After he died we just got all the Good Guys teaming up like the freaking Avengers. Blech. (No hate on the actual Avengers, though, to be clear). As far as actual devastation goes, though, I have to say Brienne of Tarth in the books. IT WAS A FAKE OUT, I know that now. But I genuinely cried when I read that passage. She was my favorite in the books and in the show, and I was so upset when I thought GRRM killed her off.
So, my current only-child cat’s name is Thorin Oakenshield (after the Tolkien character, of course). If I got a second cat I would name her Tali’Zorah, after everyone’s favorite quarian from Mass Effect! If my husband gets his way Tali will end up being a puppy, which sounds pretty great to me too!
"If I got a second cat I would name her Tali’Zorah, after everyone’s favorite quarian from Mass Effect!"
I recently read a blog post you wrote about the required (and/or forcibly acquired) virtue of patience as a writer. As you shared in your post, you are not a particularly patient person, nor am I. Yet we somehow managed to survive the publication process! What are some tips for writers in the ‘weary middle’ of this grueling journey?
Oof, let me just say, writers, if you’re in that ‘weary middle’ right now, I feel you. Though, let’s be honest, there are about fifteen ‘weary middles’ throughout the writing and publishing process. You wait for feedback from beta readers, responses from agents you’ve queried, responses from editors you’ve been subbed to, the list goes on. My best tip is always to keep busy. Sink yourself into something new. For me it’s always a new writing project - something else I can fall in love with and let myself get distracted by while I’m waiting for [insert part of the process here].
"Oof, let me just say, writers, if you’re in that ‘weary middle’ right now, I feel you. Though, let’s be honest,
But there’s the other half of patience too - the half where you’re being patient with yourself. Brainstorming/Drafting/Editing a novel takes time - weeks and months and years of it. So I think it’s also important to have hobbies outside of writing to help reset your brain a little bit. For me it’s fitness - kickboxing, weightlifting, all that good stuff. Maybe for you it’s the same, or maybe it’s running! Or knitting! Or puzzles! Whatever it is, my advice is to find something else you can sink yourself into aside from writing.
"But there’s the other half of patience too - the half where you’re being patient with yourself. Brainstorming/Drafting/Editing a novel takes time - weeks and months and years of it."
Time management can be a huge issue for writers. I constantly hear newer writers complain that they would write if they could only find the time. How do you manage to balance your career, your personal life, and writing schedule?
I am super lucky to have a really supportive husband who viewed my writing as a second job long before I even got an agent, which makes things easier. I also don’t have any kids, which I know makes things way easier.
So, to sum up, no one has the time, everyone has to make the time. But the great part is, if you write for eight hours every day, sure, you will end up with a book. But if you only write for one hour? Twenty minutes? You can still end up with a book if you keep at it long enough! Write however much you can fit in without going absolutely crazy or shirking other important responsibilities, and don’t let other people bully you into thinking you’re “not a real writer” if you can’t squeeze in some massive, arbitrary word count every single day.
Fantasy, as a genre, has historically struggled with diversity of representation. How does diversity play into your character cast and what advice might you give to writers who struggle with implementing this in a meaningful way?
This is such an important question. I’ll start by saying I think this ties in with the world-building question below. Part of building a vivid and realistic world is populating it with vivid and realistic people. If all your fictional people look and sound the same, I think it’s safe to say you’re not doing that. The main cast of Among Thieves is made up of characters from every corner of my fictional world.
"Part of building a vivid and realistic world is populating it with vivid and realistic people. If all your fictional people look and sound the same, I think it’s safe to say you’re not doing that."
My biggest advice to other writers, though, would be to make sure you’re reading broadly in the genre. In other words, if all the fantasy authors you’re reading look a lot like me… you need to expand your selection. There are so many awesome fantasy authors of color out there! N.K. Jemisin, Sabaa Tahir, Tomi Adeyemi, R.F. Kuang, I could go on naming all day. I also think it is important to remember to make sure you're telling a story that's yours to tell. Ask yourself if you’re really the right person to be writing the story you’re thinking of writing. Lastly, make sure you seek criticism on your work early and often to make sure the representation present in your story is not harmful.
Your first novel, Among Thieves, is set to be released in 2021 by Saga Press. It takes place in the Five kingdoms of Thamorr where Ryia Cautella is deftly navigating the criminal underworld of the port city of Carrowick. What inspired this story and what kinds of feelings are you hoping to awaken in readers?
Not to give too much away, but Among Thieves involves a high-stakes heist. I personally love a good heist in any genre. What tips do you have for building the mystery and suspense around a heist without letting it detract from the overall narrative?
Let me tell you, it’s a tough balance, haha. You want to give enough info that the reader can follow what is happening without giving away all of the fun. The heist elements in Thieves went through about… ten(?) full rewrites to try to get that balance right. And god, I hope I got it in the end! My best tip for any story that has several complicated webs woven together (like a heist) is to outline.
For Thieves I had a giant Excel spreadsheet with tons of rows and columns for all my plots and subplots, planning out every aspect of the heist. That meant having solid plans for how each individual character wanted each step of the heist to go so I could make sure their motivations and actions would be clearly blocked out and fit together with each major plot point. Then, of course, I made sure to have a solid plan for how things actually turn out.
"For Thieves I had a giant Excel spreadsheet with tons of rows and columns for all my plots and subplots,
Moral of the story, the most important part of building mystery is making sure you know all the secrets yourself. That way you can pick and choose which parts of the puzzle to reveal when.
I don’t let any Fantasy writer get through a Q&A with me without talking about world-building. Talk us through your world-building process for the book. What were its evolutionary stages? How did it evolve? What was the greatest challenge you had and how was it resolved?
Where on the map is this particular kingdom located? What are some of the customs here? What sport or game is most popular? What kind of foods do they prepare? Holidays, religions, rulers, kingdoms they’re allied with - all of these things are crucial. Even if the details never make it into the pages of the actual book, you can’t make a world feel real to a reader if it doesn’t feel real to you.
"Even if the details never make it into the pages of the actual book,
For the world of Thamorr (the world in which Among Thieves is set) I actually had done a good portion of the world-building before I even started this particular story idea. The basis of the magic system and a good part of the geography actually comes from an old, dead project of mine. I’m a big fan of cannibalizing old projects for parts. The plot of that old story was not workable, but there were parts of this world that I still loved, so I stole them and built them up to ultimately create the world of Thamorr!
The biggest struggle for me was deciding which pieces actually appear on the page and which don’t. I always want to put too much in the MS, which can get info-dumpy. Then I usually reel it back too much in my early edits and beta readers have no idea what is happening. Finding that balance is always a challenge for me.
"The biggest struggle for me was deciding which pieces actually appear on the page and which don’t."
Where can readers find more information about the release of Among Thieves and about your future works?
Among Thieves is scheduled for release in early 2021, but does not have an official release date yet! I will keep everyone posted about Thieves and any future projects on my website, on my Facebook page, or my Twitter account.
Also, don't forget to add Among Thieves to your Goodreads!
Sweet. I have a devilish sweet tooth, and have since I was a child. I was the kind of kid who reached into the cookie jar when no one was looking. I still do so today, but as an adult, no one can really stop me!
There are a great many things that would pose a threat to one as curious as I in H.P. Lovecraft’s mythos. The most likely bane for my existence would be Yog-Sothoth. I feel like my current quest for knowledge would eventually, and undoubtedly, lead me to this Outer God. A being locked outside the universe that knows all that occurs in space-time would likely overload my brain, causing me to bleed from all facial orifices while incoherently sputtering the deepest secrets of all life. That is, until I would shrivel up into a mumbling husk doomed to be cast out into an unfeeling, unthinking void, with nothing but my long sought secrets to keep me company.
"The most likely bane for my existence would be Yog-Sothoth.
Your original artistic pursuit was in film and TV but you opted to focus your creativity on writing. In what ways has your training in film influenced you as a writer? Do you write screenplays as well or are you committed to the text-only format of books?
There are many ways to tell a story. Visually, auditorily, or in written form. Film and TV focus on the visual and audio aspects, but everything always starts from the written format (script). My education in broadcast television allowed me to learn about how to create content for an audience. My writing could be the best work to ever grace this planet, but if no one wants to read it... well, it doesn’t really matter then, does it? I learned how to create a story from people who have been doing so professionally for a long time. Working with professionals like this allowed me to develop an understanding of how to create the kind of story that people want to experience.
"There are many ways to tell a story. Visually, auditorily, or in written form. Film and TV focus on the visual and audio aspects, but everything always starts from the written format (script)."
I no longer write scripts/screenplays. I used to in college, and shortly following college, but I discovered more freedom in more traditional styles of writing. I found the formatting for scripts and screenplays (interior vs exterior, types of shots, location and character names, etc.) to be a drag. Having to expend effort for such things for stories that I don’t plan to shoot seems like a waste of effort. Effort that would be better spent fleshing out lore and building a literary world.
You and I are both Canadian authors which, if you walk through the average Chapters bookstore (pre-quarantine, of course) is fairly rare. What unique challenges has being a Canadian author brought to you? Are there any advantages you’ve found to living north of the US/Canada border?
"Canadians tend to be less inclined to push their way to success,
For a similar reason, I feel that Canadians have an advantage on our home turf. Mark, an author I worked with recently, told me of a time he was doing a book signing for his work at a bookstore in Waterloo (his home town). That day, there was a promotion going on for a recently released Stephen King book, but Mr. King was not there to do any reader-interaction stuff. That day, Mark’s new book outsold Stephen King’s. All because he was a local author who came out to see his readers, and King didn’t. No offense to Stephen King, I’ve heard he’s a cool dude, I’m just saying that taking advantage of your home town and local bookstores can be a great boon! Especially when we can all return to our beloved bookstores in the, hopefully, near future.
One of the things that many newer writers really struggle to do is to finish things. Perhaps they write three quarters of a story then abandon it or even complete a first draft but never edit it. What advice do you have for writers who find themselves stuck within sight of the finish line?
I think I’m kind of a freak in this regard. These days, I always finish every writing project that I start, but that was not always the case. I wrote the first half of Inner Expanses during 2014/2015, but stopped when... life... and death got in the way. There was one week in March of 2015 where I completely lost sight of my life and temporarily devolved into a wretch of a man. After a little while, I regained my humanity, but found that I was not able to pick up where I left off. I felt that if a life can end suddenly and without reason, then so can a book. I purposely left Inner Expanses unfinished as a testament to this notion. It wasn’t until 2018 that I picked up the pen once more, so to speak.
"I think I’m kind of a freak in this regard. These days, I always finish every writing project that I start,
The reason I reached for that pen once more, and why all writers should do so themselves regarding unfinished work, is quite simple, though hard to see until you have a paradigm shift. Because you can. And because you want to. When I think of potential… when I think of what could be, I cannot rest. Write because you want to, but remember that if your writing is never completed and no one reads it….it’s pointless and useless. This is harsh, but I feel these are words all writers need to hear. No, not hear, FEEL!
No one cares about a half-written story. No one is going to write it for you. If you truly care about your story, finish it and share it, otherwise it won’t matter. You can write for yourself, if you want, but why deprive the world of your beautiful words?
Your book Inner Expanses is a dimension twisting story about two planes of reality that swirl and collide, one that is full of battles with monsters and another that is familiar to our own world. I am always intrigued when Fantasy and Sci-Fi genre elements are mixed. How did you manage to balance these two threads? Were they blended into one in your mind or woven together?
"When you define the rationale behind concepts, they go from being 'unknown magic'
For example; long ago, people thought natural disasters were the work of Gods or monsters, but today we know that they are the result of nature’s natural rhythm. Fictional concepts always come to my mind on their own, but always get swirled into the vortex that is my brain. There, they live with their neighbours of different origin and reason. Much like the beings of the realm of nightly battles, from Inner Expanses.
As well as being an author, you are also an artist. In fact, you created the art for your book Inner Expanses which many writers, I’m sure, would love to have the skill to do. Do you often visualize your stories through art as part of your writing process or is your artwork reserved only for covers?
Art has always been a huge influence in my life. Particularly visual arts, such as painting, sculpting, and even modern artforms like photography and videography. I use them as lenses to see certain things through. Things that I cannot experience personally, but things that I can appreciate the aesthetic value and meaning of. Horrific concepts not of this realm, long dead romances of tragic heroes, tales of fairies and wizards and dragons.
"Art has always been a huge influence in my life. Particularly visual arts, such as painting,
I don’t always incorporate art with my stories, but it is relatively common. The acts of creating, both in writing and visual art, are just two mediums in which to tell stories. There are much more, but these are just the two I use the most often...and probably the best, if I’m being honest. Creating the covers/accompanying art for my stories, including the silly little “figures” in my ongoing newsletter story, has given me a valid reason, or rather an excuse, to use a visual medium of storytelling in conjunction with the written.
I live on Vancouver Island and absolutely love living by the sea. One of your upcoming works follows the adventures of Captain Charles Salt as he becomes a dreaded pirate. Can you give us any sneak previews or hints as to where his adventures might take him and his feisty crew?
Firstly, let me state my envy. I’ve been to Vancouver Island and really enjoyed my time there! I wish I could live in a place like that someday. My dream home would be a lighthouse, I think.
Ah, yes. Captain Charles Salt, along with his brothers and sisters, will be the protagonists in my next full length novel ‘Salt On the Waves’. So far, this tale exists solely as concepts and daydreams, albeit somewhat organized ones. I don’t even know if this story will be a single book, two, or even three. There’s certainly a lot of fuel for adventures that the Salt crew could have. I have been playing with ideas for Salt On the Waves for years now, many of which tie into the book that I’m going to be releasing this summer, ‘Unusual Tales for Curious Minds’. This is actually the first time I’m typing out the title, on my website it is still ‘Untitled’! I may change that soon, though.
Picture a world, similar to ours in cosmic geography and geology, but there are no great land masses. Just many islands. Some big, some small, but all very interesting and unique. Due to ancient and secret reasons, there is a great degree of variation between islands. The amount of different kinds of life in this world, known as Okeanós, is staggering. This includes, but is not restricted to, colossal sea monsters the size of islands, vicious pirates hungry for gold and blood, and many curiosities of prehistoric and sinister nature.
"This includes, but is not restricted to, colossal sea monsters the size of islands, vicious pirates hungry for gold and blood, and many curiosities of prehistoric and sinister nature."
Where can readers keep track of your latest writing and stay up to date on your next publication?
My newsletter and my website are the best places to do that. I have added a ‘Latest Updates’ board on the homepage of my website to let everyone, myself included, know of recent changes and developments. I also mention the same things on the board in my newsletter, in addition to giving my subscribers short stories, art, and poems. All of which are EXCLUSIVE to the newsletter.
Twitter is also a great place to keep track of my work and get in touch with me. I’ve made plenty of friends in the writing community there. I tweet daily and am always looking to connect with new readers and writers!
And amplify a sense by a factor of ten...hmmmm. I would say sight because my vision suuucks, so amplifying it by a factor of ten would probably just about give me normal vision, yay! In all seriousness, yes, I’d say sight. I feel like all the other senses being amplified would be really rough in different ways.
I love both Sci-Fi and Fantasy in all their forms. However, I sometimes wonder why they are grouped together as, for me, they seem distinct in many ways. As a writer of sci-fi and fantasy yourself, how do you distinguish the two genres? Can there be any crossover? Should they be considered separately or are they just two ends of the same spectrum?
That’s a really great point, and it’s a pretty big part of my concentration. For my major, I chose to study The Concept of Otherness in Speculative Fiction, and one of the things I talked about a lot with my adviser was the use of the term “speculative fiction” instead of “science fiction” or “fantasy.” For me, speculative fiction means anything that lets the writer make observations about the human condition, society, technology, or really anything, without setting the story in our own world. I would say that sci-fi and fantasy have always been grouped together because they take issues that exist in the here and now and comment on them through creating these other worlds, whether those worlds involve magic and whimsy or tech and innovation. For that reason, I see them as two ends of the same spectrum working towards a similar goal. And as for whether there can be any crossover, my WIP merges magic and technology because I love both genres so much. Whether that crossover is effective is up for debate, but I enjoy it and always look out for it to read!
"I chose to study The Concept of Otherness in Speculative Fiction, and one of the things I talked about a lot with my adviser was the use of the term 'speculative fiction' instead of 'science fiction' or 'fantasy.' "
You host the online journal Satyr Central which posts “anything soulful and non-conformist”; I personally find this focus so refreshing as almost every publication I have encountered is looking for something so specific that it seems that all but a dozen people on earth are disqualified from submitting. What have been some of the highlights of hosting Satyr Central?
Thank you so much! That means a lot to me. And shoutout to one of our editors, “Jon the Semite” for coming up with that little blurb on our About page.
I think the biggest highlight of hosting Satyr Central is knowing that I can post some really weird stuff and not worry about “Oh, does this meet guidelines? Oh, is this too weird to publish?” I’ve accepted some great submissions where the authors told me when they submitted that they weren’t sure what category the piece fit into, so they thought it would work well with us, and it did! From theological rants to odes to headless women to articles rating books by how nice they feel and sound, we’ve got some bizarre stuff on Satyr, and I say that with a lot of pride.
"From theological rants to odes to headless women to articles rating books by how nice they feel and sound, we’ve got some bizarre stuff on Satyr, and I say that with a lot of pride."
Most writers spend a fair amount of time sending queries and submissions. You have experience on both sides of that conversation. As someone who receives and reviews submissions, what are some tips you have for writers who are trying to get their work published?
Other than that, the biggest tip I can give writers looking to submit anything--whether it’s queries for a book, article, short story, poem, whatever--is that it’s a good idea to (politely) follow up if we take too long to look at your submission and get back to you. I love getting submissions, but with everything going on, it’s very easy to get overwhelmed and I always appreciate someone giving me a gentle nudge and saying, “Hey, I sent you this a few weeks ago and just wanted to confirm that you got it.” Now note that some publications/publishers/lit agents don’t like it when you do that and will say that they’ll get to you when they get to you or to take no response as a rejection, and that’s where reading guidelines carefully comes back into play. But for me personally, I appreciate those quick nudges and it’s helped me get back to awesome writers whose submissions I somehow managed to entirely miss. So there’s that!
"...the biggest tip I can give writers looking to submit anything... is that it’s a good idea to (politely) follow up if we take too long to look at your submission and get back to you."
Sci-Fi and Fantasy as genres offer writers almost unlimited freedom in creating worlds and characters. As always, in the words of Uncle Ben, ‘with great power comes great responsibility’. What are your thoughts on the power of that freedom and what do you think should guide writers in their use of that power? Are there any limits? And where have you seen this power wielded masterfully for the greater good?
"I do think the best stories—Sci-Fi and Fantasy in particular—have the power to
You and I share an interest in myths and mythology. One of the joys of engaging with the writing community online is the opportunity to learn about myths from all over the world. Which is your personal favorite flavor of mythology and are there any mythological personalities that you think deserve more air time?
Wow, this is a great question (and a tough one!). I grew up on Greek mythology and have always loved it, but in terms of mythological personalities that don’t get enough air time, I’d have to say the legends from The Ramayana. I got to be a student mentor teaching a high school class this Hindu epic, and it was such a joy to explore all of the themes, characters, and political and religious context for the story of Rama, Sita, and Lakshmana. Yet I had never, ever heard of the epic before being invited to take part in that program. I think that’s a real shame and I highly recommend that any lovers of mythology check it out.
"I grew up on Greek mythology and have always loved it, but in terms of mythological personalities that don’t get enough air time, I’d have to say the legends from The Ramayana."
Can you give us a hint about your current project? Any tantalizing clues or sneak-peek quotes?
I’m planning on finishing my first short story from my work-in-progress, which will hopefully be the start of some sort of web series I can post on my website. I want to hold myself accountable because I’m a chronic procrastinator, so I’d love to include the first paragraph from the short story!
“It had been two years since the first time Kamiel had been to the Hex Market on the border between his home district and the worst, most loathsome district in The Core City. Since then, he’d gotten accustomed to the hushed conversations, the shifty-eyed patrons, the bubbling of Imaginate elixirs used for something far different and more sinister than their intended purpose, and even the occasional Rending when tensions were high and fights would break out...”
Fingers crossed I can actually finish it, ha!
“It had been two years since the first time Kamiel had been to the Hex Market on the border between his home district and the worst, most loathsome district in The Core City..."
Where can readers keep track of your latest writings and stay up to date on your next publication?
I am all over social media, but the best way to keep up with my writing is to subscribe to my blog’s newsletter! I promise we don’t send hundreds of emails a day, but you will get an update when we have a newsletter out or a brand new post weekly.
However, my wife will always choose something new. Always. I have to admit that I owe some culinary revelations to this habit of hers, including my addiction to sushi and a discovery of the treasure trove that is Lebanese cuisine. But to be honest, the majority of new dishes we order are disappointments that we have no desire to encounter again. Is it worth it for the rush of discovering a delicious new food? Sure. Is it enough to stop me from ordering a pulled-pork sandwich or a pad thai for the one-hundredth time? Definitely not.
So what does all this have to do with writing genre fiction? Well, some might say that reading genre fiction is a bit like ordering pulled-pork sandwiches over and over, that it makes you predictable (i.e. boring). Others might add that writing genre fiction is little more than an act of trying to resuscitate long-dead tropes while trying to pass off cheap imitations as original work. Given these two stereotypical notions, especially within the writing community, there can be a lot of shame or defensiveness around reading or writing these kinds of stories. Therefore, I feel the need to present an argument in defense of genre fiction, its readers, and its writers.
"Therefore, I feel the need to present an argument in defense of genre fiction, its readers, and its writers."
I would love to include a comprehensive list of all that is included under the umbrella of ‘genre fiction’, but there are endless branches and sub-branches which spiral down toward infinity in fractal patterns. Some of the most popular are Romance, Westerns, Mystery, Horror, Thrillers, Fantasy, and Science Fiction. If you are a writer or reader of any genre, or aspire to be one, this rant is for you. (And if not, feel free to go read a dictionary…)
So I’ll just go ahead and say it straight: I write Fantasy. I write cursed swords and magical monsters and medieval feasts with calorie counts high enough to kill an olympic weightlifter. I don’t have a BA in History, in Poetry, or in Literary Criticism (though I’m sure those are all great degrees to have) and I don’t aspire to be published in a literary journal. My aim in writing is not to win an argument or to show off my intellectual prowess, and it is certainly not to win prestigious literary awards to line my shelf with.
"I write Fantasy. I write cursed swords and magical monsters and medieval feasts
"My highest aspiration as a writer is this: to write the book that people keep on that extra-special place on their shelf, the book whose pages are wrinkled and stained from use..."
I write Fantasy because I strive to create the kind of stories I want to read. I want adventure. I want magic. And most of all, I want worlds unbounded by the shackles of our present reality or belaboured past. That is the kind of story I crave when I feel numbed by the drivel of the day-to-day, when I feel crushed between the cogs of ‘the system’, or when the itch for adventure is so insistent I can no longer ignore it. Of course, that doesn’t mean I won’t reference history or challenge real political or philosophical ideas; what it means is that I have a safe place to explore and create, a cushion between raw reality and a mental other-space where it is easier to think, explore, and feel.
"That is the kind of story I crave when I feel numbed by the drivel of the day-to-day, when I feel crushed between the cogs of ‘the system’, or when the itch for adventure is so insistent I can no longer ignore it."
Despite my love of Fantasy, many writers of genre fiction get it wrong. Really wrong. Their plot lines get tangled in tropes, their characters end up skewered on tired stereotypes, and the overcooked hyperbole of their world causes it to collapse in on itself. In fact, these fumbled attempts at imitation, rather than creation, are what give genre fiction a bad name in the writing world. So where does good genre fiction start? Well, it starts with a promise.
"Promise is the foundation of genre fiction... You must fulfill the promise of your genre
But don’t stop there. Give your genre fiction something extra. Zest it with a character or an idea that will catch your reader off-guard, that will make them think, that will stay forever impressed on their minds. Give them the rush and the escape that they have felt before while reading that genre and then dazzle them with something they never expected.
So don’t be ashamed of writing or reading genre fiction. If you are a writer then start with the promise and build off of that foundation. If you are a reader, don’t settle for dry characters or soggy plot lines.
Now, you’ll have to excuse me because I am really craving a pulled-pork sandwich...
For more advice about writing genre fiction, Joshua recommends listening to the Writing Excuses podcast.
I set up a certain time frame, in which I’d like to be done writing. After creating a detailed outline I can break it down easier. It helps me figure out how much I need to write each week to reach my goal!
"For a writing retreat, I’d love to go to The Black Forest."
I often hear writers complain that they don’t want to waste their time on social media. Personally, I have sparked many meaningful connections within the writing community online and have received much in the way of encouragement from this network of fellow writers. As you have found success in attracting a large audience online, what justification would you present to writers who are skeptical about the usefulness of social media?
I think anyone that has the opportunity to converse with, or learn from, other writers and authors, as well as spread the word about their work, should take that chance. You never know when that big break will come!
Before I wrote The Gatewatch, most of my writing took the form of song lyrics which I sang and performed with a Celtic folk music group. You have a musical background as a vocalist in the hard rock genre. How do your experiences in music shape your stories and what do you think other writers could learn from musicians?
I’ve been a musician for over 10 years now. People often feel moved by music, whether it’s the lyrics or the sound. I think metaphors are a big reason for that. Novels can have that same effect.
"People often feel moved by music, whether it’s the lyrics or the sound.
My stories are primarily inspired by the Norse Myths and I often find myself going back to source material to pick up small details about minor characters that I missed before. Most memorable for me are some of the characters that never get mentioned in popular culture, unlike the well-known actors like Thor, Odin, and Freya. I think a similar phenomenon happens in representations of Greek Mythology as characters like Zeus, Hermes, and Aphrodite overshadow most others. As your work is inspired in part by Greek Mythology, who do you think of as a figure in the Greek myths that deserves a moment in the spotlight?
I think that all deities deserve the spotlight, honestly. There are those shrouded in mystery, and chaos, and so many of them are highly misunderstood. Oh and Hera! Definitely Hera. Looks around the room, nervously, with a forced smile.
"There are those shrouded in mystery, and chaos, and so many of them are highly misunderstood.
The fantasy realm of Gnariam that you have created is both deep and wide. I sense a lot of anxiety from new fantasy writers about creating the world in which their stories take place. While I think we can both agree that there is no end to the work a writer could do in crafting their world, where do you think a new writer of fantasy should begin in their world-building process?
I absolutely love the world of Gnariam so far. It’s going to continue to grow. I think the best tip I could give is to think of as many things in this world, and write them down. For example: governments, religions, currencies, land masses, creatures, if there is magic or tech, terrains, climate, clothing, technology level, etc. Creating a world that feels tangible is a key to success.
"Creating a world that feels tangible is a key to success."
Where can readers find more of your work and stay up to date on your latest publications?
Discover the realm of Gnariam through C.S. Ratliff's novel The Lightning Rod on Amazon.
You are officially studying Egyptology at UBC but we bumped into each other during a fantasy reading event at White Dwarf Books in Vancouver. Of course, I do not find this surprising as most fantasy is inspired in part or in whole by history and mythology. As someone who studies these subjects formally, how does your academic background influence your experience of reading fantasy novels?
Well, I do read novels that are set in an Egyptian context now, as I can understand the obscure the facts, even though they are very much exaggerating the culture. Authors like Wilbur Smith, and Elizabeth Peters (Elizabeth is actually an Egyptologist). But when it comes to classical fantasy books, I don’t think it has really changed anything. Other than not having a lot of time to read novels outside of studying. So I would say that I tend to read more YA or Adult fantasy that isn’t a huge epic, just because I don’t have the time or brain power to “study” another huge story. Authors like George, R.R. Martin, or Steven Erickson are way too “intense”. Authors like Jim Butcher, Brandson Sanderson, Dan Brown, etc…are ones I tend currently to gravitate towards. I love fast paced adventure. Of course there is Tolkien! He is my ultimate favourite!
Well, I do read novels that are set in an Egyptian context now, as I can understand
Your studies in Egyptology and ancient cultures have taken you to many incredible destinations including Turin, Italy and Cypress in the Eastern Mediterranean. What is the next travel destination on your research list and what do you hope to study there?
"I went to the Chicago museum which is attached to their Art Institute, and it was amazing. But I didn’t know what I was seeing, till after I started studying art history and then it made those pieces understandable in a whole new context."
In your interview on The Tipsy Archives (a history podcast featuring just the right amount of wine) you mention that you have always been inexplicably drawn to Egyptian history and myth. I myself am drawn to the body of stories that make up the Norse myths and also have a hard time explaining what it is about them that I find so intriguing. Where do you think the power of myth is rooted and what about these stories makes them relevant today?
Ooh, that is a tough question, as we talked about briefly in person and via email, I too am also drawn to Norse myth, I have just academically studied Egyptian myth more. I think the power of myth lies in its ability to captivate a reader/listener because it is relatable. In myth, a reader can find hidden cultural gems of information that would otherwise have not been discovered. There is only so much that archeological evidence can tell us, albeit quite extensive, but nevertheless myth and story hold a culture’s “essence” or values. It is important I feel, for us to share and remember these stories cause then these cultures that do not exist in the same fashion as they used too come back to life and are remembered.
There is only so much that archeological evidence can tell us, albeit quite extensive,
In your essay The Portable Shrine of Anubis, you mention how the discovery of King Tutankhamun’s tomb gave archeologists unparalleled access to information about Egyptian death customs which other fields of archeological study surely view with envy. As we come from a modern North American culture that does not like to dwell on death (but rather obsesses over a glorified version of youth), what strikes you as profound in ancient Egyptian beliefs about death?
"Most seem to think that they are a culture that is obsessed with death, and that they worship it (hence all the pop culture-egyptianizing) but they were in fact quite scared of death, and as such had all of their rituals around death so that they could keep on living in the next area they called The Field of Reeds."
Same like the grave goods, as you needed all of those items with you so that you could continue on. For the Egyptians, magic and death were literal. For example, if you drew a person missing an arm, then that person would have no arm in the next life. So you needed to make sure that once something was drawn, written, placed, that made it so. Death and life were interconnected to them.
In your research paper Soundscaping in the Ancient World: Weaving through the Writings of Time you discuss the importance of sound, as well as silence, in Egyptian language and culture. As my field of study involves the language Old Norse, sound becomes paramount because it was an oral culture with no official written language. However, today so much communication happens visually instead of audibly. What do you think we lose when we move away from auditory language towards text-based communication?
"I think we lose the emotions. We lose empathy. We lose our ability to become personal with people."
The ideological fanatics Nazi Germany in World War II seemed drawn to myths and sought to exploit them for their cultural power. Beyond the Germanic and Norse myths, Nazi archeologists tried, in a bizzare blending of fact and fiction, to prove that the Egyptian pharaohs were ancient Aryans. These bewildering notions still feature heavily in popular conspiracy theories. What do you think the role and responsibility of researchers and historians is in addressing such wildly inaccurate and potentially destructive ideas?
Researchers, historians and archaeologists need to publish their work!!! This is a real problem! There are many people out there who are doing amazing studies but that information never gets told to the public, and therefore stupid theories arise and you get Egyptomania and the misinformed meanings of symbols, be they Egyptian or Nordic.
"Researchers, historians and archaeologists need to publish their work!!! This is a real problem!"
As our role is to study the past, we need to do that in a professional, respectful way and to realize that it doesn’t matter where people come from or what they believe in, we are all here on this planet and we are here to keep our heritage alive. It is about cultural heritage. Educating and involving the locals about their own culture so that they can learn about what was lost to them as well as to us.
"It is about cultural heritage. Educating and involving the locals about their own culture
Where can Egyptology fans find more of your work and stay up to date on your latest research?
Ha! I will be uploading some of my essays, like the ones that you mentioned here, on my academia.edu page (once school is finished).
Find more of Larissa's work at academia.edu!
"I usually reach for the 1554 beer from New Belgium Brewery and drink Guinness on more special occasions."
One of the hardest things for any writer is to move forward with a story once it no longer feels ‘fun’, i.e., once the story is no longer flowing easily from your mind onto the page. What advice do you have for writers who feel like they are stuck in their narrative and are struggling to move forward?
I think that’s an issue that all writers struggle with at one time or another. We all want to write when we feel inspired, but bouts of inspiration can be few and far between. I follow some advice from Anne Lamott’s book, Bird by Bird. Anne emphasises the importance of routine and of reaching a minimum word count no matter what. I’ve found that keeping a daily writing routine trains my creative muscles to work when I need them. I also aim to write eight hundred words a day, even if every sentence is a struggle. Once I get those eight hundred words down, I’ve usually broken through the wall and entered a good writing flow. If not, I can stop there and try again tomorrow. Repeat ad infinitum, punctuated with long walks and reading.
"I follow some advice from Anne Lamott’s book, Bird by Bird.
I am always interested to learn about what else writers do for work as I find this has a significant influence on their writing. How has your work as a wildlife biologist informed your narrative and influenced the fantastic world you have created?
My training in biology makes it a point of professional pride to be accurate and precise in my descriptions of nature. No one else might notice if I confuse the behavior of hares with rabbits, but those are details that I care about. I spend an inordinate amount of time researching the life cycles of every flower, tree, and critter that I include in my book because I want my natural descriptions to be as realistic as possible.
"No one else might notice if I confuse the behavior of hares with rabbits, but those are details that I care about."
On the less technical side of things, my love of nature causes the natural world to loom large in my stories. Nature can be a setting, but it also influences moods, themes, and characters. I particularly love exploring how characters relate to nature because I think that is such an essential part of the human experience.
You and I are both avid fans of poetry in fantasy. I have enjoyed some of the poems you have posted on Twitter as well as those featured on your website, particularly The Road Goes Ever On. In the world of Kellen the Fey, what special role does poetry play in the context of the adventure?
I’m so glad you asked this question because it’s something I love to talk about. For Kellan, poetry begins as a gateway to an elder time full of daring heroes and magic. All the old stories were written in verse, and so that’s how he connects to them. When Kellan starts creating his own poems, it quickly becomes a driving force in his own legend. He learns that poetry is somehow connected to a very deep and powerful magic, but one that comes at a significant price. As Kellan matures into the legend himself, poetry becomes a medium through which he reflects on his journey. I think as the series progresses it will be really cool to see how the role of poetry, and Kellan’s relationship with it, changes from beginning to end.
"For Kellan, poetry begins as a gateway to an elder time full of daring heroes and magic....
As your site hints, there is a sequel to The Wind from Faerie which is tentatively titled The Many Antlered Crown. I am intrigued by the fact that we are both currently working on the second book in our respective series. I have personally found writing the sequel to be a vastly different experience than writing the first. In what ways has the process of writing The Many Antlered Crown been different for you compared to the first book?
When writing my first book, I was very aware of my word count. I knew that publishers and readers were more likely to take a chance on a shorter book, so I wanted my debut to be an approachable length. With this sequel, those concerns are completely out of the window. I’ve got a lot of room to explore the world, the characters, and some really exciting themes. The end result is going to be a book that is significantly longer than The Wind from Faerie, but will be better for it.
"With this sequel, those concerns are completely out of the window.
I also originally conceived Kellan’s story as one arc, but that has necessarily been divided into three books. The Wind from Faerie was just the opening act, an introduction to everything. With The Many Antlered Crown, I feel like I’m finally biting into the meat of Kellan’s story and it’s immensely satisfying.
I think it is fair to say that we both believe in the power of words. As you write, do you feel that there is something you want your reader to feel or do you write simply to tell a good story? Is there a specific message behind Kellen’s adventures or are they purely a narrative escape from our day-to-day reality?
Where can readers find you online and what can they expect to look forward to reading in 2020?
I have a website where readers can check out my weekly blog, see what I’m working on, and find links to my Twitter and Instagram pages. I hope to release The Many Antlered Crown in December of 2020, and the audiobook for The Wind from Faerie should become available early next year.
In light of these depictions, you may be surprised to learn the historical source material for dwarves in fantasy, the Norse myths, portray them as unequivocally evil. Though not even the Norse gods enjoy the benefit of the doubt with Odin himself being nicknamed Bolverk (Evil-Doer), dwarves were viewed as particularly vile. At one time they had supposedly been maggots wriggling in the dirt which were given the wits of men; with such repulsive origins they might be viewed as a symbol of the greed, lust, and violence that marked most of the Viking Age. (And if you think that is an ignoble birth then consider the fact that Ymir spawned giants out of congealed sweat in his armpits...)
"At one time they had supposedly been maggots wriggling in the dirt which were given the wits of men..."
"The dwarven brothers tied him to the chair and cut his throat so they could catch his blood in a vat.
"Mighty Fenrir is brought low when the gods call on the dwarves to craft the strongest chain of all;
There she comes to the dank cave of four dwarven smiths who are admiring their latest creation,
In my own writing I have worked to honor the original conception of the dwarves as presented in the Norse Myths while taking care to remain sensitive to the historical contexts in which the myths have been abused. Particularly heinous are the propaganda posters used to instill hatred toward people of Jewish descent during World War II; an honest evaluation of these political weapons will admit some clear lines being suggested between people of Jewish descent and the dwarves from Norse Mythology. Further, some adaptations of Wanger’s ring cycle clearly present Norse dwarves as pseudo-Jewish type characters which is yet another example of the toxic racism that led to one of the darkest chapters of human history.
Instead of abandoning the myths to those who would weaponize them for ill purposes,
Were they metaphors for human lust and greed? Were they archvillians to flesh out a world full of heroic gods?
For more on the history of the Norse Myths and their modern interpretations, Joshua recommends
From Asgard to Valhalla: The Remarkable History of the Norse Myths by Dr Heather O'Donoghue.
Stay up to date on Joshua's latest books by joining the Trollhunters!
I mean, the woman got armored all up and marched to the gods’ doorstep to demand compensation
Some authors stick to strict writing schedules while others prefer flexibility when managing where and when they write. How have you managed to maintain productivity as you write short stories and novels? Do you have any tips for writers who feel that ‘there just isn’t enough time’ to write?
My advice to writers who feel there isn’t enough time is to give yourself a deadline and try to plan around it. Find a magazine accepting short story submissions and say to yourself, “This is the deadline for submissions; I need to have the story done by x date to have it ready to submit,” or tell your friends or beta readers you’ll have a story to them by x date and implore them to keep you accountable.
Find a magazine accepting short story submissions and say to yourself,
My other piece of advice—if you hate pressure and deadlines—is to just try staying inspired. Read books in your genre, do research on your subject matter, write your outline, or write drabbles to get to know your characters. If you’re busy, there’s no such thing as “making time.” But if you’re so invested in your story to the point where it won’t leave your brain until you get the words down, you’d be surprised how much you can accomplish even in a short amount of time.
I ended up taking her Norse mythology and Icelandic saga classes too, and co-founded the Icelandic Saga and Scandinavian Clubs with some like-minded geeks.
I think one of the things I love about Norse mythology is that every time I reread the Eddas, I come across something I didn’t realize before and find myself looking for an Old Norse version of the poem or paragraph and reaching for my Old Norse dictionary to look up certain words.
Plus every translation of the Eddas is slightly different, and there are also several different manuscripts that could be used as sources—and if you’ve ever seen pictures of them, you can see that there’s room for error in transcription. The whole thing is like one giant puzzle and you can’t take anything at face value, and I love it.
...every translation of the Eddas is slightly different... The whole thing is like one giant puzzle
You have now had two short stories published in fantasy anthologies: Beneath Yggdrasil’s Shadow and Between the Tides. Will you continue to write short stories now that your debut novel, The Witch’s Heart, has been signed for publication? Also, do you have any tips for writers trying to break into the fantasy publishing scene with a short story?
Even if your first published story isn’t in a huge magazine or famous press,
Signy Ketilsdottir versus the Sea (as featured in Between the Tides) is the story of a Viking woman living in a remote fjord with a grudge against Ran, the Norse goddess of the sea. Was Signy’s inspiration a specific historical figure, a character from the myths, or from somewhere else?
The anthology Beneath Yggdrasil’s Shadow highlights stories about lost or forgotten goddesses in Norse Mythology. Your piece Bright One, They Called Her, as featured in the anthology, tells the tale of wandering witch who offers a young girl named Eydis a chance to avenge her murdered family. Within the story there is a tension in framing the traditionally heroic Aesir (i.e. Norse gods) as far less than admirable. Did you choose this alternative perspective simply as a way to freshen up an old narrative or as a critique of the traditional view of the myths?
That’s a great question! I framed it that way because the wandering witch is Angrboda, who doesn’t necessarily feel the gods are all that great, since they took her kids and all. Her whole message to Eydis is about taking her fate into her own hands and not relying on divine intervention or the support of others for justice. Eydis also appears as the witch Heid (which is more of a title than a name) in Signy vs. the Sea and will appear again in Gudrun’s story, so there’s a bit of continuity in these tales.
Her whole message to Eydis is about taking her fate into her own hands
I am very intrigued by the topic of your upcoming novel, The Witch’s Heart, which sets the character Angrboda at center stage. A somewhat obscure figure in the myths, she is most famously known for her infamous offspring by the trickster god Loki: the world serpent Jormungandr, the ferocious wolf Fenrir, and the chilling half-corpse Hela who is queen of the Norse underworld. What was your approach and process for filling in the gaps of her storyline while writing The Witch’s Heart?
I am so glad you asked! You’re right that Angrboda is super obscure. She’s mentioned once by name in each Edda and both times in relation to Loki and their children together. In most retellings she’s either some sort of creature or just sort of…there. And a lot of people picture her as this fierce warrior women, which is totally cool and also I hope those people aren’t disappointed with me. (I happen to have one such depiction as a poster on my wall because it’s so awesome—just not the way I went in TWH.)
The angle I took with Angrboda was to explore the associations she has in common with or which are echoed in other female figures in the mythology, so I ended up writing them all as the same person. Sounds crazy, right? But Norse mythology abounds with multiple names for the same figure (Odin being the best example of that) so I just sort of took this idea and ran with it.
Sounds crazy, right? But Norse mythology abounds with multiple names for the same figure
Another giantess in the mythology who has associations with wolves, snakes, and death is Hyrrokkin,
And then there are the other seeresses: the Seeress from “The Prophecy of the Seeress,” who mentions Heid, the woman with the “pleasing prophecies,” who was once Gullveig, whom the gods burned three times and who was three times reborn near the beginning of everything.
So I ended up writing Angrboda as all of the above: Gullveig, Heid, Hyndla, Hyrrokkin, the Seeress, etc. and interpreting all their names as one name for the same woman, so the story just kind of flowed from there. My goal was to make this novel slip seamlessly into the background of Norse mythology—which meant not changing the myths themselves, up to and including Ragnarök. But my problem was that I’d given this one woman phenomenal cosmic power… what kind of person would she have to be not to use this power to save her children and alter their fates?
But my problem was that I’d given this one woman phenomenal cosmic power…
With all that said, I definitely took some liberties when writing the story, and I’m the first to admit that. For example, I made Jarnsaxa one of the Jarnvidjur (the giantesses who inhabit Jarnvid) and made Angrboda and Skadi’s relationship central to the story. There isn't any evidence for either of these things—they just sort of happened as I was writing!
Where can readers stay up to date on your latest projects and learn more about the upcoming release of your debut novel?
I’m still in the revising stages of The Witch’s Heart so there isn’t much to update at the moment. I recently got the first peeks at my cover and I am so thrilled because it’s absolutely gorgeous and I can’t wait to share it. Although I’m most active on Twitter, I’ll be updating Facebook and my website as my release date (early 2021) draws closer.