Showing posts with label speculative fiction. Show all posts
Showing posts with label speculative fiction. Show all posts

Sunday, October 23, 2011

[Interview] P. J. Hawkinson

P. J. Hawkinson lives in Kansas in the United States.

She is the author of Half Bitten (Trafford Publishing, 2010).

Working with Karen Wodke and writing as Wodke Hawkinson, P. J Hawkinson is also the co-author of books that include Catch Her in the Rye: Selected Short Stories Vol. I (CreateSpace, 2011) and Blue: Selected Short Stories Vol. II (Smashwords, 2011).

In this interview, P. J. Hawkinson talks about her concerns as a writer:

How would you describe the writing you are doing?

Karen describes our writing as "a fictional smorgasbord." I agree with her and would like to add that readers can sample our variety of genres in both Catch Her in the Rye and Blue.

Who is your target audience?

Betrayed will be for mature audiences while our short story books and Tangerine would make good reading for readers from young adult to senior readers.

The audience we write for is the one we ourselves fit into. However, in the near future, we plan to write some short stories for older children and possibly even put out a most unusual novel.

In the writing you are doing, which authors influenced you most?

I like to think that the influence comes from within; from personal experiences and observations. Then, of course, Karen and I take these and twist them beyond recognition. But, after reading too many authors to record here, I will admit that many ways of writing twine together to become my way.

No matter what a person reads, experiences, or sees, something stays behind to become a part of you. It may not be something you would ever believe, but everything we do and say was learned from someone or something.

How have your personal experiences influenced your writing?

Actual events from my own life rarely enter my writing.

I did, however, take a house that Karen, I, and another friend of ours had the opportunity to explore as teenagers and slip it into Half-Bitten. It went through quite a metamorphosis but it began from my memory.

What are your main concerns as a writer?

We are working hard to build an audience, a following, but even if it never comes, I can’t imagine not writing.

Do you write everyday?

Rarely does a day go by that I don’t write something. When not actually writing, I am observing. I have a recorder that I make notes on so as not to forget ideas that might formulate themselves into a masterpiece.

My sessions can begin at any time and any place. I work on a laptop, usually at the dining room table, where I can gaze out the patio doors and watch the birds at my hand-painted bird houses, the rabbits frolicking in the yard or being chased by the big yellow cat from next door, and even an occasional hummingbird.

How the session proceeds really depends on what project needs attention. It never ends; things simply get put on hold until I can step back into the time and place I left earlier.

How many books have you written so far?

In Half Bitten (Trafford Publishing, 2010), teenager Trudy Purdy, a self-described 'plain Jane', is attacked by the boy she considers her boyfriend and three of his buddies. They leave her for dead on a deserted beach where she is found by a roving band of vampires. Trudy begins to feel a new power growing within and decides to use this power to exact revenge on Tray and his friends. She wields her newfound strength, gained by drinking the blood of others, to plot the 'accidental' deaths of the boys who had brutalized her. As she systematically destroys her attackers, she realizes she is changing and seeks answers to the unsettling questions surrounding her new powers and how it will transformation the rest of her life.

And, writing as Wodke Hawkinson, I co-authored Catch Her in the Rye, Selected Short Stories Vol. I (CreateSpace, 2011) and Blue: Selected Short Stories Vol. II (Smashwords, 2011).

When did you start writing?

I never really wrote anything, other than helping Karen with silly stories while in high-school, until I wrote Half Bitten in 2010.

After reading the True Blood and Twilight series, I had the idea to write a different type of vampire book and found writing easier than I would have imagined.

I contacted Trafford Publishing and they published Half Bitten for me.

What advantages or disadvantages did your choice of publishers present?

I received 40 soft covers and 40 hard covers along with a number of bookmarks, business cards, and postcards. I was provided no list as to who to send the postcards to and found the prices of their promotion packages to be beyond my means.

After beginning to write with Karen we tried to get traditional publishers but met rejection after rejection, usually due to the fact that we had no agent.

Karen discovered self-publishing options that met our needs and we went live with Catch Her in the Rye a few months ago.

Promotion remains a problem, but Karen is the perfect co-author and plugs our book in as many places as possible and as often as possible. Working full time, I can’t contribute as much time as I’d wish, but I try to do my share.

We decided to initially publish with CreateSpace and first released Catch Her in the Rye as both a soft cover and a Kindle version. Karen next discovered SmashWords which will format e-books for many e-readers and we released Blue on SmashWords and then also on CreateSpace for the soft cover version.

Related books:

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Wednesday, August 10, 2011

[Interview] John Trevillian

Freelance writer and journalist, John Trevillian is the creator and designer of AEs Mail Adventure, an award-winning interactive writing game. He is also head of the AEs Society, an international group of shared-world authors and writers.

In 2009, he was a finalist in the YouWriteOn Book Awards.

His books include The A-Men (Matador, 2010), The A-Men Return (Matador, 2011) and Forever A-Men (which is due out from Matador in 2012).

A full and unabridged podcast of The A-Men is available from libsyn and iTunes.

In this interview, John Trevillian talks about his writing:

When did you start writing?

My mother was given a Smith-Corona typewriter and she let me play on it from the time I was four. By six I’d typed my first (four-page) novel based on the adventures of a crazy professor (more than a little stolen from the Professor Branestawm books by Norman Hunter). I’d even left spaces for illustrations that I coloured in afterwards. No wonder I ended up with a career in magazine publishing.

When I started writing, writing was all I wanted. It wasn’t until finishing my second novel did I really and seriously think that anyone would pay to read this stuff. There’s a term ‘hedge druid’, ie one who works alone. That’s been me up until about six years ago. I’ve written over two million words of fiction (including two interactive soap operas, five novels, many travel journals, poems and songs) but it was all for myself and a close knit group of friends and shared-world authors. For me writing is the journey, not the publishing.

How would you describe your writing?

Down-and-dirty neo-punk speculative fiction. Yet it’s far from being ‘big and dumb’. Dig deeper and you’ll find these are stories about the fundamentals of belief, happiness and the eternal quest to solve life’s mysteries.

Who is your target audience?

Adult science fiction and fantasy readers, video games players and lovers of future noir literature and films.

Which authors influenced you most?

Strangely, mostly non-science fiction ones. For fantasy, Stephen Donaldson. For contemporary, Jack Kerouac, William Peter Blatty and Bret Easton Ellis. For horror, Peter Straub. For science fiction, I’d have to say Richard Morgan and William Gibson.

Have your personal experiences influenced your writing in any way?

Only the relationships part, but my studies in world storytelling is key to The A-Men books-within-books ideas.

What are the biggest challenges that you face?

My biggest challenge is getting the ideas from my head and into the story without losing the original seed. For all their fast-paced action, the core ideas are quite complex and take a lot of subtle organization to get right.

For example, I re-wrote the first 70,000 words of the original novel three times before the motivations of the five main characters all felt natural at the point where all their paths cross. I have a good editor who points out all the missing exposition that I should have put in ...

Do you write everyday?

Since the first novel was published an increasing amount of time has been spent editing and marketing, but I’m hoping to get back to writing in the near future.

As I have a full-time career in magazine publishing with a long commute, I write usually on a Sunday and then edit via laptop on the train into work. It’s a hard juggling act, but it helps I have my own space to lock myself away in at home.

How many books have you written so far?

The A-Men series (comprising The A-Men, The A-Men Return and Forever A-Men) have been written with a publishing schedule of 2010, 2011 and 2012 respectively.

They are all published by Matador in the UK and available online in hardcover, Kindle and ePub from the usual places. Or directly from my website.

The latest book is The A-Men Return and was actually the first book written in the cycle. This is no trilogy padding second novel, but the core of the story arc. It took close to three years to complete as I had no deadline and lots of ideas to wade through.

The most difficult aspect when writing The A-Men is the sustaining of the different first-person voices of the five main characters. This kind of literature demands realistic narrative voices and is very different from most of the other writing I have undertaken so far.

To get the street slang voice of the main protagonist The Nowhereman, I read a lot of Kerouac and other 1940s noir novels, then drank lots of Jack Daniels and just let it flow. Once I had the voice, I finally managed to devise a way to tap into that “inner Jack” without the alcohol.

Which aspects of the work did you enjoy most?

The most enjoyable aspect of the trilogy was planning the faerie story underpinning the science fiction post-apocalyptic narrative. I had a notion once that wondered what would happen if in the ruins of civilization someone dug up a copy of The Lord of the Rings and thought it was real history. The A-Men is like that. It takes that idea and runs with it, all guns blazing.

What sets The A-Men apart from other things you've written?

All my novels are about belief, and how this one aspect makes or breaks our lives. That seems simple, but it’s taken me a long time to see and realise it.

The A-Men is very different from my previous writing. The first was an epic fantasy called The Mortal And His God, which will never see the light of day (but which I am rather fond of).

Another was a contemporary horror story called Cutter’s Wood. Both these works have areas on my website for the curious.

What will your next book be about?

The third of the trilogy is Forever A-Men which will be launched in March 2012. This completes the story cycle with a wild ride into the left-field that should be a surprising complement to the previous two novels. It’s also my favourite as the characters have suffered so much, and we have suffered with them, that the raising of the stakes for the end-game is really satisfying.

What would you say has been your most significant achievement as a writer?

Weirdly, it wasn’t publishing. I’d say it was actually finishing the first draft of my first novel. The sense of achievement to have a completed story was really something.

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Tuesday, August 2, 2011

[Interview] Tahlia Newland

Australian writer, Tahlia Newland has worked as a high school teacher and as a dance, mime and mask performer.

She has also written novels, scripts for theatre and short stories for children and adults.

In this interview, Tahlia Newland talks about her writing:

When did you start writing?

In 1997, I began writing a series of children’s stories for my daughter (then 4 years old), but I didn’t think much of them, so I stopped. When the inspiration for my present YA series hit in 2007, I started again and couldn’t stop. Scenes from the story kept leaping into my mind demanding to be written, so I wrote.

Fairly early in the process of writing Lethal Inheritance, after some positive feedback on the story by an industry professional, I realized that the story was good enough and that if I could write it well enough, then I might be able to get it published.

As time passed, I became more and more determined to make it good enough. I had put so much work into it that I didn’t want that work to be wasted. I also discovered how much I loved writing and I knew that readers would enjoy the story and love my characters as much as I do.

I wrote passionately. I studied what made good writing, mostly via the web and library books. I revised and revised. I had a manuscript appraisal and worked on the weak parts, and I developed the ability to objectively criticise my own work. I also studied the publishing industry and researched how to make submissions, write a query letter, a synopsis and so on.

I sent submissions to every agent in Australia who was open for them, and by the time I was rejected by most of them, some of the others had opened their books, so I sent submissions to them too. It was in the second round of submissions that I got my agent.

Which authors influenced you most?

Garth Nix in his Old Kingdom trilogy and Stephanie Meyer.

I loved the drama in the Old Kingdom trilogy and the way Garth used of the third person to look into the minds of a variety of characters.

Stephanie showed me how far I could go with the love story and that the beauty of keeping language simple is that more young people can read it easily.

How have your personal experiences influenced your writing?

My personal experience of working with my mind has directly influenced this series, and my interest in eastern philosophy is reflected in the world view of the Warriors and the hidden realm in which the story in Lethal Inheritance takes place.

What are your main concerns as a writer?

Mind, perception, the nature of reality and dealing with emotions as well as writing well enough to do my ideas justice.

I work at improving my understanding of what makes good writing, and constantly evaluate and revise my work in the light of this.

Do you write everyday?

Yes, I write everyday unless I have finished a project and haven’t started a new one. Even then I am likely to write something for my blog or maybe play around with a short story.

When writing, I begin by re-reading what I wrote the day before and making changes where necessary, but I don’t spend too much time on it.

Then I write whatever scene is uppermost in my mind. It won’t always be what comes next in the timeline of the story.

I end either when the scene is satisfactorily completed, or when I have to eat, cook, sleep or tend to the family.

How many books have you written so far?

Lethal Inheritance is finished and my agent is in the process of sending submissions to publishers.

I have written the second drafts of the following three sequels: Stalking Shadows, Demon’s Grip and Eternal Destiny.

How would you describe your writing?

Modern day fantasy with strong urban elements.

What would you say Lethal Inheritance is about?

When demons kidnap her mother, Ariel is catapulted into a mysterious realm in a hidden layer of reality. Stuck on a rescue mission she doesn't want, she must negotiate an intriguing and unpredictable world where demons who feed on fear are hunting her, and they’re aiming to kill.

She needs help fast, but can she trust the quirky old guide who says he can teach her how to fine tune her mind into a powerful weapon? And what is this volatile energetic connection between her and Nick, her enigmatic traveling companion?

How long did it take you to write the book?

Three years, but I also did the second draft of the other three books in that time as well.

Who is your target audience?

Young Adults (roughly 14+) and Adults who like the freshness and romance of YA fantasy.

What motivated you to start writing for this audience?

My daughter was 14 when I started writing, and I love that age group; they’re funny and sophisticated but still fresh. It’s an exciting age when everything seems possible, and it’s an age when stories of empowerment are very important, especially for young women.

Which were the most difficult aspects of the work you put into Lethal Inheritance?

I loved it all, but it was difficult at first to know if the idea was good enough to be worth pursuing. I was also terrified of it not being good enough, which made early criticism difficult.

I dealt with this by working at becoming a better writer and I got a well-respected industry professional to do a manuscript appraisal. When the appraisal came back with rave reviews, I had the confidence to really get stuck into it.

Which aspects of the work did you enjoy most?

I enjoy it all, but I love the initial writing when you immerse yourself in the fantasy world and get to know the characters. It’s a very magical time.

I also love it when the characters surprise you and when something new comes up during the revision process.

What will your next book be about?

Stalking Shadows will tell us what happens next for our heroine Ariel and her companion, Nick as they make their way up Diamond Peak in search of Ariel’s mother and the Master Demon.

Their challenges will require them to work with overcoming arrogance and jealousy; the dividing lines between friendship, love and intimacy; sorting out allegiances and re-defining opinions.

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Monday, July 11, 2011

[Interview] Jason Kahn

Jason Kahn lives in Park Slope, Brooklyn and works as a medical editor for a New York-based cardiology research foundation.

He is the author of works that include the e-book, The Killer Within (Damnation Books, 2009) and the blog novel, Dark InSpectre.

His short stories have been featured in anthologies that include The Best Of Gryphonwood 2007 (Gryphonwood Press, 2007); Strange Stories of Sand and Sea (Fine Tooth Press, 2008); Christmas Fear (Static Movement, 2010) and Best Left Buried (Static Movement, 2011).

In this interview, Jason Kahn talks about his writing:*

When did you start writing?

I was headed toward a journalism degree my second or third year in college, so I knew then that I wanted to be a published writer. But it wasn't until the summer after my senior year that I discovered I wanted to be a writer. I'd been reading sci-fi/fantasy books since I was a kid, and during my senior year, my then-girlfriend, now-wife, said to me, "Hey, why don't you write one of those?"

Incredible as it may seem, the thought had never occurred to me before.

That summer I started writing, and haven't stopped since.

I began by writing a couple of novels. I had no idea what I was doing and they turned out to be way too long and extremely over-written. But I slowly revised and revised, and got them pared down to pretty decent shape. But then, after several rejections, I turned to the short story market.

It wasn't until I submitted a short story to Jim Baen's Universe that I really learned the craft of writing. The comments and feedback I received there were invaluable. I learned more about writing in a few months than I had in several years. That's where I got my first (and thus far only) professional short story sale, for a story called "Devil May Care".

Since then, I have had other short stories published in various places, and am continuing to write.

How would you describe your writing?

My current writing is best classified as dark, paranormal crime fiction. It's a series being produced by Abandoned Towers Magazine called Dark InSpectre. I'm writing episodes that are posted every two weeks.

Here's the blurb for the story:
In a near-future society where 'normals' fear and mistrust those with telepathic ability, Jack Garrett leads a special police unit of telepaths with the unique talent of contacting the psychic awareness of the dead.

Seven years after solving a notorious murder spree that culminated in the killing of his best friend's daughter, Jack starts receiving visits from the murdered girl. Determined to follow her paranormal clues, Jack uncovers a web of police corruption that threatens to end his career and his life the closer he gets to the truth.
As of my writing this, there are still five episodes left in the current story arc, but they've already been written.

I've already started writing the next story arc for Dark InSpectre, which I'm very excited about.

Who is your target audience?

My target audience always starts out with myself. What story would I like to read?

Hopefully, the story matches up with other demographics.

In general, I'd say I write for people age 16 and up, since that's my general frame of reference.

Which authors influenced you most?

Many, many authors have influenced me: Raymond Feist, J. R. R. Tolkien, Ursula K. Leguin, Anne Bishop, Patricia McKillip, Steven Brust, Katherine Kurtz, Sheri Tepper, Fritz Leiber, David Eddings, Stephen Donaldson, Michael Moorcock, Neil Gaiman, and James Ellroy to name a few.

Early on, I would say Feist and Eddings influenced me the most as I tried to write fantasy-adventures, but lately, much more Ellroy as I've been writing more noir crime fiction.

I read several detective fiction authors as I worked on Dark InSpectre ... Raymond Chandler, Peter Lovesey ... and then I read James Ellroy ... The Black Dahlia, L.A. Confidential, and many more ... I wasn't prepared, my mind exploded ... I could not put them down ... The first-person narrative style he uses in some of his novels and the way he illuminates the darkness that dwells the souls of his protagonists is very compelling. And his prose hits you like a hammer.

Have your personal experiences influenced your writing in any way?

My personal life has influenced my writing in both subtle and obvious ways.

First there were a few things from my childhood. On the positive side, a young friend of mine was instrumental in introducing me to sci-fi and fantasy books, which I read avidly and which formed the foundation and reference frame from which I write.

The negative side can best be summed up by the following anecdote: One day in fourth grade, the books we ordered through Scholastic came in. The boy who sat at the desk across from me took one look at the book I had ordered and said: "Jason, you're always reading such weird stuff!"

And it wasn't in a nice way.

That book was War of the Worlds, by H.G. Wells. I got this sort of reaction quite a bit, and it made me somewhat self-conscious about my reading preferences, which carried over to my writing, and still does to this day.

A way in which my personal life influenced my writing in an overt way derived from my inspiration for the Dark InSpectre series. It sprang from a dream I had, which turned into the first scene of the story. It involved the psychic ghost of a dead girl leading the main character, a telepathic cop (me in my dream), into a room with four prisoners (brothers) encased in blocks of semi-translucent material.

Yes, I know, very strange dream. But more important than the actual scene was the mood. It was futuristic and very dark and brooding.

I mulled over my dream for about a month as I wound a story around it. I saw it as a cross between L.A. Confidential and the psi-core of Babylon 5. And at heart it was a hardboiled crime thriller.

What are your main concerns as a writer?

My main concern, as always, is to tell a good story, no more, no less. Whether it's a high fantasy or a dark, sci-fi piece.

An idea will pop into my head and I've got to get it out and onto paper. Sometimes it will be pretty quick, sometimes it will take much longer.

It usually starts with the all-powerful "What If?" question. Then I flesh it out, saying, "Wouldn't it be cool if this happened?", "And then that?"

Pictures form in my head, and I try and relate them as faithfully as possible through words.

Each story is different, but the goal is the same. To provoke that indefinable wow! by the end of it. To transport the reader for a brief time and take them on a journey, whether to somewhere dark and scary or bright and airy, and to give them a hell of a ride while they're there.

What are the biggest challenges that you face?

I'd say the biggest challenge is finding the time. Both to write and to just think about a story, to work it out in my head. I'm a news editor by day, and my job is extremely busy. I'm also a husband and father of two boys in elementary school.

I'll write whenever I can, but long stretches can go by during which I'm not writing. It can be very frustrating.

I go on business trips about four times a year, and I find that I can get a lot of writing done on the plane if I'm traveling by air. It's great getting a few hours of uninterrupted writing time during a flight.

Sometimes the writing itself can be hard. Not the "big scenes," those are usually pretty well thought out. It's the little scenes, the transitions, the mundane stuff. That can be extremely hard for me to write.

Do you write everyday?

I don't write every day. I wish I could, but time unfortunately does not allow. I write whenever I can.

A session will start with me at my computer, either at home or somewhere else (like with my laptop at my older boy's karate practice, for instance) and me typing away.

I'll review the last section I wrote and try and push on.

Either I've got the scene worked out already, or I have to muddle through, seeing where the story leads.

I'll stop when I have to due to time constraints, or if I'm at a natural breaking point.

How many books have you written so far?

A short story of mine, The Killer Within, was released in September 2009 as an e-book by Damnation Books. It is a paranormal crime thriller.

In terms of other fiction, the Dark InSpectre series is currently running, as mentioned above.

In addition, I have a fantasy short story, "Cold Comfort", coming out in the print version of Abandoned Towers Magazine in May 2010.

How would you describe The Killer Within?

For The Killer Within, here's the blurb:
When Metro City's number one crime family develops a drug that turns ordinary people into mindless assassins, detective Frank Arnold makes it his mission to bring them down. But things take a turn for the worse when the syndicate targets someone in the police department to carry out their next hit. Everyone's under suspicion, including Frank himself as he tries desperately to crack the case before his time runs out, permanently.
I chose the publisher because the story seemed like a good fit in terms of the genres Damnation Books was interested in. The whole electronic book concept, though, is pretty new to me.

The Killer Within is not available in print. It's solely an e-book that can be purchased from Amazon and a whole host of other e-book distributors. But do people really buy or read short stories as e-books? I honestly have no idea. I thought it was worth a try and was an interesting avenue for my work.

Which aspects of the work you put into the book did you find most difficult?

The only difficulty was finding the time to write, same as with any of my stories. Most of the time I deal with this by writing after my kids go to bed.

Unfortunately, this makes for some very late nights.

The Killer Within predates the Dark InSpectre. It represents my first foray into noir, crime fiction. I found it immensely enjoyable to get into the hardboiled detective mood and voice. I can't really explain it, it's just a lot of fun to write in that genre.

What sets the e-book apart from other things you've written?

Most of my writing has been fantasy or science fiction. The speculative element in The Killer Within barely qualifies as sci-fi. It's almost purely a crime fiction story.

The Killer Within is similar to the Dark InSpectre in that they're both hardboiled crime stories, but the Dark InSpectre is darker with a much more sci-fi angle.

What will your next book be about?

I have many other short stories on submission that I'm waiting to hear back about.

I can say, though, that the next story arc for the Dark InSpectre will involve a direct threat to Jack's unit and a drug that only affects telepaths.

*This article is based on an email interview with Jason Kahn which took place in June 2010.

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Saturday, June 18, 2011

[Interview] Max Gladstone

Max Gladstone lives, works, and writes in Cambridge, MA. He is the author of several novels which include Three Parts Dead, which is currently out on submission.

His short stories have been featured in magazines that include Space Westerns and On The Premises as well as in the anthology, The Book of Exodi (Eposic, 2009).

He also administers the blog Two Guys, Three Hundred Poems, where he publishes and comments on translations of the anthology of Tang poetry known as the 300 Tang Poems.

In this interview, Max Gladstone talked about his writing:

When did you start writing?

I began writing before I actually knew how to put letters together -- just a bunch of scratches filling my parents' old notebooks, one line at a time -- but if you mean writing stories, it started with a very simple vampire story typed out on an old suitcase Remington in my closet at the age of five or six.

From there, it was a short skip and a jump to wanting to be a published writer: I realized as soon as I started reading books that were worth remarking upon that I wanted to respond to the ladies and gentleman I had read, and the best way to do that was to write books of my own.

How would you describe the writing you are doing?

In terms of genre, I write mostly in what John Crowley would call the genres of romance: science fiction and fantasy, with a bit of mystery thrown in.

I'm concerned about the degree to which American fantasy fiction concerns itself with the same issues as English fantasy fiction. It seems to me that we should be trying to do something different, and I've been trying to reach towards that.

I've spent the last year or two reading a lot of American fiction and trying to develop the voice in my writing. It's a very strange exercise, something like practicing Taiji Quan, where you have to be very conscious of the words you're writing and what they mean.

Who is your target audience?

I try to write for all intelligent people who like awesome stories.

Roger Zelazny has been an immense influence since I was a child, and a lot of my initial sense of the poetry in speculative fiction comes from him.

I also loved LeGuin's Earthsea books; her dragons are some of the best realized creatures (monsters? beasts? people?) in fantasy.

John Crowley's Little, Big has also molded the way I see fiction, though I didn't discover that particular masterpiece until college.

Recently, I've found non-genre authors the most moving and influential: Mikhail Bulgakov, Salman Rushdie, and Toni Morrison on the slightly slipstream side, and [William] Faulkner and John Steinbeck on the more traditional side.

East of Eden and Absalom, Absalom are particularly amazing, though in different ways.

How have your personal experiences influenced your writing?

Every writer is shaped by his personal experience, whether he admits it or not. I try to avoid directly copying events from my life into fiction, but my experiences in Asia (I lived in China, traveled in Mongolia, Cambodia, Thailand and Japan), and my travels in Europe and out west in the United States as a child gave me a wealth of experiences that are endlessly valuable in my work.

Bits of truth about life in China, and about the history of suffering there, show up from time to time in my work that's not set anywhere near China, for example. Certainly my sense of the pleasures and occasional torments of village life come from my experiences in China, and my students' discussions.

What are your main concerns as a writer?

My main concern, honestly, is that it's quite difficult to make a living as a writer, and that in the context of a full-time job I won't find time enough to get serious work done. So far I've tried to fight that with a rigorous writing schedule, and had some success.

My biggest challenges arise when the obligations of life get in the way of doing real, capital-W work, without being a huge loser to my family and friends. As far as challenges go, these are pretty simple, I guess.

I once met a farmer in rural China who made 100 kuai a month (about $12.50) from his crop; I said that seemed a very small amount and he said it was fine, that he made a lot less during the Cultural Revolution. He's been through challenges far greater than any I've faced in this life, and there are still tons of people in the world worse off than him.

Do you write everyday?

I write every day, though I don't have a set habit. I have an extremely portable word processor (an AlphaSmart Neo, if you're interested), that I carry with me while I'm writing, and if I have a few minutes I sit down and slam out a few sentences, a paragraph, a thousand words. The one-track mind is a great help to me there.

I've written several novels, one of which I'm submitting to agents as I write this; none of these have been published, though I have published a handful of short stories in small presses and magazines in the last two years: one short story of espionage and assassination, one about a group of Martian rebels, one about a dream-space-Viking invasion of Miami, and one about the travails of a Chinese doctor who discovers the secret to re-animating the dead (some of the time), all of which are linked off my website.

This year I'll be collaborating with Alana Abbott on a serial novel about fairy politics, gladiatorial combat, and political rebellion called Blood and Tumult, which should start appearing in fall on Baeg Tobar.

What is your latest book about?

My latest book is a sort of legal procedural with necromancers; it took me the better part of six months to write, and is currently in the submission stage of its life.

Which aspects of the work you put into the book did you find most difficult?

The query letter and plot synopsis were the most difficult parts of the writing process, though I did finally get the hang of them.

Essentially, you have to distill the book you've written to a few sentences. The problem is, if you could represent adequately your book in those few sentences you wouldn't have written a book, you'd have written flash fiction. So then you think about it as an exercise in marketing and flash fiction, and it's (mostly) okay. Of course, the success of that method remains to be seen -- fingers crossed!

Which aspects of the work did you enjoy most?

I enjoy writing the most. Putting one word in front of the other is great, especially when you feel that they're good words.

Revising is second-best. It's like whittling, only you're whittling your own child. Maybe it's more fun than that sounds.

What sets the book apart from other things you've written?

Each of my books (and each of my pieces of short fiction, for that matter) have come out of different inspirations, and have been written in states of obsession with different topics. While writing this one, I spent a lot of time thinking about neural networks, religion, evolution, and finance, for example; previous books have been more concerned with Go, or with Genghis Khan.

I hope readers would say that all my books have interesting, well-defined characters, and a driving plot that consists of many wheels within wheels.

What will your next book be about?

The next project is going to be Blood and Tumult, an exciting project that I'm collaborating upon with Alana Abbott. I'm looking forward to collaborating with someone so experienced on such an interesting property as Baeg Tobar.

What would you say has been your most significant achievement as a writer?

So far, I'd say my most significant achievement as a writer has been persisting. Writers write, finish what they start, revise endlessly, and move on to the next project. That way (I hope!) the best story is always the next one.

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Wednesday, April 20, 2011

[Interview] Dylan Birtolo

Dylan Birtolo is the author of two novels, The Shadow Chaser (Inkwater Press, 2004) and The Bringer of War (Lulu, 2008).

He is also the co-author of Colonial Gothic, a role-playing game and has short stories that have been published in places that include the anthology of short stories, Ransom (Athor Productions, 2008)); the multi-media epic fantasy setting,  Baeg Tobar; and the e-zine, The Edge of Propinquity.

In this interview, Dylan Birtolo talks about his writing:

When did you start writing?

I started writing back when I was in third grade and we had to write out our stories in cursive writing on paper with the one inch margins drawn on them. I actually still have the very first story that I ever wrote. It was required to be one page long and tell a story, mine was 17 pages. At this point, I knew that I wanted to be a storyteller and share stories with people.

Ever since then, I have always been telling stories in many formats - writing, orally making up stories on the fly, running tabletop role-playing games. It didn't matter to me how I was telling the story, as long as these stories were getting out there.

I think it was high school when I decided that I wanted to be a published writer. This had absolutely nothing to do with wanting to make it a vocation, but solely was based on the fact that I knew I could share my stories with more people if I wrote them down in books. Plus, I just thought it would be wonderful to hold a book in my hands with my name on the cover.

Over the next several years, I tried a couple of ideas for a book, deciding to go right for that rather than try to get some short fiction published first. It wasn't until I was two years out of college that I stumbled upon my first idea for a novel that would turn into a full-fledged book. I shopped it around and tried to find both an agent and a publisher who might be willing to bite on it. It was a few years after that when I found a small publishing press that was willing to publish my first novel. From there, once it was done, I started trying to figure out how to market it and going to cons to meet other writers, editors, and publishers. The irony is, now I am getting into short fiction more after I published two books, rather than the other way around which is more standard.

How would you describe your writing?

Is frenetic an acceptable answer? Seriously though, I am writing a lot of short fiction currently and some game fiction. Everything that I write is fantasy based, and usually has a bit of a darker tone to it than most sword and sorcery fantasy.

I also write a fair amount of urban fantasy where I take the modern world and throw a twist into it that changes it significantly. I have submitted several short pieces for consideration into multiple, different anthologies at this time and am waiting to hear back about whether or not my stories are accepted.

I recently completed a contract for the game called Colonial Gothic. This was a cooperative effort between myself and another writer where we wrote letters from one character in the game world to another.

Most recently, I have been working with the creators of Baeg Tobar to create some short fiction that highlights pieces of their world that ties into their graphic novel, The Torn God.

Who is your target audience?

Honestly, my true target audience consists of my Beta readers and myself.

I try to create stories that I know that I would enjoy reading. I find that my writing is much more exciting if I am excited about creating it. Other than that, I do have a handful of friends that are my beta readers - a collection of about 10 people who read just about everything that I consider sending out. I like hearing their feedback and knowing that they enjoy the stories that come out of my head. This has expanded to the point that I now write for people who have read my current books and stories and want to read more.

Going to the same conventions year after year enables me to see the same friends and fans each year. I love to have new things to share with people who enjoy what I create and hunger for more. I have never actually written a story for a specific audience in terms of a certain age bracket or type of person.

In the writing you are doing, which authors influenced you most?

The strongest influences on my writing always go back to C. S. Lewis and J. R. R. Tolkien.

Specifically, the books the influenced me the most were The Chronicles of Narnia, The Lord of the Rings series, and The Hobbit. These books influenced me the most because of the fact that these are the ones that I grew up on.

The story in my family is that the first book I ever read was actually The Lion, The Witch, and the Wardrobe. Of course I wasn't actually reading the book - I just had requested my mother to read it to me so often that I knew the first chapter or so by heart and would "read along". It still makes for a good story. But, these are the books that I have read the most. No matter which fantasy authors I read, every few years, I come back to read these series.

There are several authors I have read since then that I have enjoyed and think are wonderful, but those two definitely form my core influence.

I will say that the two authors that have had the most influence on my style, versus my content, would be Stephen King and Alan Lightman.

Stephen King's book On Writing is the best book I have ever read to improve my craft. With Alan Lightman, I was incredibly lucky to have him as a creative writing instructor. Not only did he improve my writing quality, but I also owe him for keeping me interested in writing. I can honestly say that if I didn't take his class, I would probably not be a published writer at this point in my career.

How have your personal experiences influenced your writing?

Personal experiences are key to writing, and I am no exception. I am a firm believer that you can only write what you know. Once you have experienced things, it gives you a very different perspective and enables you to write about it in a way that makes it more believable and put in details that you might otherwise miss.

I always try to incorporate my experiences into my writing, and at the same time, seek out experiences that fit with the type of stories that I write. That's why I picked up martial arts and horseback riding at first. I stay with them because I love them, but I wanted to know what it was like so that I could bring that to light in my writing. And let me tell you, it is very different to talk abstractly about wearing armor and getting on a horse and actually doing it. I think that having this knowledge and experience enables me to put in a lot more minor details and make my stories more believable. Hopefully this makes them more entertaining as well.

What are your main concerns as a writer?

My biggest concern as a writer is whether or not the story that I am writing is going to be both enjoyable and clear to read. If I am not writing something that is fun to read, then there is not much point in putting the time to put fingers to keys.

The biggest problem that I have with this is my internal editor - where I will rewrite the same sentence multiple times trying to get it just right. The biggest way that I deal with this is I learn not to listen to the editor - to pound out that first draft and stay excited about it. I find that if I just keep writing my first draft, my energy and excitement stays up, which usually keeps the story moving along at a steady and enjoyable pace. I can always do the editing after the entire first draft is complete.

What are the biggest challenges that you face?

The biggest challenge is getting my writing out there.

Personally, I do not have problems with the writing, and while I don't enjoy the editing, I think I do a decent job at it. Even if I don't, I do have a couple of friends who are good at editing and are more than willing to read through my material.

However, getting my writing out there is a problem that has no simple solution. With short fiction, I need to find someone willing to buy a story. With books, even if you have the best book in the world, it doesn't do any good if no one knows about it.

I deal with the problem in two different ways depending on whether we are talking about short fiction or novels, because they really are two different beasts.

With short fiction, I find that getting the fiction accepted in a reputable market is the hardest part. True, you can publish it on your own website for free, but then you are left with the problem of getting people to your website and convincing them to spend the time to read your material. If they do not know you and you don't have a reputation, I feel like the odds of this are significantly small. Instead, what I choose to do is write short pieces for markets that already have a fan base. This can be something like monthly e-zine like The Edge of Propinquity, the graphic novel and surrounding stories of Baeg Tobar, or inclusion in a short story anthology. I find that all of these are ways to get your writing noticed by even more people. In these cases, you can be pretty sure that you will have more than just your effort going into the promotion of the writing. This communal marketing helps immensely.

For books, it is much harder because in these cases, usually you are doing all of the marketing yourself. Granted, you may have some support from your publisher, but I have been told that is unlikely. I have not been published by a large publishing house, so I do not know if it is different in that case. With a small house publisher or independently publishing, you will definitely have to do all of the marketing yourself. I am not sure what the solution to this is, but I can say the different things that I try: having a website, maintaining a blog, having a mailing list, going to conventions, posting in forums, and getting more short fiction out there which hopefully leads people to your novels. This marketing plan is still a work in progress.

Do you write everyday?

I do write every day, but I do not write fiction every day. I have another job that pays the bills and that is being a technical writer.

Even though it is a different style of writing, it has improved my craft significantly. It has taught me how to tighten up my writing, express my ideas more clearly, and be less repetitive. If I was not a technical writer for my day job, I know my writing skills would not be even close to where they currently are.

With my fiction writing, it is a very different beast. Because of my schedule, I am not able to get fiction writing done on a regular basis from Monday to Thursday. However, there are times when the desire to write a story is so strong that I need to make the time to write.

When I have decided it is time to write I have my rituals. I turn off all distractions, because otherwise I can't keep the writing flowing. It is too easy to get distracted and lose a train of thought, which is devastating especially in the middle of an action scene. Then I get myself a beverage, what it is varies based on the time of day. It can even just be a glass of water, but I need something there to sip on when I am gathering my thoughts. The last step is the music. What music I play depends on the story or scene that I am writing. I find that my music and the tone of my writing often go hand in hand. Regardless, I do have a preference for music that either has no words, or that I know the words so well I don't think about them. Otherwise, I might start listening to the words of the music, which makes me unable to write.

How many books have you written so far?

I have written two novels so far. The first is called The Shadow Chaser and was published in 2004 by Inkwater Press. It is an urban fantasy novel that tells the story of a world where people have the ability to shift between their human form and an animal form at will. A young man named Darien is thrust into this world because he is a shifter even though he doesn't know it. He is stuck between two warring factions who are both trying to recruit him because even among the shifters, he has a unique ability that makes him potentially more dangerous.

My second novel is The Bringer of War and it was published in 2008 by Lulu. Yes, I self published my second novel because I made the decision that it was more important to make the book available to my fans than to try to publish it traditionally. This novel is a stand-alone sequel to The Shadow Chaser and delves deeper into the conflict between the two warring factions of Shifters. It tells the story of what Darien does once he has access to his powers, and how another player gets involved - one who has the same abilities as Darien.

What advantages or disadvantages has self-publishing your second novel presented?

The Bringer of War was self-published through Lulu. This was a decision that I spent a lot of time debating about. I tried to get it traditionally published, but I was pressured for time. I very much wanted to make sure that it was available at GenCon 2008 so that it would be available to my fans who had enjoyed the first book and kept coming to my table for two years to see if I had anything new. It got to the point where I knew that the only way it would be available by then would be to self-publish, so I opted to go that route.

However, going with a self-publish book takes a lot more work if you want it to be of the same quality as a traditionally published novel. I spent a lot of time and effort into getting artwork for the cover, laying out the book, line editing the book, etc. I also called in a lot of favors and did put a fair amount of money into the process as well in terms of paying artists and editors for their work. The traditional rule is that money should always flow to the writer, but I decided to violate that rule in this case because I was self-publishing and wanted a quality product. In the end, I believe I succeeded, but it was far from simple.

I can honestly say that I would not self-publish again. The amount of work that it takes to finalize a quality product is simply not worth it. By the time that my novel was available, I had lost my enthusiasm for it and was not excited to market it and get it out there like I had been with the first novel. This is perfectly understandable because your excitement and energy will only go so far, but it is not a good way to handle the release of your book. You should be excited about it and do everything you can to make it available and known. No one else will market it for you, and honestly, no one else should because no one is going to as excited as you are about your book.

Which aspects of the work you put into The Bringer of War did you find most difficult?

I think that the marketing aspect is the most difficult. I think this is because there is no clear idea of what works and what doesn't. The problem with marketing is that you can put a lot of time and effort into it (and possibly money too), and have no good way to measure the effect it might have.

There are a lot of things that you can try that have no effect whatsoever. So it becomes a question of how you will market yourself and how you will determine what is worthwhile. You only have so much time - where will you devote it? I have a feeling that marketing also is susceptible to the law of diminishing returns.

The best way that I deal with these aspects is I do the marketing aspects that I enjoy doing. I enjoy going to conventions and meeting other writers and editors. I enjoy talking with potential readers and past readers to see what they liked and didn't. I like updating my blog and sharing details and writing thoughts with anyone who reads it. I enjoy sending out emails to the mailing list because it reminds me that I have people who enjoy what I create and seeing the stories that I come up with. I don't know if this is enough, but that is the wonderful thing about marketing - no one knows what works. There is no single solution that works for everyone.

Which aspects of the work you put into the novel did you enjoy most?

I love the creation of the first draft. This is by far my favorite part.

Everyone writes differently, and what works for me will not work for another writer. But, when I am writing, at least with a novel, I often don't know what is going to happen. Yes, I have the big-picture events planned out for consistency, but the minor details are as much of a surprise to me on my first writing as they are when someone is reading it for the first time. Because of this, I think it is very exciting to create the first draft to see what happens. It is like reading a story that you are enjoying, watching the characters come to life and start to take charge of the story. Eventually it gets to a point in the story where I don't feel like I am writing any more and I am just documenting what happens. That is when it gets really exciting.

What sets The Bringer of War apart from the other things you've written?

This book has a lot more action and a lot more intensity in terms of outright violence than my previous works. There are many scenes where people are being brutally attacked by different animals. I won't say that I went into excessive or even vivid detail, but there are some details in there that will and have make some readers a little uncomfortable.

While my stories have always been a little bit darker, this was the first time that I showed the darkness as clearly as I did.

All of my stories have a tendency to move pretty quickly because of the fact that I know I write action well. The best scenes in any of my writing, according to my readers, are my fight scenes. I seem to have a talent for writing combat in a way that flows quickly and is easy to follow while keeping the excitement up. So, I tend to put a fair amount of action in all of my stories and try to keep it moving at a steady clip. My first draft actually needed a couple of extra scenes added because as one of my beta readers said - "You need to slow it down once in a while, otherwise when the person gets to the end they feel like they ran a marathon."

What will your next book be about?

I'm not sure since I am currently focusing on my short fiction. However, I am toying with the idea of another urban fantasy novel, but set in a different world than the one of my previous two novels.

I have a short story published in The Edge of Propinquity that talks about a young man, a martial arts practitioner, who learns that oni - Japanese demons - actually exist and masquerade as humans. The only weapons that can harm them are traditionally-made Japanese swords. Over the course of that short story, he becomes an oni hunter. I am thinking that my next novel will expand on this short story - several years after the events of the short.

What would you say has been your most significant achievement as a writer?

My most significant achievement is getting my first book published. I am still new enough to writing that sometimes I can hardly believe that I actually have a novel out there with my name on it - let alone two! It still feels like a big deal and is something that I am very excited about. I love sharing it with people and hearing what they have to say.

I have taken many steps over the years that I am really proud about, but finishing that first novel and getting it published is definitely the biggest step I ever took. I can still remember what it felt like to open that box the first time and pull out a copy of the book. I will never forget that feeling.

Thursday, June 10, 2010

[Interview: 2 of 2] M. A. Walters

In an earlier interview, science fiction, horror novelist and short story writer, M. A. Walters talked about his collection of short stories, A Flourish of Damage and other Tales (Sonar4 Publications, 2010).

M. A. Walters now talks about the influences he draws on as a writer:

How would you describe the writing you are doing?

I would say it’s a mix. I think I jump across genre lines pretty freely. I think most of my current work is a combination of science fiction, horror, and speculative fiction.

I kind of have to think the writer Nina M. Osier for that. She writes in the sci-fi genre and seemed to think it might be a good fit for me. She is a good teacher. Also, she was subtle. I felt it was OK to try on the genre and it was a great fit.

Who is your target audience?

I try and be inclusive on purpose. For example, I try and write strong, interesting and flawed characters that will appeal to many personalities.

I try and hook the reader and keep them moving. I want them both entertained and challenged.

People have told me that I write strong and interesting women. Which is funny to me because women are still a mystery to me. I thought it a stupid notion to cut out half the world’s population by only writing for men. For example, women are quickly discovering science fiction today. They are joining the sciences and I think they offer some intuitive wisdom even there in the hard sciences. They have been solidly in the horror realm for a good while, since what, Mary Shelley, which is horror but also an early sci-fi theme.

I hope my work appeals across genres and across gender. For example, Jian, the lead character in the first book of the Minders series is a very strong, powerful and complex women. She really ended up being the lead. I did not plan it that way at all. She took over but made the book better for doing so.

Of course, the same applies for the male characters. I mention women because I’ve gone out of my way to include them in the sf genre by looking at them as potential readers.

If you just want a good adventure story, I think you will want to give my work a look. If you are a horror, sf, or speculative reader, the same also.

I attempt to be inclusive. I think, even a mystery or thriller reader would enjoy some of my work. At least I’d like to think so.

Which authors influenced you most?

The truth is ... and this is what I think makes my work a bit unique ... a lot of my influences come from outside my genre.

I see the influence of some surrealistic poets, for one, in the way I string sentences together and sometimes unusual word combinations and the way I piece environment together.

For me, environment is the biggest character in a story. I learned that from F. Herbert.

As for the others, these are people I’ve not read for a long time but the poetry and internal world is still there. Writers like Paul Bowels, Gabriel Garcia Marquez, and Pablo Neruda. They all wrote the interior world very well. At the same time, their eyes were piercing, in the awake sense. You could see through their eyes, in new ways, the ordinary world.

It’s strange, but there is poetry in every thing if seen very clearly. There are violent explosive episodes in my work, but there is an odd poetry and beauty there also. Perhaps because so much is at stake in those moments. I want the reader to feel that. I want them to be tense and uncomfortable.

There is a fight scene in the "Rocks Beneath" and there is so much at stake in that moment, the whole book has been driving you there as the tension mounts. You are so invested in the character by that time and more than just the life of those two individuals is at stake. After a friend read that passage, he said he was exhausted and that he hated one of the characters. Actually hated them.

That meant I had succeeded in my venture.

It was the biggest compliment I’ve received thus far.

The point is, I really did not discover my genre until about 10 years ago. Friends tried to get me to read the Ring Series, Tolkien’s work. I said, "Isn’t that for kids, like teen stories?"

One day, I picked it up and was completely pulled in, completely sucked in and I never looked back. That’s a good point on horror writing, I think.

Throughout Tolkien’s work you see the influences that haunted him from World War I: the trench warfare is there; the deep friendships and the harshness; the senseless death ... I’ve heard others say this also. I think it is true and a very strong feature of his work.

From there I discovered Frank Herbert’s Dune, and later the work that continued through Brian Herbert and Kevin J. Anderson.

Lovecraft is also there in some work. Like in "After the Fall, the Remnant". Which is outlined to continue and become a full novel, perhaps my next.

I think I need a break from the Minders.

Bradbury, he was a man so far ahead of his time. And he could be so nostalgic and sensitive, and yet far out front ahead of his era. And he still is!

I see some Bradbury in "Scraps of Time and Place".

Bradbury is like childhood, terrifying and wonderful at the same time. I’d like to think I capture a little of that from time to time. Stephen King is like this. He knows and understands childhood and the wild things in the closet and the shadows under the bed. He writes remarkable friendships, the ones we carry with us always, from those years.

S. M. Stirling is a contemporary writer I really enjoy. I can’t pen point a particular influence although I aspire towards his battle scenes. He can put those together better than anyone I’m aware of now.

When did you start writing?

When I was between 10 and 12 years old.

People, kids begin to look at the world around that age. Before that we are pretty focused on the self. Well, I began to look around and realized the world did not operate the way I was taught it was suppose to. That view then turns on the self and I realized that I made even less sense. So I began to order things on paper. Back then it was pen and paper and when pen hit paper it was somehow transforming and natural.

Getting published ... that has been a twisted path for me with many pitfalls and detours.

First, I put pen to paper then, sometime later, the thought of sharing arrived slowly.

Writing is a damned scary venture, isn’t it? Sharing what you have written, that’s not for the faint-hearted but, face it, we writers are basically faint-hearted. You can’t have that kind of nature and not be a bit thinned-skinned. It’s like a romantic venture, that moment you put it all on the line.

You eventually learn to tuck your ego away or so I hear -- but it’s raw and takes some courage always.

I started by letting a few people I trusted look at my work, but that was much later. I was in the process then of deciding this is what I want to do. I always keep returning to that.

I started as a poet, believe it or not. And I did publish in that genre in this anthology or that one right away. The poetry came much later when I was in college, as did the short stories ... I took those genres up seriously in my early 20’s. Before that is was snippets, patches of stories, a half poem, it was mostly journal type entries. But it began there.

Strangely and odd enough I was not heavy reader until college.

It was like a dormant part of me woke up and woke up at a full gallop. I’ve been catching up ever since.

It was an English teacher and I was terrified of him, anyone with sense was! First day of class there was like 37 people, mostly unknowing freshmen packed into his little class that had about 12 chairs.

We were spilled all over the floor and standing in corners.

He was a tall lean Scotsman with a big white beard and wore a little red beret and the same old brown wrinkled corduroy sport coat everyday. I think that coat was much older than I was.

We were all squirming and quietly asking each other, "What’s up?"

We knew this was not the norm.

He looked up and his eyes seemed to impale each of us. You knew there was no corner deep enough to hide in! In fact, we quickly learned not to sit in those corners anyway.

He quietly said, "If you are worried about having a seat don’t be. There will be plenty of seats soon enough. By the end of week there will be 12 to 15 of you left. Fewer of those will survive before to the end of semester."

Then he roared with the loudest belly laugh I’ve heard before or since. I once, many years later, heard that laugh in the back of a darkened theater and instantly said, "That is Mr. Moore." He was always Mr. to me even after we became friends. He was my first teacher in every sense of the word.

Well, Mr. Moore pointed to the door with his chin and said, "If you want to leave, now is a good time to do so because the door will soon be locked, as it will be every day the moment class begins. There are no latecomers here."

Those with good sense bolted for the door and he politely told them all goodbye and said thanks for coming.

Truth is, I think, I was too scared to leave.

Afterwards, I told my girlfriend of the time, "I can’t do this class. This is not for me."

She looked at me and said simply, "I think you have to if you want to write."

Well, long story made short, I survived the first week, and I survived the entire semester.

I took every class he offered, in fact.

I never walked in that room at ease, though. It was like a confrontation with a Zen master. There was the feeling that anything could happen in that room. Yet through all this, he was the most respectful person I have ever met.

He was not mean, ever. He was stern, and he was caring. But it was the kind of kindness that strips away falseness.

If you ever, and I did, say something glib or false you were ablaze in your seat instantly.

But it was always Mr. Walters, Ms. So-and-so. It was the first time most of us were treated as adults.

OK, so I did the bravest thing I think I had ever done up to that point. At mid-term, I quietly slipped a large envelope of probably 200 poems on his desk.

I was so frightened I could not talk. I just slipped it there on my rush to the door.

He never said a word about it.

I’m laughing here.

But the very last day of class, he said, "Mr. Walters, I believe this is yours."

I picked up the same envelope and neither of us said anything.

I thought, "Oh, crap, he did not even bother to look at them."

Lol.

I was mistaken.

I got home and realized every single poem was littered with red and blue ink. He had thoughtfully commented on each poem.

That was the beginning ... somehow.

Possibly related books:

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Tuesday, June 8, 2010

[Interview: 1 of 2] M. A. Walters

Maine, New England resident, M. A. Walters is a science fiction, horror novelist and short story writer.

His work includes the collection of short stories, A Flourish of Damage and other Tales, which is available as an e-book from Sonar4 Publications.

In this interview, M. A. Walters talks about his writing:

How long did it take you to come up with A Flourish of Damage?

It took a year to knock the shorts out while working on two novels. Sonar4 is the publisher. They are small but vigorous with solid heads and work ethics behind them. They are smart. I’ve had a chance at a bigger house, but I trust these people and know they will promote me, and I think I have something to offer them also.

Which were the most difficult aspects of the work you put into the book?

Dealing with domestic violence and some of the darker sub-currents of our culture.

In a lot of the shorts in this collection I’m pocking around some uncomfortable patches and corners of my self. I got a little too close to the edge a couple times and pulled back. It’s hard not to become the thing we hate at least for moments, the darkness in the world.

When we rally against injustice, I discovered it’s far too easy to become that which we hate. Yet that quick recoil itself is what tells us we are different. The lead character in "Flourish" is all about that very fine line, and it was a challenge to me. How does she take back her life and maintain that humanity?

I’m something of a near pacifist by nature but there is something in me that respond vigorously to blatant abuse and injustice. It’s a deep part of my nature; it’s part of the furniture of my self. It’s not going anywhere, so I accommodate it. I just work with it.

Well, the part of me that is pacifistic and tolerant and who is really a live-and-let-live kind of personality can encounter wrath and rage in myself when the large attack the weak and those that can’t defend themselves.

I used to practice aikido and aikido is a positive paradigm in relating to this inner and outer conflict. But people there take that to one extreme or another also. It’s all peace and light or it’s brutal, either of those points of view is BS in my mind. What there is are circumstances and the response that is proper for that given time. Lock your self into either of those corners and you are in a dangerous place.

People don’t want to think, they want right and wrong answers. There are solid lines that should never be crossed, when crossed you have lost what makes you human and there’s nothing left worth fighting for at that point. Forget that and your culture or person is over, you just don’t realize that yet. I’m very serious on this point. Perhaps I’m just a moralist at heart; oh-well all good horror is moralistic in nature.

Which aspects of the work you put into the book did you enjoy most?

The writing itself, when it’s pouring through you and you don’t really feel like you are at the wheel, you are something of a watcher and there is something magical there, about that, for lack of a better word ... It’s the most rewarding thing I’ve ever encountered. It’s addictive.

What sets the book apart from other things you've written?

A couple of those stories are a bit too personal for my taste.

Maybe there is a little more of me in a couple stories in that collection than would normally be.

I was pushing the edge a few times there.

A Flourish of Damage and other Tales is similar to other things I have written because I returned to short story format, which was how I essentially saw myself in the past.

I went back to my roots.

Those stories were all written over the last year while I worked on the novels, they were like a breathing break for me.

The novel is an over-whelming experience for me. I like to do it but, frankly, it hurts.

What will your next book be about?

It’s either going to be finishing book two of the Minder series, tentatively titled The Culling, or I’m going to expand After the Fall the Remnant into a novel. I know where that’s going and I think its’ an interesting place. I’m excited to jump in those waters. It’s a very Lovecraft kind of tale, where something ancient and so very different from us suddenly jumps into the present.

We will also have the deal with our own dark-side there because the beings that show up look on us as simple resources, nothing more. It’s a coldness so deep it’s not coldness. That is much more frightening. It’s indifference. This is what we confront in the novel and I’m letting the human race off easily in this one. They will never be the same again, simple as that. The human race is done but evolution still proceeds from that point. Dormant things in the human also wake up; survival and chaos are also a different word for creation, right? I’m excited about this work.

What would you say has been your most significant achievement as a writer?

Persistence ...

How have your personal experiences influenced your writing?

Mine and those around me also. I always had a strong sense of empathy and saw a good deal of suffering and, yes, that shaped me and it’s there in the work.

I also grew up on the wrong side of the track so to speak. Which is an education in and of itself.

One of my characters from the story, A Flourish of Damage, is a writer and says something like she bleeds all over the pages she writes, because she is hidden there, but hidden well, hopefully. The writer has to step out of the way for things to work and yet still be there.

Remember, at the beginning, I said I began writing at around 10.

I think a lot of us can’t always solve our problems with the world but we become god-like with the pen, don’t we? Some of the injustice and sand traps of the world get solved or at least framed in a different light on paper. It’s a way to deal, to more than deal, to transform something in our selves. At the same time, remember, it’s hopefully just a good story. You have to entertain, never forget that, or, you are doomed. You also can’t make everyone happy, so don’t try. That’s related to what I said above. Be inclusive but don’t try and please all. That’s a foolish venture. I’m young in the business of writing but that seems pretty apparent.

Do you write everyday?

I try to write something, maybe just a blog, even correspondence.

Health does not always allow this. There are many days I simply can’t, but it’s always there, the mind is constantly spinning stories even if I’m sick in bed. In fact, that’s when I tend to crash through difficult parts of a story or character, in that quiet dreamy realm when sick or exhausted. I’ve had crummy health my entire life, in the last few years it’s been much worse. I don’t venture far these days. Which is odd for me as I used to love to travel, to throw myself into strange places and sink or swim.

I ‘think’ it was Proust who also was like this. I read where he said if he had been born healthy he would never have been a writer. I think that might be true for me, I would probably be out hiking and expending energy physically. So, again, there is a positive even to this. I came back to writing from illness. So, I accept this.

I try and make up for it during a good spell. Some days I can’t work. Some I will be here for 12 hours straight. When I can I’m here and I work hard and long. When I can’t, I can’t. As soon as I sit here, it happens, the world recedes around me.

There is something shamanistic about writing. I don’t know what it is, but it’s there. I’m not a TV watcher. This is what I do when I can. I take a nap in the middle of the day then find myself here again if health permits. Ends with some reading and sleep. Yes, reading, my eyes take a beating.

I’ve been away from publishing for many years and am only now seriously thrusting myself into that arena in the last couple years.

Early on, I had a bad agent and bad publishing house miss-adventure. I got very busy afterward and I just walked away from the business until just recently.

I had three books optioned by a medium-sized west coast publishing house. About the time my work was suppose to be coming out the house split and not remotely nicely. Many writers were caught in the middle of all this.

Aside from that, small bits here and there back then. Point is, I’m here now, and I’m seriously here looking at this as a profession. I take the work seriously. Myself as a writer, I hope, less seriously than back in those days.

I’m not often one for quoting my ex-wife, but she said most writers can’t really enter this profession until they hit 40. I think that is pretty accurate. Experience shaped my work and I think at 40 you can look back and see that and throw all that into your work. You have to go through the agony of those early years to do that. You can’t spare people from that, I don’t think.

What are your main concerns as a writer?

Easy, I’m dyslexic, and not mildly so. This is why I was not a good reader until college, not that I’m good now. I was un-diagnosed before this. I read, and edit profoundly slowly but I write quickly, thankfully! It is a painful process for me, editing.

My early experience marked me throughout my school days. After I got my diagnosis after near 12 hours of testing with a wonderful college psychologist, I flourished as a student. I discovered, in fact, I had a very high IQ, I was not slow (I knew there was something very wrong), my brain was just wired differently and did not see words and such as most did. Most people don’t realize those glitches are not just for words. The thoughts twist and turn and I lose those also. I’m horrible with names, I never remember dates, and my sense of time is horrible. I’m not good in certain venues and formats due to this.

Reading is painfully slow still, editing. There are days I can’t get my words pointed in the right direction, days I simply cannot spell. It’s funny, however, when some people read my work they say it sounds effortless. They don’t hear the huge roar of laughter inside. Effortless, no, painful yes! Thanks to the literature gods for technology.

Some days are okay. I have a prism in my glasses that helps me see the words better. Before that I had horrid migraines. Still do at times. But the problem is in the brain ultimately. I’ve learned to compensate for it. I choose to look at it in a positive light now. Maybe the gift of writing might not be there save for this disability? Who knows?

But it impacts edits, and as a writer and I don’t do public readings of my work. Signings I will happily do. Reading out loud is a painful childhood memory for me. I’m an adult now and can just say no. I will write for you, I do my job and yours is to read.

My generation did not know these things and I would get tossed up front and feel like a sideshow freak. Yet everyone knew I was quite intelligent, which was a strangeness to live with. Often times our weak points become our strongest points however. There is a certain irony in my becoming or being a writer you see. This irony is certainly not missed on me.

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