excitement, this chimeric version of Alien meets The Thing is a powerful story that is guaranteed to capture your immediate attention. You won’t be able to put this book down!

Talking Craft with Urban Fantasy Author Christine Amsden

Christine is the award-winning author of the Cassie Scot series, the story of the only ungifted scion of a family of powerful sorcerers. Her latest novel, Kaitlin's Tale, follows the trials of Cassie's best friend as she falls in love with Cassie's arch-nemesis. Christine's other titles include The Immortality Virus, Touch of Fate, and Madison's Song.

When she isn't writing, Christine is often editing or coaching other authors. In recent years, freelance editing has become almost as great a passion as writing itself. Plus, it supports her writing habit. Christine is a wife, a mom, and a foster mom. She lives in Olathe, Kansas, just outside Kansas City.

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

A: Kaitlin's Tale tells the story of an unlikely couple – a telepathic mind mage and a woman immune to mind magic. The inspiration for this tale is far, far from the work of a moment. Kaitlin came to me six years ago as I wrote Cassie Scot: ParaNormal Detective, the first of a four-book urban fantasy series about the only ungifted scion of a family of powerful sorcerers. At the time, she was the sidekick, never meant to have a story of her own, but she soon grew too big to be a footnote in someone else's story. Matthew, meanwhile, came to me in Mind Games, book 3 of the Cassie Scot series, as the villain of the piece. I don't like two-dimensional villains, and the more I learned about why he did what he did to Cassie, the more I realized that he would make someone very happy – just not Cassie.

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

A: Characters. Characters. Characters.

Look, the world building for most urban fantasy and paranormal romance is stock. I appreciate clever twists on the old tropes, fresh angles, and a few surprises, but a world isn't going to win me over.

My favorite urban fantasies and paranormal romances pop because of character. It's a certain tone and voice, an attitude and outlook on life. It works best when the author puts a little piece of him or herself into the book.

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

A: I outline, write, reoutline, rewrite, reoutline, rewrite, rewrite, rewrite, rewrite … Actually, for this particular book I went through more drafts than usual. It's a complex story, with three main plots that intertwine, and getting the timing right, especially on the romance, was tricky. Luckily, I'm a firm believer in “Great books aren't written, they are rewritten.”

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: Kaitlin reads a ton of romance, but she doesn't identify well with the heroine of the stories. She more easily identifies with the woman who “knows the score” and is cast aside in favor of the true heroine. There's a world of hurt in Kaitlin's past, hurt she wouldn't even tell her best friend about. I had trouble getting it out of her! (And yes, I did interviews and first person journals.) Matthew, who can read her mind, is really a great fit for her.

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: There are several antagonists in this piece, including Alexander DuPris, the would-be leader of the magical world. It's important to know that he has good intentions. Most of my heroes have good intentions. It's just that the road to hell and all …

Other villains of the piece include Xavier and Jason, the vampires hunting down Kaitlin. They were tougher to get to know because I don't do sparkly vampires. Or even misunderstood humans. Mine are alien, with alien motives. But this wasn't enough to drive a story, so I had to chip away at their motivations until I found something relatable. In the end, I created a conflict between Xavier and Jason to help make their desires more understandable (by contrast to one another).

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

A: I try to keep my characters on their toes throughout the book! I'm not a formulaic plotter, but when I outline a book, I do split it into quarters and make sure there is a major plot point near the end of each quarter. For example, in Cassie Scot: ParaNormal Detective, there is a major family fight at the first quarter, a vampire attack at the second (also the midpoint), a family blowout at the third quarter, and I'll leave the climax in suspense. Since I always have main plots and important subplots, such as a mystery, a romance, and family tension, it keeps me busy. Even outside the quarter points (which I only use as a general guideline) there is always something to do. Each chapter has to accomplish something. Each scene.

I have been told that my books cause insomnia. I think that means I'm doing okay. :)

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: Relevance. It's my sonic screwdriver; I use it for just about everything. Setting comes to life when it matters to the people interacting with it and at no other time. Which isn't to say that you should stick to the bare bones because the flipside of this is that when it matters, color it in! During one scene in Kaitlin's Tale I had Kaitlin go to a magical nightclub with a friend. The place was crazy when she walked in! I know she couldn't relate all of it to the reader, but I let her eyes drift around the room and I had fun with it … people dancing on air, a drunk man stumbling through another and starting a bar fight, some techno-mages messing with the laser lights for the fun of it … just a bit of this and that.

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: There is a recurring theme in my Cassie Scot novels and the spin-offs: Love yourself. I knew this theme going in, because it is as important to Kaitlin as it is to her friends. Maybe more so. There did end up being another theme in the book that I recognized partway through: Don't judge a book by its cover. Matthew, in particular, was misunderstood when he first appeared in the series. There's more to him.

 

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

A: The answer to this question depends entirely on which stage of the creative process the author is in. There are four:

Unconscious incompetence – in which you aren't very good and don't even know it.
Conscious incompetence – in which you aren't very good, but are coming to realize this fact and begin to work to improve.
Conscious competence – in which you have begun to become a good writer, with a great deal of thought and work involved at every step in the process.
Unconscious competence – in which your ability to write flows as naturally as breathing and you no longer have to think so hard about everything you do.

Let's disregard stages one and two as part of the creative awakening process. You're not really publishable until stage three, at which point over-editing definitely takes a toll on the sparkle of the original work.

But once you reach stage four, I think art and craft are inseparable. At this point, revision is rarely about scrutinizing your word choice anyway, and fresh revisions tend to improve the underlying plot.

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

A: Ego, humility, and insanity. (Not necessarily in that order.)

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 don't agree. My homework was never this fun.

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

A: Yes. And as the Internet is always changing, so too have the sites. But check out Savvy Authors. And The Elements of Fiction Series (except the one on dialog).

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

A: Only write because you love it. No, you won't love it every second of every day, but you should love the process and take personal pride in the results. If you're in it for fame or fortune, you're in for a serious disappointment.

Title: Kaitlin’s Tale

Genre: urban fantasy/paranormal romance

Author: Christine Amsden

Website: http://www.christineamsden.com

Publisher: Twilight Times Books

Trailer: https://www.youtube.com/watch?v=UcNgx7SoWy8&feature=youtu.be

Amazon / OmniLit

About the Book:

Kaitlin Mayer is on the run from the father of her baby – a vampire who wants her to join him in deadly eternity. Terrified for her young son, she seeks sanctuary from the hunters guild. But they have their own plans for her son, and her hopes of safety are soon shattered.

When she runs into Matthew Blair, an old nemesis with an agenda of his own, she dares to hope for a new escape. But Matthew is a telepath, and Kaitlin’s past is full of dark secrets she never intended to reveal.

Talking Craft with Mystery Author jd daniels

jd daniels holds a Doctor of Arts degree from Drake University with a dissertation of her poetry.  Her award-winning fiction, non-fiction and poetry have appeared in various publications, including: The Broad River Review, The Sylvan Echo, The Elkhorn Review, Doorknobs & Bodypaint: An Anthology, The National PEN Woman’s Online Magazine and riverbabble. “Nancy’s Woodcut” won a prize in a contest sponsored by Emerson College, Cambridge University.

Say Yes, a book of poetry, 2013 topped the local bestseller list in Iowa City. The Old Wolf Lady:  Wawewa Mepemoa, was awarded a publication grant from The Iowa Arts Council and three research grants from the college where she still teaches writing. Minute of Darkness and Eighteen Flash Fiction Stories debuted January, 2015. Through Pelican Eyes, 2014 is the first of the Jessie Murphy Mystery Series.

The Iowa Arts and Poets & Writers Directories invited her inclusion. She is also a co-founder and an editor for Prairie Wolf Press Review, a literary online journal featuring new and emerging writers and visual artists.

jd maintains a blog, is a member of two critique groups, Mystery Writers of America, and South West Florida PEN Women.  She continues to teach writing at the college level. Quick Walk to Murder, the Second Jessie Murphy Mystery, was recently released.  Visit her website to find where you can get her book:  www.live-from-jd.com

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

A:  Quick Walk to Murder is a mystery, so of course there’s a sleuth trying to nail a murderer.  In this case, she’s property manager/artist, Jessie Murphy.  The victim is the son of a Matlacha, Florida crab fisherman.

I love my amateur sleuth, Jessie Murphy.  She’s my alter ego and has bits and pieces of my creative mother in her as well.  I get a high when I get into her skin and brain to solve these murders.  As soon as I finished the first book with her as a protagonist, I started writing the second.  Plus, Matlacha, Florida, an island I fell in love with, is the perfect setting for this mystery. It’s funky and colorful.  A pleasure to describe.  So, I guess I would say, both wanting to spend more time with the main character and being surrounded by the sea are big factors in inspiring me to write these mysteries.

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

A:  Hm, hard to narrow down to only three elements, but let me try:  1. Tight, compelling plot and sub-plot. 2.  Engaging, unique characters set in a colorful environment 3. Red herrings, subtle clues, surprising twists, a dramatic climax and a believable resolution.  Okay, so I cheated.  This is far more than three elements isn’t it?  I could list more, so I guess it’s impossible to narrow down to just three.

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

A:  In the first draft I let the story unfold on its own.  After this, I do a plot check to see if it follows the classic mystery outline. If it doesn’t I begin to cut and paste.  If a writer goes online they can find a very handy tool called “Plotting the Mystery Novel” as defined by contemporary editors and publishers.  I beginning check my plot against that on the second draft.

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

A:  My character is twenty eight, Irish and a fledgling artist.  Her first name is my mother’s middle name.  Her last name was my mother’s maiden name.  While she is no doubt my alter ego, she was also developed from how I envisioned my creative beloved mother to be at this young age.  Thus, each time I write a book with Jessie Murphy in it, I’m also exploring and visiting my mother’s life who passed away several years ago at the age of eight-six. So character interviews and sketches were done over a lifetime of being her daughter.

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

A:  My antagonist is a compilation of different people I’ve known over the years. Unfortunately, I’ve had personal experience with more than one sociopath. Without giving away who the killer is, I’ll just say that I had to do research to make sure him or her was portrayed realistically.

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

A:  As you see from my bio, I’ve taught writing for several years.  While doing this, I spend much time moving my students away from a passive voice to an active one.  I find that when writing a mystery such as mine this is apt advice.  Use of first person, active verbs, specific nouns, realistic dialogue, strong metaphors that fit the setting and time, plus the use of similes and minimal background information helps keep the reader engaged and turning the pages.  One thing that helps my students understand this concept is to pretend your reader is standing over your shoulder as you create pictures on the page with words, including the five senses in as many scenes as possible.  Make sense?

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:  When writing about setting, I use the same “picture-making” tools that are needed to make for an exciting narrative.  By considering the five senses, by thinking of the setting as a character while you are writing the book, helps greatly in making it one.  This means that once you initially describe the setting, each time after that (like your protagonist or other characters) when you use the setting in a chapter, you must show different aspects of it to develop it into a place the reader can actually identify with and see in their mind.  I am happy to tell you that one reader did say I had been successful in doing this in the first book.  I hope I’ve succeeded in Quick Walk to Murder too.

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

A:  My themes for Quick Walk to Murder became evident as the characters and plot developed.  This is one thing I love about my process—the creative journey—the constant learning and surprises.  At least one of the themes is recurring—action versus apathy—others are unique to the mystery’s situation.

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

A:  Hm, another interesting question.  Perhaps this is why I write the first draft before referring to that plot outline—I want my imagination to have freedom before I have to consider my reader. I began as a poet as well as a fiction writer.  In fact, I have a doctorate in poetry from Drake University.  I don’t think you can create your own path until you understand your craft—the elements that make a fine mystery, novel or poem.  I’m a person who free writes in a journal often.  I also encourage this activity for my students.  But freewriting is only a tool to free the imagination, after this the hard work of being a writer begins.

I believe if writers understand that writing is a complex process, that editing is only one important aspect of that process, their initial creative thrust will not be destroyed.  Some fledging writers don’t understand this and they can be adversely effected by editing.  It’s a shame, but happens all too often.

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

A:  1. One who receives respect for their work.  2.  One who honors their passion by making a life as a writer.  3.  One who understands the importance of discipline and persistance.

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:  Makes me smile.  As a life-time learner, I couldn’t agree with the famous writer more.  The difference is that you are your best teacher, a fact I stress with my students probably more than they want to hear.

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

A:  There are so many.  I already mentioned the outline for plotting for mystery writers.  With the amazing technology we have today, I’d say just Google what you want and sit back until multi-sites pop up on your screen.  But I also recommend The Art of Fiction by John Gardner, Writing the Breakout Novel and The Fire in Fiction by Donald Maas, Save the Cat by Blake Snyder and Imaginative Writing:  The Elements of Craft by Janet Burroway.  Again, there are so many more to add to your library.

Writers also have to be readers of their genre.  Whatever genre you choose to write, read and study as many books as possible in that area.

Writers Market is always announcing workshops for all sorts of things writers need to know, including insights into the changing publishing world.  She Writes does as well, as does Poet & Writers and Mystery Writers of America.  There is also an amazing number of workshops and writer’s retreats offered world-wide.  Many of these are expensive, but many offer free tuition for those who are accepted as Fellows.

The important thing is to do your research. Take yourself and your decision to become a published author seriously. Read and take workshops that are practical and will help you become the writer you want to be.

It’s an amazing journey.  Enjoy.

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

A:  I guess I’d just like to emphasize that knowing your craft is essential if you want to earn respect in your field.  I recently was chatting with another editor of a respected young adult traditional publishing company.  She said something quite wise: “In the mystery editor’s world, anyone can be a fine wordsmith, but if you don’t know how to plot, you don’t know your craft, it makes no difference.”

 

Talking Craft with Mystery Author Rosie Claverton

Rosie Claverton, December 2013[/caption]

Rosie Claverton is a screenwriter and novelist. She grew up in Devon, daughter to a Sri Lankan father and a Norfolk mother, surrounded by folk mythology and surly sheep. She moved to Cardiff to study Medicine and adopted Wales as her home, where she lives with her journalist husband and pet hedgehog.

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

A: Captcha Thief is the third novel of The Amy Lane Mysteries, which features agoraphobic hacker Amy Lane and streetwise ex-con Jason Carr as they fight crime in Cardiff. In this book, they are investigating a break-in at the National Museum of Wales, where a security guard has been murdered and a priceless Impressionist painting stolen.

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

A: For me, there is only one thing that is sacrosanct – a good mystery must be solvable by the reader. I hate to have a surprise murderer introduced right at the end. It can be extremely difficult to solve, but it should be possible.

Apart from that, I look for great characters, people I want to spend time with – even if only because I love to hate them! If they have the sticking power for several books, even better. I also hate to be blinded by science. All the computer wizardry Amy works is theoretically possible, but I've been recently burned by purported mysteries where advanced too-futuristic science, time travel and the supernatural have come out of nowhere to explain the ending. If that's going to be a feature of the book, I want to know from the blurb, not in Chapter 50.

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

A: With Captcha Thief, I had planned out the bare bones of the plot and figured out the murderer and their motivations – but something wasn't hanging together properly at the midpoint. I was getting bored with the story, and I couldn't work out why. So I rejigged some of the characters, changed the culprit's characteristics and gave them an entirely different motive. Once that was all in place, the writing of the book flowed much better towards its conclusion.

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: Before I wrote Binary Witness, I wrote some brief character biographies for both Amy and Jason to get a feel for them – everything from favourite TV shows and best friends to their worst fear and how they react in a crisis.

 

For Amy, it was also important to be clear about her mental health problems and how they affected her. As a psychiatrist, I also wanted to be certain in my mind about things like diagnosis and what it would take to change things for her – if that was even possible. With Jason, it was more about getting the prison particulars right, and how that experience had forged him. I also knew family would be really vital to both of them, with Amy's difficult relationships and Jason's strong ones.

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

A: The most important thing for an antagonist is motivation. Just like a protagonist, they have to pursue goals and act in a way that they think is the best thing to do, for whatever gain. In Binary Witness, my serial killer was fuelled by delusional love, yet in Code Runner, I had a character who wanted to build a criminal empire, but also just enjoyed playing with people. I spend as much time constructing a new antagonist as I did with my protagonists originally.

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

A: I come from a screenwriting background, so I've developed a good understanding of pacing and story beats. When I'm planning the plot, I know how the character arcs have to swing – from a false victory to an “all is lost” moment. I used Save the Cat, a practical screenwriting book, as a guide to the basic Hollywood story structure and it's also served me well in novels.

In the edit, I go through each chapter listing the main events, the character point-of-view, and the conflict. If the chapter is lacking in conflict or nothing really happens, I try to cut it or combine it with another to keep the narrative moving. An emotional scene without action can still have conflict, and can allow the reader space to breathe with the characters.

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: Cardiff is definitely the third protagonist in The Amy Lane Mysteries. When I started writing the series, I was living away from my beloved city, though I had been resident there for five years. That really helped me bring the place to life with words, because I missed it so much. Google Earth is also my best friend – I planned several chases and incredible journeys with that resource.

With Captcha Thief, I had the advantage of having taken that particular journey from Cardiff to Bangor and remembering a lot of features, such as stopping at the natural waypoint of Rhayader in mid-Wales and crossing the misty mountains beside beautiful, yet freezing lakes and reservoirs. Personal experience always enhances description. I've never visited Glasgow, so I asked my Glaswegian friend to describe for me the walk between two points – it gave the final sequence a very local and immersive flavour.

I have to work hard at description, as it doesn't come naturally to me. The way I work on it is to think of all five senses and then what they might invoke in the character. Does the smell of fried chicken remind Jason he's hungry, or of a very specific moment with his best friend and a stolen car?

 

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

A: My favourite theme to explore is identity. In Captcha Thief, this primarily came through with the villain of the piece. That person is fighting a number of conflicting pulls on them, trying to make something right that probably can't be fixed.

The other major theme of this novel, coming after “letting someone in” for Binary Witness and “the past is never over” for Code Runner, was definitely “pride comes before a fall”. Particularly for Amy, it was important to see her getting much stronger and capable as an independent person, and then starting to erode at those certainties.

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

A: Having an editor you can trust is the most important part of the edit. I've had the same editor in Deb Nemeth throughout the series, and I know I can rely on her to give good notes. A good note resonates with you when you read it, twinging something that you suspected yourself but hadn't quite confronted in the first draft. I learned in screenwriting that you don't always have to take a note, but you do have to address the reason someone gave it – for example, “the plot loses pace here, so you should add an explosion”. You have to pick up the pace but things don't necessarily have to explode.

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

A: In the first instance, you have to define success for yourself. Is it selling 100,000 copies or is it receiving an email from one devout reader who really took your novel to heart? For series novelists, I think success is measured by how many people come back for more, or tell their friends, or eagerly Tweet at you asking when your next book is out. Of course, it's also nice to get good reviews and fat royalty cheques, but it's reader engagement that I love most of all.

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

A: It's a job, at the end of the day. I bristle when people suggest my writing is a hobby, because it's definitely a career that involves development and investment as much as my parallel career in medicine. It gives pleasure and reward to the writer without making it any less like hard work!

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

A: Apart from Save the Cat, which I think all storytellers should read – or the more in-depth Story by Robert McKee or The Hero With A Thousand Faces by Joseph Campbell – my number one recommendation would be to read voraciously. Read thoroughly within your genre, and expand your mind outside it. Read as many classics as you can stomach, and also watch television and movies. Expose yourself to as many varied ways of storytelling as you possibly can. This is by far the best education.

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

A: Patience is your friend. The more novels you write, the better you will get at them. I won't say it gets easier, but you know yourself better. I've learned that I always get bogged down in the middle and hate the thing and want to throw my laptop out the window. Yet this too shall pass.

 

 

 

 

Book Review: ‘Ninth-Month Midnight’ by Marie Bacigalupo

Nine Month Midnight by Marie Bacigalupo was a deeply compelling, at times heart-wrenching story, about grief and the desperate need of a mother to reunite with her dead child. Since losing her four-year old precious daughter to cancer a year ago, Dolores Walsh has been living in limbo, like a zombie.

After a suicide attempt, she’s prompted by her husband Joe to seek the help of a psychiatrist to treat her depression. Then at a bereavement group she meets Sal Esperanza, a charismatic psychic who claims he has the power to channel the dead. Though Dolores is sceptical at first, she soon becomes intensely fixated with the idea of speaking with her daughter’s spirit.

Although Joe is against the idea and warns her that Sal is a con man after money, nothing derails Dolores from attending his seances. Is Sal, indeed, a fraud…or is he the real thing and the only person who can make her only desire in life possible?

A novella, I read Ninth-Month Midnight in one sitting and couldn’t put it down. The story moves at a fast pace, with Dolores’ desperation being transmitted to the reader so that we feel all her grief and obsession. What could be worse for a mother than losing her child?

Most women will relate to Dolores’ predicament and sympathize with her actions, even though they might not approve of all of them. Bacigalupo writes with an economy of words that is sometimes gritty, letting the action speak for the characters. Ultimately, this is a story of hope and one I was very glad to have read. Highly recommended!

Find out more on Amazon.

Guest post: The Story behind ‘When Bunnies Go Bad” by Clea Simon

It’s hard to remember now, as the crocuses bloom and green buds begin to swell on the trees, but 14 months ago, we thought winter would never end. In the winter of 2014-15, Massachusetts, where I live, was buried under record snowfall of 110.6 inches. And what was worse, all but two inches of this snow came in rapid succession in what the Weather Channel called a “six-week-plus snow siege.” [link: https://weather.com/news/news/new-england-boston-record-snow-tracker] What that means, to you non-New Englanders, is that not only did we get nine-plus feet of snow, but that none of it – as it usually would between storms – melted. Instead it piled up. And piled up. And piled up.

Now, where I live, in Somerville, is pretty urban. Our house is right on the sidewalk, which legally we are obligated to clear. That meant that after every storm, my husband or I would be out there, shoveling – piling the snow higher and higher along the walk, with only a small cut-through for the steps up to our tiny front porch. Before long, our house was walled in by snow, the shrubs in front mostly buried with only one ancient forsythia bush still sticking its branches out, largely because it is on the side of our front porch, behind the snow wall. Soon the city was like a maze – high walls of icy, compacted snow funneling us all along increasingly narrow paths. Errands became major expeditions. We all became accustomed to backing up to the nearest crosswalk to allow oncoming pedestrians to pass.  Carrying groceries home was crazy.

The snow didn’t only affect humans, however. As an animal lover, I’d done my research. I knew that the beasts around here usually do fine in this weather. Small critters, like mice, actually benefit, as they can burrow beneath the snow to the nearest bits of frozen grass or other greenery, out of sight of hungry hawks or other predators.

But how about the bunnies? How would they fare, given the immense amount of snow and the virtual walls of icy drifts that were cutting across the landscape? Where would they do their marketing, so to speak, with everything covered in a thick blanket of icy white?

I found out one night when the snow had briefly ceased. I was looking out my front window when I noticed a set of prints. Looking kind of like parallel semi-colons, they came up the steps from the sidewalk to our front porch, where they seemed to have looked around, exploring the planter that I never managed to put away and the small bench where UPS leaves packages. And then they hopped over to the side of the porch, behind the snow wall, and dropped off.

The local bunny was coming onto my front porch as a way around the wall of snow and hopping off the side to get to that forsythia!

Once I knew what was happening, I began a nightly ritual. Rabbits, I found out, are crepuscular – they like those twilight times when the light is low. And so soon after sunset, I’d start watching. I was rewarded by frequent sightings of our local bunny as he came cautiously up our steps and then turned right, to hop off by that forsythia. Sometimes I saw him nibbling on its branches. Other times, I only saw his footprints and droppings. And when spring finally arrived and I saw three rabbits in our yard, I knew Mr. Bunny, or Ms. Bunny, as I now believe her to be, had survived the winter in fine form. (The forsythia did, too.) And so when it was time to start another Pru Marlowe pet noir, there was little doubt in my mind. A smart resourceful rabbit had to be at the center of it – and is, in “When Bunnies Go Bad.”

Title:  WHEN BUNNIES GO BAD

Genre: Mystery

Author: Clea Simon

Website: http://www.cleasimon.com

Publisher: Poisoned Pen Press

Purchase on Amazon

About the Book:

Winter is hard in Beauville, where the melting snow can reveal much more than last season’s dead leaves. So when a wealthy, obnoxious tourist and his ski bunny girlfriend surface in Pru Marlowe’s little Berkshire town, she knows she should stay out of their way. The bad-girl animal psychic has to focus on more immediate concerns, including a wild rabbit named Henry, supposedly tamed and illegally living with an eighty-four-year-old lady in her home. Henry, who seems to be acting out and hiding, avoids responding to Pru. Yet when Pru discovers the tourist murdered and his girlfriend’s high-maintenance spaniel falls to her care, she gets dragged into a complicated case of crime and punishment that involves some new friends, an old nemesis, and her own shadowed past. A recent museum art heist draws the feds into the investigation along with a courtly gentleman radiating menace, who represents secretive business interests in New York and shows a surprising awareness of Pru. Her on-again, off-again romance with police Detective Creighton doesn’t stop him from warning her to steer clear of the inquiry. The spaniel, however, lures her in. Pru lives in a world where only her crotchety tabby Wallis knows the whole truth about her past, her flight from Manhattan, and her unique gift that surfaced abruptly one day. Fearing the worst, Pru now comes dangerously close to being exposed. With everything in motion, Pru, Wallis, and everyone they hold dear will be lucky to escape…by a hare.

About the Author:

Clea Simon is the author of the Theda Krakow, Dulcie Schwartz, and Pru Marlowe pet noir series, as well as three nonfiction books.   A former journalist, Clea lives in Somerville, Massachusetts, with her husband, the writer Jon Garelick, and their cat Musetta.