L.J. Bonham's Blog: Author Insights with L. J. Bonham, page 2
April 30, 2014
Obsession
Author Insights: You recently broadened your reach into short stories, could you share that experience with us?
L. J. Bonham: Yes, it’s true. I recently agreed to write a short story for a charitable anthology. I was prodded toward it by a fellow author. I was reluctant, my last two short fiction attempts morphed beyond my control into the novellas, “The Debt” and “Wolves of Valhalla.” Once I agreed to this project, dread overwhelmed me. I feared I would end up buried in another novel with little time for the three I’m wrestling with now.
AI: So how did you get around that?
LJB: In my usual OCD way. I researched the genre, talked with other short fiction authors, and read some stories. Once I understood the structure and story arcs, my confidence increased. Blog writing also helped because I keep them as tight as possible, and set word count limits. I work better when I have a clear goal and the anthology's limits provided that.
AI: Was it difficult to get a story idea?
LJB: Yes. The anthology’s theme was a new area for me and I struggled for days with possibilities that I rejected.
AI: So how did you decide on your story’s subject?
LJB: I think a lot when I walk. I was on a foray with my dog, and as I walked back down the mountain, there it was, crystal clear as though I had written it long ago.
AI: Then what?
LJB: I hurried home, dashed into my office and emerged late that evening, rough draft in hand. It was a historical piece, of course, that centered around a fictional, American B-25 crew newly arrived in Tunisia during World War Two. The next day I read the draft and almost puked. I became obsessed with the details and dove into a marathon research project to get the historical bits right. I also infused my flying expertise in healthy doses. I know first had what it’s like to fly damaged airplanes and deal with in flight emergencies, so that comes through in the story. My stubborn drive to produce good products turned what should have been a one or two day lark into a week-long obsession, but by the end I had trimmed over five hundred words and written a darn good little story if I do say so.
AI: Any advice for other authors?
LJB: Start with your strengths, then jump into the deep end. You’ll either swim or drown, but you will learn.
L. J. Bonham: Yes, it’s true. I recently agreed to write a short story for a charitable anthology. I was prodded toward it by a fellow author. I was reluctant, my last two short fiction attempts morphed beyond my control into the novellas, “The Debt” and “Wolves of Valhalla.” Once I agreed to this project, dread overwhelmed me. I feared I would end up buried in another novel with little time for the three I’m wrestling with now.
AI: So how did you get around that?
LJB: In my usual OCD way. I researched the genre, talked with other short fiction authors, and read some stories. Once I understood the structure and story arcs, my confidence increased. Blog writing also helped because I keep them as tight as possible, and set word count limits. I work better when I have a clear goal and the anthology's limits provided that.
AI: Was it difficult to get a story idea?
LJB: Yes. The anthology’s theme was a new area for me and I struggled for days with possibilities that I rejected.
AI: So how did you decide on your story’s subject?
LJB: I think a lot when I walk. I was on a foray with my dog, and as I walked back down the mountain, there it was, crystal clear as though I had written it long ago.
AI: Then what?
LJB: I hurried home, dashed into my office and emerged late that evening, rough draft in hand. It was a historical piece, of course, that centered around a fictional, American B-25 crew newly arrived in Tunisia during World War Two. The next day I read the draft and almost puked. I became obsessed with the details and dove into a marathon research project to get the historical bits right. I also infused my flying expertise in healthy doses. I know first had what it’s like to fly damaged airplanes and deal with in flight emergencies, so that comes through in the story. My stubborn drive to produce good products turned what should have been a one or two day lark into a week-long obsession, but by the end I had trimmed over five hundred words and written a darn good little story if I do say so.
AI: Any advice for other authors?
LJB: Start with your strengths, then jump into the deep end. You’ll either swim or drown, but you will learn.
April 23, 2014
Write! You Bloody Well Write.
Author Insights: What’s the worst sin a writer can commit?
L. J. Bonham: Not writing. I’ll share a friend’s saga. The other day, he asked my advice on how to improve his novel and attract a publisher. I’ve read his partial manuscript; it’s a tremendous story based on his wartime experiences. The guy is a true unsung hero, but he has one problem. He has yet to complete the first draft after toying with it for over twenty years. I was very blunt. I would help him work out the bugs, but I couldn’t do a thing until he had a complete book on his hands.
AI: What about editing as you go? You know, rereading your day’s work and fixing the problems then and there?
LJB: That is the deepest rabbit hole in literature. It is impossible to overstress this one simple fact: you must first have a book before you can edit a book. Ken Rand even suggested turning off the spell and grammar check functions so you aren’t distracted by the bright, squiggly lines. They tempt you into revising before your have anything worth revising. This is vital for first novels. The first draft is the crucible that will try your metal and forge the skills you need to go forward.
Get the plot, characters, and setting on paper (or in the RAM) first. Once you have a complete draft, you can go through it for style, typos, misspelling, and content. That is the time to grapple with polish and flow. As your writing matures, you will become more fluid. You will avoid basic errors and reduce the edit time.
Until you write a complete something you have nothing, and nothing is the stuff of dreams.
L. J. Bonham: Not writing. I’ll share a friend’s saga. The other day, he asked my advice on how to improve his novel and attract a publisher. I’ve read his partial manuscript; it’s a tremendous story based on his wartime experiences. The guy is a true unsung hero, but he has one problem. He has yet to complete the first draft after toying with it for over twenty years. I was very blunt. I would help him work out the bugs, but I couldn’t do a thing until he had a complete book on his hands.
AI: What about editing as you go? You know, rereading your day’s work and fixing the problems then and there?
LJB: That is the deepest rabbit hole in literature. It is impossible to overstress this one simple fact: you must first have a book before you can edit a book. Ken Rand even suggested turning off the spell and grammar check functions so you aren’t distracted by the bright, squiggly lines. They tempt you into revising before your have anything worth revising. This is vital for first novels. The first draft is the crucible that will try your metal and forge the skills you need to go forward.
Get the plot, characters, and setting on paper (or in the RAM) first. Once you have a complete draft, you can go through it for style, typos, misspelling, and content. That is the time to grapple with polish and flow. As your writing matures, you will become more fluid. You will avoid basic errors and reduce the edit time.
Until you write a complete something you have nothing, and nothing is the stuff of dreams.
April 16, 2014
What Could Possibly Go Wrong?
Author Insights: Among your current projects is a dystopian novel titled, "Sector 12" set in the not too distant future. How did you develop this book and what makes for good dystopian fiction?
L. J. Bonham: I’m a big news junkie. I culled reports about technological, political, and economic trends for the premise behind “Sector 12.” Once I identified interesting technologies, I applied my historical knowledge and then let my mind wander down dark rabbit holes. People have used every technology invented to further their ambitions; our strongest ambitions are for power, wealth, and access to mates. So, I see a trend and then ask, “How would ambitious people misuse this?” It doesn’t take long to ride a toboggan down that slippery slope.
Then there's the law of unintended consequences, and that’s the fuel for a story when combined with human nature. History’s darkest chapters were cloaked in good intentions. People either used them to cover a hidden agenda, or ruthless opportunists coopted the moment for their benefit. The 1917 Bolshevik revolution in Russia is a prime example of the former and the French revolution typifies the latter. So far, humans haven’t been able to overcome their deepest drives, and I don’t think they will anytime soon.
AI: Sounds grim, are you a pessimist?
LJB: No, just realistic. I have great confidence in human nature.
AI: What about other dystopian stories?
LJB: I like ones that are a bit unpredictable. “The Road Warrior,” is a fun movie, but it relies on worn clichés to arrive at its premise. Stories like “Fahrenheit 451” are more subtle and turn expectation on its head. Bradbury takes a conventional modern feature (firefighting) and twists it to propel a totalitarian society. It’s believable because most readers understand the darker side of humanity and want to explore it vicariously.
AI: So how does “Sector 12” work?
LJB: I’ve taken trends that many think are good, turned them upside down, handed them to power hungry people and then pushed events into a sinister world. Only the hero and a small band of revolutionaries have a chance to save humanity from the abyss. It’s a dark vision, but try to remember that it is just one possible future. Probably.
L. J. Bonham: I’m a big news junkie. I culled reports about technological, political, and economic trends for the premise behind “Sector 12.” Once I identified interesting technologies, I applied my historical knowledge and then let my mind wander down dark rabbit holes. People have used every technology invented to further their ambitions; our strongest ambitions are for power, wealth, and access to mates. So, I see a trend and then ask, “How would ambitious people misuse this?” It doesn’t take long to ride a toboggan down that slippery slope.
Then there's the law of unintended consequences, and that’s the fuel for a story when combined with human nature. History’s darkest chapters were cloaked in good intentions. People either used them to cover a hidden agenda, or ruthless opportunists coopted the moment for their benefit. The 1917 Bolshevik revolution in Russia is a prime example of the former and the French revolution typifies the latter. So far, humans haven’t been able to overcome their deepest drives, and I don’t think they will anytime soon.
AI: Sounds grim, are you a pessimist?
LJB: No, just realistic. I have great confidence in human nature.
AI: What about other dystopian stories?
LJB: I like ones that are a bit unpredictable. “The Road Warrior,” is a fun movie, but it relies on worn clichés to arrive at its premise. Stories like “Fahrenheit 451” are more subtle and turn expectation on its head. Bradbury takes a conventional modern feature (firefighting) and twists it to propel a totalitarian society. It’s believable because most readers understand the darker side of humanity and want to explore it vicariously.
AI: So how does “Sector 12” work?
LJB: I’ve taken trends that many think are good, turned them upside down, handed them to power hungry people and then pushed events into a sinister world. Only the hero and a small band of revolutionaries have a chance to save humanity from the abyss. It’s a dark vision, but try to remember that it is just one possible future. Probably.
April 9, 2014
The Forty-five Shot Colt .45
Author Insights: What annoys you the most in fiction?
L. J. Bonham: There are several things, from poor story arc to underdeveloped characters, but what sends me screaming into the night are technology gaffs.
AI: What would you say is the most common area that authors get wrong?
LJB: Weapons. Without a doubt people screw up most when it comes to weapons and military technology. Although airplanes and cars take a close second.
AI: What sorts of errors do you see most?
LJB: The list far exceeds the space available in this interview. Let me share a few recent problems I encountered. A bestselling author of Urban Horror, who is an accomplished shooter and should know better, misstated the number of cartridges that a particular handgun holds. It seems minor but later in the story that extra round in the gun became crucial to a scene. It tore me from my state of willing disbelief, and the author had to work hard to keep me in the story past that point.
A science fiction manuscript that I reviewed depicted a crossbow that could shoot bolts with enough force to imbed in solid granite. No. That can’t happen, sorry. If this was a fantasy work with magical world rules, then I suppose I could accept it but this book's world operated on standard physics. One thing that does amaze me is the number of very successful authors whose work is filled with technical errors. I can only conclude that their readership either doesn’t know enough, or just doesn’t care. However I care.
AI: Why do authors consistently do such things?
LJB: As a writer I know that some things just slip out onto the paper and don’t get checked. Writers are human. However, I think the biggest culprit is inexperience or unfamiliarity; they’re just not interested in the subject. Most authors I know have seldom, if ever, even picked up a weapon much less used one. That doesn’t mean you have to join the 101st Airborne Division to write about their gear and actions, but as Dirty Harry put it in “Magnum Force”, “A man’s got to know his limitations.” If I delve into an unfamiliar subject that is necessary to my story, I research the area as much as possible. I try to read some good fiction that is known to handle that subject well. I get as much reference material as I can, and I seek out people with direct experience. People who have been there, done that are a writer's most valuable resource.
AI: Are there any good reference guides out there?
LJB: Yes, many: the Jane's guides, Guns and Ammo Magazine, J.E. and W.H.B. Smith's "Small Arms of the World", and books by Jeff Cooper, to name a few. Also, I understand that Sky Warrior Books will publish a writer's guide on this subject soon which was written by a soldier and a police officer. Also, your humble author is working on a writer's guide to aviation.
L. J. Bonham: There are several things, from poor story arc to underdeveloped characters, but what sends me screaming into the night are technology gaffs.
AI: What would you say is the most common area that authors get wrong?
LJB: Weapons. Without a doubt people screw up most when it comes to weapons and military technology. Although airplanes and cars take a close second.
AI: What sorts of errors do you see most?
LJB: The list far exceeds the space available in this interview. Let me share a few recent problems I encountered. A bestselling author of Urban Horror, who is an accomplished shooter and should know better, misstated the number of cartridges that a particular handgun holds. It seems minor but later in the story that extra round in the gun became crucial to a scene. It tore me from my state of willing disbelief, and the author had to work hard to keep me in the story past that point.
A science fiction manuscript that I reviewed depicted a crossbow that could shoot bolts with enough force to imbed in solid granite. No. That can’t happen, sorry. If this was a fantasy work with magical world rules, then I suppose I could accept it but this book's world operated on standard physics. One thing that does amaze me is the number of very successful authors whose work is filled with technical errors. I can only conclude that their readership either doesn’t know enough, or just doesn’t care. However I care.
AI: Why do authors consistently do such things?
LJB: As a writer I know that some things just slip out onto the paper and don’t get checked. Writers are human. However, I think the biggest culprit is inexperience or unfamiliarity; they’re just not interested in the subject. Most authors I know have seldom, if ever, even picked up a weapon much less used one. That doesn’t mean you have to join the 101st Airborne Division to write about their gear and actions, but as Dirty Harry put it in “Magnum Force”, “A man’s got to know his limitations.” If I delve into an unfamiliar subject that is necessary to my story, I research the area as much as possible. I try to read some good fiction that is known to handle that subject well. I get as much reference material as I can, and I seek out people with direct experience. People who have been there, done that are a writer's most valuable resource.
AI: Are there any good reference guides out there?
LJB: Yes, many: the Jane's guides, Guns and Ammo Magazine, J.E. and W.H.B. Smith's "Small Arms of the World", and books by Jeff Cooper, to name a few. Also, I understand that Sky Warrior Books will publish a writer's guide on this subject soon which was written by a soldier and a police officer. Also, your humble author is working on a writer's guide to aviation.
April 2, 2014
Kill or be Killed
Author Insights: Some authors seem to kill characters frequently. When should a character die in a book?
L. J. Bonham: The second they deserve it (chuckle). Seriously, all characters should only live as long as needed in the story. An author shouldn’t fall too deeply in love with any character. It is good to remember a basic principle of military leadership - don’t get too close to your subordinates, you may have to order them to their deaths someday.
AI: What determines a character’s fate in your books?
LJB: When I write historical fiction, I am constrained by historical facts. If a person died at a certain place or time, you have to adhere to that, unless it’s a “what if” book. Let’s be honest, some characters are created with the sole purpose to get killed. Michael Newton calls them throw away characters. Others, such as protagonists and primary antagonists, need to stick around through most of they story.
AI: Are you deeply attached to your characters?
LJB: Some, such as Edward de Clopton in “Shield of Honor” (Sky Warrior Books, 2013), William de Clopton in “The Debt” (Sky Warrior Books, 2013), Thorolf Gierolfson in “Wolves of Valhalla” (Sky Warrior Books, 2013), plus some of the supporting characters such as Lady Claire, Lady Valeraine, Gudrid (Thorolf’s wife), and Sir Thomas Erpingham.
AI: So would you kill any primary characters in a story?
LJB: If I thought the work would benefit from it, absolutely, but I wouldn’t do it lightly. Their deaths would have to move other major characters forward or be necessary to the story’s arc. Another factor is reader expectations. You don’t kill a character readers have loyally followed for years without a rock solid reason that they will understand and accept. Perhaps that character has aged physically through a series of books and the logical moment for their departure has arrived.
AI: So who are you going to kill off next?
LJB: You’ll just have to buy my books and find out like everyone else.
L. J. Bonham: The second they deserve it (chuckle). Seriously, all characters should only live as long as needed in the story. An author shouldn’t fall too deeply in love with any character. It is good to remember a basic principle of military leadership - don’t get too close to your subordinates, you may have to order them to their deaths someday.
AI: What determines a character’s fate in your books?
LJB: When I write historical fiction, I am constrained by historical facts. If a person died at a certain place or time, you have to adhere to that, unless it’s a “what if” book. Let’s be honest, some characters are created with the sole purpose to get killed. Michael Newton calls them throw away characters. Others, such as protagonists and primary antagonists, need to stick around through most of they story.
AI: Are you deeply attached to your characters?
LJB: Some, such as Edward de Clopton in “Shield of Honor” (Sky Warrior Books, 2013), William de Clopton in “The Debt” (Sky Warrior Books, 2013), Thorolf Gierolfson in “Wolves of Valhalla” (Sky Warrior Books, 2013), plus some of the supporting characters such as Lady Claire, Lady Valeraine, Gudrid (Thorolf’s wife), and Sir Thomas Erpingham.
AI: So would you kill any primary characters in a story?
LJB: If I thought the work would benefit from it, absolutely, but I wouldn’t do it lightly. Their deaths would have to move other major characters forward or be necessary to the story’s arc. Another factor is reader expectations. You don’t kill a character readers have loyally followed for years without a rock solid reason that they will understand and accept. Perhaps that character has aged physically through a series of books and the logical moment for their departure has arrived.
AI: So who are you going to kill off next?
LJB: You’ll just have to buy my books and find out like everyone else.
March 26, 2014
Our Hero
Author Insights: We talked last about villains, what about heroes?
L. J. Bonham: You just can’t have a plausible story without heroes. Humans want and need a character they can root for, someone with whom they identify and can experience the story’s world through that character’s ups and downs.
AI: Do heroes have to behave in certain ways?
LJB: Heroes can behave in all sorts of ways; there are eight basic hero types, but their stories should fit the Hero’s Quest archetype. The quest can be a literal search for something tangible or an inner quest, but either way readers expect a familiar framework for the hero’s story. The quest is the glue that fits an author’s puzzle together into a sensible and perceptible whole. Most stories, from Beowulf, to Star Wars, and The Wizard of Oz, are variations on the Hero’s Quest.
AI: What is the most essential element of any hero?
LJB: Transformation or growth. The quest must bring the hero into a new state of being; Luke Skywalker becomes a Jedi, Dorothy finds her true self, Indiana Jones becomes altruistic. The list is endless. Without transformation a character may act heroically, but they are not intrinsically heroic. For instance, many characters portrayed by Arnold Schwarzenegger in movies such as Commando save the day and rescue whomever, but they are the same person at the end. These films use the quest framework but the protagonist is flat and predictable. The stories are light, escapist fun, but we don’t gain insight into the world, or ourselves.
AI: Are your characters heroic?
LJB: Hell yes. Seriously, I love this framework and it fits my genres very well. In Shield of Honor (Sky Warrior Books, 2013), Edward de Clopton undertakes the quest in the guise of the Hundred Years War. He emerges battered, bloodied, and forever a different man. In Wolves of Valhalla (Sky Warrior Books, 2013), Thorolf Gierolfson moves from a deeply conflicted, self-loathing creature to acceptance and glory. Buy a copy today and see for yourself, and if you like those characters, you’ll love my new projects.
L. J. Bonham: You just can’t have a plausible story without heroes. Humans want and need a character they can root for, someone with whom they identify and can experience the story’s world through that character’s ups and downs.
AI: Do heroes have to behave in certain ways?
LJB: Heroes can behave in all sorts of ways; there are eight basic hero types, but their stories should fit the Hero’s Quest archetype. The quest can be a literal search for something tangible or an inner quest, but either way readers expect a familiar framework for the hero’s story. The quest is the glue that fits an author’s puzzle together into a sensible and perceptible whole. Most stories, from Beowulf, to Star Wars, and The Wizard of Oz, are variations on the Hero’s Quest.
AI: What is the most essential element of any hero?
LJB: Transformation or growth. The quest must bring the hero into a new state of being; Luke Skywalker becomes a Jedi, Dorothy finds her true self, Indiana Jones becomes altruistic. The list is endless. Without transformation a character may act heroically, but they are not intrinsically heroic. For instance, many characters portrayed by Arnold Schwarzenegger in movies such as Commando save the day and rescue whomever, but they are the same person at the end. These films use the quest framework but the protagonist is flat and predictable. The stories are light, escapist fun, but we don’t gain insight into the world, or ourselves.
AI: Are your characters heroic?
LJB: Hell yes. Seriously, I love this framework and it fits my genres very well. In Shield of Honor (Sky Warrior Books, 2013), Edward de Clopton undertakes the quest in the guise of the Hundred Years War. He emerges battered, bloodied, and forever a different man. In Wolves of Valhalla (Sky Warrior Books, 2013), Thorolf Gierolfson moves from a deeply conflicted, self-loathing creature to acceptance and glory. Buy a copy today and see for yourself, and if you like those characters, you’ll love my new projects.
March 20, 2014
Villains (heh, heh, heh)
Author Insights: Are villains necessary?
L. J. Bonham: Villains and antagonists are crucial to any good story. Drama requires conflict, ergo the protagonist must have someone, or something, to struggle against.
AI: Do you like villains?
LJB: Oh yes, don’t we all? A good villain is often the most rewarding character to write. They are vessels for the author’s darker emotions and desires. You can do things through them that you would never consider doing in real life. Freud might call it taking your Id for a walk.
AI: Who are your favorite villains in literature or film?
LJB: Hans Gruber, the German terrorist/thief played so well by Alan Rickman in “Die Hard,” epitomizes the perfect villain. Gruber is smooth, intelligent, and even kind when it fits his purpose, but he is a ruthless sociopath driven to achieve his ends by any means. I’ve always thought cold calculation was more terrifying than blind, raging violence. A Hans Gruber can hold a story together by sheer force of will, whereas your basic mad dog killer runs out of gas early.
AI: Does a villain have to be human, or even alive?
LJB: No. Great villains are often not what we would consider intelligent life. Take “Doomsday Book,” by Connie Willis. The villain is a disease, the Black Death. It stalks the human characters with cold, unmerciful, and unpredictable menace. Connie handles it so well that you’re hooked until the very end.
AI: Can the villain be the hero?
LJB: Not entirely, although they can develop into the de facto protagonist, such as King Kong or Godzilla. A good villain has some qualities that elicit sympathy from the reader, but not so they become an anti-hero. The anti-hero is a different character type altogether and not a villain in my opinion.
AI: What is a “cooperative villain?”
LJB: That’s my term for a villain who is necessary to the hero’s mission. Hannibal Lecter in “Silence of the Lambs” is a classic case study. Jody Foster’s character must work with Hannibal to achieve her overarching goal: find the serial killer and rescue his next victim. However, Hannibal creates almost more obstacles for the hero than he removes. Like all good villains, he stays focused on his goal, and his cooperation is a constant conflict of mutual manipulation. He’s a memorable character because of his depth. Who really remembers the antagonist of the story, the serial killer, compared to Hannibal?
AI: So, who’s your favorite villain in your work?
LJB: It has to be Sir Alfred Tourmente in “Shield of Honor,” no question. He’s followed closely by his son, John, who graduates to full, no sh*t sociopath in the sequel, “Bond of Honor,” due out in early 2015 from Sky Warrior Book Publishing. Pick up “Shield of Honor” today on Amazon, B&N, or Smashwords. You’ll love to hate Sir Alfred.
L. J. Bonham: Villains and antagonists are crucial to any good story. Drama requires conflict, ergo the protagonist must have someone, or something, to struggle against.
AI: Do you like villains?
LJB: Oh yes, don’t we all? A good villain is often the most rewarding character to write. They are vessels for the author’s darker emotions and desires. You can do things through them that you would never consider doing in real life. Freud might call it taking your Id for a walk.
AI: Who are your favorite villains in literature or film?
LJB: Hans Gruber, the German terrorist/thief played so well by Alan Rickman in “Die Hard,” epitomizes the perfect villain. Gruber is smooth, intelligent, and even kind when it fits his purpose, but he is a ruthless sociopath driven to achieve his ends by any means. I’ve always thought cold calculation was more terrifying than blind, raging violence. A Hans Gruber can hold a story together by sheer force of will, whereas your basic mad dog killer runs out of gas early.
AI: Does a villain have to be human, or even alive?
LJB: No. Great villains are often not what we would consider intelligent life. Take “Doomsday Book,” by Connie Willis. The villain is a disease, the Black Death. It stalks the human characters with cold, unmerciful, and unpredictable menace. Connie handles it so well that you’re hooked until the very end.
AI: Can the villain be the hero?
LJB: Not entirely, although they can develop into the de facto protagonist, such as King Kong or Godzilla. A good villain has some qualities that elicit sympathy from the reader, but not so they become an anti-hero. The anti-hero is a different character type altogether and not a villain in my opinion.
AI: What is a “cooperative villain?”
LJB: That’s my term for a villain who is necessary to the hero’s mission. Hannibal Lecter in “Silence of the Lambs” is a classic case study. Jody Foster’s character must work with Hannibal to achieve her overarching goal: find the serial killer and rescue his next victim. However, Hannibal creates almost more obstacles for the hero than he removes. Like all good villains, he stays focused on his goal, and his cooperation is a constant conflict of mutual manipulation. He’s a memorable character because of his depth. Who really remembers the antagonist of the story, the serial killer, compared to Hannibal?
AI: So, who’s your favorite villain in your work?
LJB: It has to be Sir Alfred Tourmente in “Shield of Honor,” no question. He’s followed closely by his son, John, who graduates to full, no sh*t sociopath in the sequel, “Bond of Honor,” due out in early 2015 from Sky Warrior Book Publishing. Pick up “Shield of Honor” today on Amazon, B&N, or Smashwords. You’ll love to hate Sir Alfred.
March 12, 2014
Favorites
Author Insights: Who’s your favorite author?
L. J. Bonham: That’s a tough question, there’s so many ways to slice it. One can pick by genre, time period, etc., the possibilities are almost endless.
AI: How about modern authors?
LJB: Hemingway, definitely Hemingway. He’s crisp, to the point, zero BS. He was an adventurer and wrote from his experiences, unlike so many others who were wannabes and never left their drawing rooms.
AI: Pre-modern?
LJB: Bill Shakespeare, without hesitation. I can hear the groans from the gallery, but I don’t care. Next to the Greeks, he covered every aspect of human life. He transcends time. I doubt ninety-eight point seven percent of the authors who have followed will be remembered, let alone read, six hundred years after their deaths.
AI: What’s your favorite genre?
LJB: I prefer Techno-thrillers and Historical Fiction (of course) these days, but I’ve always enjoyed Science Fiction and Fantasy.
AI: Who do you like in those genres?
LJB: Tom Clancy invented the Techno-thriller for all intents and purposes. I’ve always preferred originals to imitators, although Vince Flynn took the genre and pushed its boundaries well. In Science Fiction I lean toward people like Bradbury, Orwell, LeGuin, Dalmas, Willis, and Heinlein. The field has so many good writers that it is hard to settle on just one. Fantasy: Tolkien, of course, but also M.H. Bonham, S.A. Bolich, and a few others.
AI: Do you read much Horror?
LJB: The lighter stuff, never been a fan of Slasher Fiction. It probably sounds odd, but I just recently picked up Jim Butcher’s first book. I thought his melding of the occult and detective noir pulp was very clever. I really prefer Suspense, such as Silence of the Lambs, over Horror though.
AI: Anything or anyone else?
LJB: I couldn’t end this interview without mentioning Michael Crichton. I’ve read all his work, even the obscure stuff. He was very influential for me and I was deeply saddened by his death. He wrote pop fiction but he was a tremendous talent and one damn smart guy.
L. J. Bonham: That’s a tough question, there’s so many ways to slice it. One can pick by genre, time period, etc., the possibilities are almost endless.
AI: How about modern authors?
LJB: Hemingway, definitely Hemingway. He’s crisp, to the point, zero BS. He was an adventurer and wrote from his experiences, unlike so many others who were wannabes and never left their drawing rooms.
AI: Pre-modern?
LJB: Bill Shakespeare, without hesitation. I can hear the groans from the gallery, but I don’t care. Next to the Greeks, he covered every aspect of human life. He transcends time. I doubt ninety-eight point seven percent of the authors who have followed will be remembered, let alone read, six hundred years after their deaths.
AI: What’s your favorite genre?
LJB: I prefer Techno-thrillers and Historical Fiction (of course) these days, but I’ve always enjoyed Science Fiction and Fantasy.
AI: Who do you like in those genres?
LJB: Tom Clancy invented the Techno-thriller for all intents and purposes. I’ve always preferred originals to imitators, although Vince Flynn took the genre and pushed its boundaries well. In Science Fiction I lean toward people like Bradbury, Orwell, LeGuin, Dalmas, Willis, and Heinlein. The field has so many good writers that it is hard to settle on just one. Fantasy: Tolkien, of course, but also M.H. Bonham, S.A. Bolich, and a few others.
AI: Do you read much Horror?
LJB: The lighter stuff, never been a fan of Slasher Fiction. It probably sounds odd, but I just recently picked up Jim Butcher’s first book. I thought his melding of the occult and detective noir pulp was very clever. I really prefer Suspense, such as Silence of the Lambs, over Horror though.
AI: Anything or anyone else?
LJB: I couldn’t end this interview without mentioning Michael Crichton. I’ve read all his work, even the obscure stuff. He was very influential for me and I was deeply saddened by his death. He wrote pop fiction but he was a tremendous talent and one damn smart guy.
March 6, 2014
The Brave Sir William
Author Insights: How did you develop such an unforgettable character as Sir William de Clopton in “Shield of Honor” and “The Debt”?
L. J. Bonham: Ah, the good Sir William, one of my favorites. He is central to a major theme in “Shield of Honor,” a son’s fight to emerge from his father’s shadow. Sir William is a composite character, I pulled elements from numerous historical figures and personal experience to create him.
AI: What’s Sir William’s core personality?
LJB: He’s a tyrant, obsessed with increasing his family’s wealth and prestige. Bold, cunning, and ruthless people have always occupied society’s top rung throughout history, and Sir William is the epitome of the successful medieval nobleman.
AI: He’s a villain then?
LJB: He’s a man, just a man, with strengths and weaknesses.
AI: Does he have any redeeming qualities?
LJB: Yes, many. He’s faithful to his cuckolding wife, devoted to his children, and steadfast loyal to his king. He’s fought and bled for his faith. Sir William is either a great ally or feared enemy depending on how he’s treated. He’s a pragmatic survivor in an age filled with constant intrigue and danger. He has the capacity to grow, albeit kicking and screaming at times.
AI: You say he’s just a man, does he make mistakes?
LJB: Numerous ones, like anyone else. Sir William came from humble, if noble, beginnings to become a wealthy, powerful man, sometimes by dubious means. The life altering decision he made in “The Debt” follows him into “Shield of Honor.”
AI: He sounds fascinating.
LJB: Sir William is a man of his time and a man for all times. Get to know him in “The Debt,” and follow his exciting adventures in “Shield of Honor.” You’ll be glad you did.
L. J. Bonham: Ah, the good Sir William, one of my favorites. He is central to a major theme in “Shield of Honor,” a son’s fight to emerge from his father’s shadow. Sir William is a composite character, I pulled elements from numerous historical figures and personal experience to create him.
AI: What’s Sir William’s core personality?
LJB: He’s a tyrant, obsessed with increasing his family’s wealth and prestige. Bold, cunning, and ruthless people have always occupied society’s top rung throughout history, and Sir William is the epitome of the successful medieval nobleman.
AI: He’s a villain then?
LJB: He’s a man, just a man, with strengths and weaknesses.
AI: Does he have any redeeming qualities?
LJB: Yes, many. He’s faithful to his cuckolding wife, devoted to his children, and steadfast loyal to his king. He’s fought and bled for his faith. Sir William is either a great ally or feared enemy depending on how he’s treated. He’s a pragmatic survivor in an age filled with constant intrigue and danger. He has the capacity to grow, albeit kicking and screaming at times.
AI: You say he’s just a man, does he make mistakes?
LJB: Numerous ones, like anyone else. Sir William came from humble, if noble, beginnings to become a wealthy, powerful man, sometimes by dubious means. The life altering decision he made in “The Debt” follows him into “Shield of Honor.”
AI: He sounds fascinating.
LJB: Sir William is a man of his time and a man for all times. Get to know him in “The Debt,” and follow his exciting adventures in “Shield of Honor.” You’ll be glad you did.
February 26, 2014
History vs. Historical Fiction
Author Insights: Should Historical Fiction be factually accurate?
L. J. Bonham: The short answer is, yes. Authors should strive for as much historical accuracy as possible, but it is inevitable that some little tidbit will be incorrect to one degree or another. I’ve found small errors in many authors’ work but most were not a distraction from their book as a whole. There is always an expert, either real or self appointed, who complains that an author did not mention a particular garment's thread count or some other such offense.
AI: Does history limit an author’s artistic freedom to tell a story?
LJB: History provides the framework, the premise for the story. If you are writing about the Hundred Years War, such as I did in “Shield of Honor,” you can’t have a character waltz on stage replete in Roman attire. You do have to stay in the period in question.
AI: Does an author have any license then?
LJB: You can’t change history in this genre, but if the facts are vague about an event you can treat it any way that makes sense for the circumstances and adds to the book's story. There are several accounts, none of them eyewitness, as to how the Duke of York died at the Battle of Agincourt. An author is free to put the available facts into the scene and then fill in the missing bits with plausible supposition. Take King Henry V’s death in 1422. The records indicate that he got sick and died, most likely from dysentery. It is thought that he suffered from Mega Colon which could have been the actual cause, a contributing factor, or no factor at all. An author can weave a very interesting plot around this and not violate historical fact. Historical Fiction is just that, fiction. If you want just the facts there any number of dry history texts available, but they won't keep you enthralled and turning the page all night. An author’s mission is to tell an interesting story and sometimes history needs a kick in the pants.
L. J. Bonham: The short answer is, yes. Authors should strive for as much historical accuracy as possible, but it is inevitable that some little tidbit will be incorrect to one degree or another. I’ve found small errors in many authors’ work but most were not a distraction from their book as a whole. There is always an expert, either real or self appointed, who complains that an author did not mention a particular garment's thread count or some other such offense.
AI: Does history limit an author’s artistic freedom to tell a story?
LJB: History provides the framework, the premise for the story. If you are writing about the Hundred Years War, such as I did in “Shield of Honor,” you can’t have a character waltz on stage replete in Roman attire. You do have to stay in the period in question.
AI: Does an author have any license then?
LJB: You can’t change history in this genre, but if the facts are vague about an event you can treat it any way that makes sense for the circumstances and adds to the book's story. There are several accounts, none of them eyewitness, as to how the Duke of York died at the Battle of Agincourt. An author is free to put the available facts into the scene and then fill in the missing bits with plausible supposition. Take King Henry V’s death in 1422. The records indicate that he got sick and died, most likely from dysentery. It is thought that he suffered from Mega Colon which could have been the actual cause, a contributing factor, or no factor at all. An author can weave a very interesting plot around this and not violate historical fact. Historical Fiction is just that, fiction. If you want just the facts there any number of dry history texts available, but they won't keep you enthralled and turning the page all night. An author’s mission is to tell an interesting story and sometimes history needs a kick in the pants.
Author Insights with L. J. Bonham
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