JOSHUA GILLINGHAM
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The Midnight Myth Podcast

6/10/2020

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 I recently had the distinct pleasure of talking with Derek and Laurel from the Midnight Myth podcast. We talked about Vikings, history, and how myths influence and are interpreted in Fantasy. It was an absolute delight and they chased me down every rabbit hole that opened up in our conversation. Derek and Laurel are also Tolkien aficionados with many enthralling episodes on The Lord of the Rings series. Find this special bonus episode of The Midnight Myths podcast, and many other excellent episodes on fantasy and pop culture, on their website.
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Check out the Midnight Myth website and follow them on Twitter!
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Q&A with Reyadh Rahaman

5/27/2020

1 Comment

 
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Welcome Reyadh! Thanks for taking some time to chat about writing. First, a few quick-fire questions: Snow or Sand? Spicy or sweet? And if you were a character written into an H.P. Lovecraft story, which monster would most likely be the end of you?
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Thanks for having me, Josh! Hell yeah, let’s get right into it!

Snow. As a Canadian, snow and ice are part of my very soul. The cold does not only flow around me, but within as well. As a fellow Canadian, you may feel the same… or the opposite. My family hates the cold, but I love it. That may be because my parents are from Guayana, and it’s much warmer there.

"As a Canadian, snow and ice are part of my very soul. The cold does not only flow around me, but within as well... My family hates the cold, but I love it."
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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.
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"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."
​

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?
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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. 
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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?
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The biggest challenge for Canadian authors is to stand out in a market flooded with people from all over the world. American authors likely take up the majority of shelf space in bookstores, though I do not fault them for that. That’s just the way the market is. Canadians tend to be less inclined to push their way to success, intending instead to get by on merit, writing accolades, and positive relationships. We simply don’t like to be cut-throat. People from other parts of the world are way less chill, and won’t hesitate to take advantage of a situation. This is an average, or course, and I’m sure there are exceptions to this notion.
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"Canadians tend to be less inclined to push their way to success,
​intending instead to get by on merit, writing accolades, and positive relationships." 
​

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. 
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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? 
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​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. 
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"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."
​

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?
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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?
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Fantasy/Sci-Fi have concepts that work together better than most people usually like to acknowledge. There are many purists out there who hate to see genre mixing, but I’ve never been one to be concerned about such petty borders. I mix fantasy, horror, and sci-fi on a regular basis and refuse to stop! 

The best way to balance such aspects is to reveal them to the reader through the same perspective. Portals, dimension travel, and magic in general, are quantifiable. There is a reason behind why they exist and how. Just like how a carpenter builds a door, or an engineer a bridge. When you define the rationale behind concepts, they go from being “unknown magic” to being “known scientific phenomena”. 

"When you define the rationale behind concepts, they go from being 'unknown magic'
to being 'known scientific phenomena'."
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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?
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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,
sculpting, and even modern artforms like photography and videography." 
​

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.
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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?
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​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.
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Salt On the Waves will take place in my ‘Sky, Sea, and Stone’ universe. A world that I’ve been building for a while now. Some of the short stories in the ‘Unusual Tales for Curious Minds’ anthology as well as the ongoing series in my newsletter (Of the Sky, of the Sea, and of the Stones) are also set in this universe. 
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"Salt On the Waves will take place in my ‘
Sky, Sea, and Stone’ universe." 
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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.
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"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."
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Where can readers keep track of your latest writing and stay up to date on your next publication?
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​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!
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Make sure to follow Reyadh on Twitter and join his newsletter. Book lovers can also find him on Goodreads!

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Q&A with Byranna Gary

5/3/2020

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Welcome Bryanna! Thanks for taking some time to chat about writing. First, a few quick-fire questions: Coffee or Tea? Rain or snow? And if you could have any one of your five senses amplified by a factor of ten then which would you choose?
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​You got real creative with the questions and now I want whatever coffee you’ve been drinking! To answer: definitely coffee. I could never get into tea, though maybe I just haven’t found the right flavor yet. I would also say rain instead of snow because I hate the cold and I love sleeping in when it’s pouring rain outside. 
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"...rain instead of snow because I hate the cold and I love sleeping in when it’s pouring rain outside."
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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. 
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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?
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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!
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"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.' "
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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?  
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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. 
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"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." 
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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? 
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This might sound like an obvious tip, but please follow guidelines. We at Satyr are pretty chill about it and it’s definitely not a deal breaker if guidelines aren’t entirely followed, but when I worked at a lit agency, they told me that queries that didn’t follow guidelines to the letter were to be immediately thrown away. And I’m pretty sure most other publishers/lit agencies/outlets probably have the same rule.
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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!
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"...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."
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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? 
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I have always adored Sci-Fi and Fantasy for the opportunities it creates to be endlessly creative. I admit to being a chronic daydreamer, and writing and worldbuilding have always been my outlets, giving my daydreams the potential to become as close to real as they’ll ever get. But I do think it’s true that with great power comes great responsibility, and while I wouldn’t say there are necessarily limit to the kind of things you can write, I do think the best stories—Sci-Fi and Fantasy in particular—have the power to get readers to understand and sympathize with issues they maybe wouldn’t have before. Books are powerful, and that’s why everyone should have the chance to tell their story. I would say the best example of the power of freedom in creating these worlds and characters is in Octavia’s Brood, a speculative fiction anthology written with the theme of social justice. It’s a great example of the kinds of books/stories that I aspire to someday publish if my dream of becoming an editor comes true!
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"I do think the best stories—Sci-Fi and Fantasy in particular—have the power to
​get readers to understand and sympathize with issues they maybe wouldn’t have before."
​

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? 
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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.
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"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." 
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Can you give us a hint about your current project? Any tantalizing clues or sneak-peek quotes?
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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!
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“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..."
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Where can readers keep track of your latest writings and stay up to date on your next publication?
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​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. 
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Find out more about Bryanna's upcoming projects on:
Website - Facebook  - Instagram - Twitter - Pinterest
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In Defense of Genre Fiction

5/1/2020

1 Comment

 
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 I don’t think my wife has ever ordered the same dish twice. Ever. At first this was rather perplexing to me, a person who craves the comfort of a tried and true classic. Of course, I am not against trying a noodle dish I couldn’t pronounce if my life depended on it or a curry that makes my eyes water with just one sniff, but I like to balance such culinary gambles with a sure bet. 
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"I don’t think my wife has ever ordered
​the same dish twice. Ever. "
 ​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. 
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"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."
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​ 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. 
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"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…)
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 ​Genre is almost a dirty word in many writing circles. Mention Westerns in a writing course and you will see the eyes of every ‘serious’ writer start to twitch. Say the word Fantasy to most agents and you might as well have told them that you like to wear your pants inside out. Tell your siblings that you are a Romance writer and, well, you can guess how that usually goes.
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​"Say the word Fantasy to most agents and you might as well have told them that you like to wear your pants inside out."
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 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.
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"I write Fantasy. I write cursed swords and magical monsters and medieval feasts
with calorie counts high enough to kill an olympic weightlifter."
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 ​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, and the book they pick up when they are trying to ride out a hurricane that has torn a trail of destruction through their world. In other words, I aim to write their literary pulled-pork sandwich.
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"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.
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"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. 
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 ​Promise is the foundation of genre fiction. It is also the same thing that keeps me ordering pulled-pork and pad thai. You must fulfill the promise of your genre to readers because it is why they picked up your book in the first place. If it’s horror, I had better be scared to turn off the lights. If it’s romance, make me swoon like Cinderella at the ball. If it is a Western and you don’t have a saloon shoot-out then go straight back to your manuscript right now and write one in. 
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"Promise is the foundation of genre fiction... You must fulfill the promise of your genre
​to readers because it is why they picked up your book in the first place."
​
 ​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. 
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 And don’t think for a second that just because you write genre you get a free pass on shoddy writing. In fact, the opposite is true, just like culinary classics. If I order a pulled-pork sandwich from your food truck you had better be aware that I know pulled-pork and will be holding up the experience of that first bite with dozens of other sandwiches. You need to both fulfill and exceed the promise of a classic. Give me savoury sauce and give me the crunch of coleslaw. But don’t think for a minute that I’ll go raving to my friends about how awesome your sandwich is unless you give me something more. Something I wasn’t expecting. Banana peppers? Nice play. Mango drizzle? Now that’s bold.
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"​You need to both fulfill and exceed the promise of a classic."​
​

 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...
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For more advice about writing genre fiction, Joshua recommends listening to the Writing Excuses podcast. 
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Q&A with R.R. Vale

4/18/2020

0 Comments

 
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Welcome Radina! First, a few quick-fire questions: Which author would you be most nervous/excited to have read your work? Do you prefer cats or dogs? And, though I know we disagree on the whole Hawaiian pizza thing, what is your favorite pizza?
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​Such tough questions to start with! 1) I’m going to cheat and name two authors: my mom, who is a writer (fiction and TV/film), because she is my second-toughest critic, after myself, and always has invaluable insight. And Hilary Mantel, because she is my favorite living writer (and Wolf Hall is my favorite book of all time), and it would be terrifying and amazing if she ever read a word I wrote. 2) I’m a cat lover, but dog-curious. 3) When I’m feeling fancy: prosciutto and fresh arugula. When I’m feeling basic: pepperoni. 
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"When I’m feeling fancy: prosciutto and fresh arugula. When I’m feeling basic: pepperoni." 
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As a writer of thriller and fantasy, you know how to get the reader’s adrenaline pumping. What common pitfalls have you encountered, either through your own development or through reading others’ work, when writers try to amp up the tension but end up falling flat?
​

Several things can make the tension fizzle. The first that comes to mind is info-dumping or excessive flashbacks / background in the midst of the action. If you want to maintain the tension throughout a scene, you have to stay as much as possible in the present moment. I’m currently reading Crescent City by Sarah J. Maas and am thoroughly enjoying it, but I nearly put it down in the first five chapters because it felt like every other moment in the scene was interrupted by detailed backstory. It’s something I have had to work on with my writing as well. Ninth House by Leigh Bardugo is a good example of how to keep the tension going, with backstory woven in more subtly.
​
"Several things can make the tension fizzle. The first that comes to mind is info-dumping or
​excessive flashbacks / background in the midst of the action."
​

There are many new avenues open for authors to share and publish their work online but being an author today also comes with a whole new set of challenges. What strategies helped you find success as you built your audience online and off? 
​

As a first step, you have to identify what your goals are: do you have a published (or soon-to-be published) book that you’re ready to start marketing? Or are you more interested in building community at the moment? I, personally, am currently focused on community-building. I do my best to align my social media engagement with what feels good and authentic to me - my personal goal is to organically connect to readers and fellow writers. This means I gravitate toward the platforms I enjoy using, regardless of whether or not they have a good reputation for producing sales or click-throughs. Facebook, for example, is generally considered helpful, especially for indie writers, if you can learn how to leverage its targeted advertising system. But I do not enjoy Facebook. At all. So I prioritize my time on Instagram and Twitter, which perhaps aren’t as good at generating click-throughs, but are wonderful sources of inspiration and connection with fellow writers and readers. 

"I do my best to align my social media engagement with what feels good and authentic to me -
my personal goal is to organically connect to readers and fellow writers."
​

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​Having said all of that, if you are a published author - and particularly an indie who is solely responsible for your book marketing - you may want to take a more strategic and targeted approach. There are many books, blogs, and tutorials on how to successfully market as an indie writer. 

Second, as clichéd as this may sound, you have to show up as you. What you see on my social media feed is what you get: my real, sometimes messy, sometimes silly self. And I focus on showing up for the writers and readers I've met online with encouragement, positivity, support, and fun. It has been an amazing experience, and thanks to these connections, I now work with a wonderful group of critique partners and beta readers. 

"Second, as clichéd as this may sound, you have to show up as you. What you see on my social media feed
is what you get: my real, sometimes messy, sometimes silly self."
​

And last but not least, focus on building a positive and welcoming space on your social media feeds. We’re all inundated with negative news on a daily basis (now more than ever), so I try to provide as much entertainment and escapism as possible. To that end, the best decision I've made was to launch a newsletter. It has helped me connect more deeply to the wonderful people I've met online, and it allows me to give back to the community - every month, I run a book giveaway exclusively for subscribers, because I love sharing the books that I’ve enjoyed (recent giveaways included Ninth House by Leigh Bardugo, Neverwhere by Neil Gaiman, Sinner by Sierra Simone). I also share things that I love talking about with friends: trailers for upcoming movies or TV shows (especially thrillers and mysteries), books coming up soon that I’m excited about, and interesting articles about real-life stories that are stranger than fiction and could be great inspiration for thrillers. The key is that I love doing all of this - and because I’m talking about things of general interest, other people seem to be finding enjoyment or a bit of distraction from the newsletter as well. 

It may take some experimentation, but take the time to find the things you enjoy and focus on them. That way, it won’t feel like work. A while ago, I drafted a blog post answering this question with some more detail, in case it's helpful.

Writing can be a lonely endeavor and it helps to have a community of writers around you for encouragement, critique, and, let’s be honest, to just blow off steam sometimes. You have established a healthy community of writers around you through your website and through Twitter events that you host. What advice do you have for writers who feel alone and are trying to connect with other writers?
​

If you’re new to the twitter writing community, probably the best way to get started if you don’t know anyone is to follow some of the big writing hashtags. My favorites are #writingcommunity, #vss365, #indieapril, and #writerslift. The “vss365” tag stands for “very short stories, 365 days of the year,” and is a fantastic community of writers who craft single-story tweets based on a prompt word that the host of the month shares every day. I would start by supporting other writers on the vss365 tag - read their stories, like their tweets, and comment with words of encouragement. If you’re feeling brave, contribute your own stories! 

"I would start by supporting other writers on the vss365 tag - read their stories, like their tweets, and comment with words of encouragement. If you’re feeling brave, contribute your own stories!" 
​

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On the other tags, writers will often post questions for the community to answer, host giveaways of their books, seek beta readers, and introduce themselves if they’re new and looking to connect with fellow writers. Respond to their posts, answer their questions, and have fun! Most importantly, be courteous, professional, respectful, and kind.

​I should note that I am an extroverted introvert, so I usually enjoy connecting with folks on Twitter. 


If you are an introvert, or have social anxiety or otherwise feel uncomfortable being very open and communicative on social media, I completely understand that “Have fun!” isn’t going to be doable for everyone. ​Please don’t feel like you have to push yourself to be someone or do something that goes beyond your comfort zone. If you feel comfortable with a more limited form of engagement, you could start simply by reading through the above hashtags and getting familiar with the writing community online. And if you do a search of “how to build an author platform if you're an introvert,” quite a few resources pop up - rest assured that you’re not alone!
​
"If you are an introvert, or have social anxiety or otherwise feel uncomfortable being very open and communicative on social media, I completely understand that “Have fun!” isn’t going to be doable for everyone."
​

Your short story The Calving takes an honest look at environmental issues through the story  of a young couple facing an uncertain future. New writers often make the mistake of letting the message overshadow the narrative in a way that makes the story feel expository or preachy. How do you manage to write about issues that really matter while also keeping the narrative vibrant and engaging? 

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We generally like to read stories about people, not issues. I think one of the best things you can do as a writer is to read good journalism. The news can either be very dry and dull (presenting an issue from the perspective of statistics), or it can be deeply engrossing (highlighting a single person’s story to demonstrate the broader trends). 

In fiction, our job is to take the larger world and whatever big-picture issues we might want to explore, and to make them as personal as possible. One of my favorite reporters is Marie Colvin, who was killed in Homs, Syria, several years ago. Her war reporting, which has been published as a collection in On the Front Lines, is technically about very big-picture issues: geopolitics, ethnic cleansing, despotism. But her stories dig into such tremendously personal details that it often feels like you’re watching a movie. Colvin’s own story demonstrates the truth of all of this perfectly. 

"In fiction, our job is to take the larger world and whatever big-picture issues
we might want to explore, and to make them as personal as possible."
​

​The dry story about the big-picture issue is: dozens of reporters are killed in war zones each year as they try to expose human rights abuses. The personal story is Marie Colvin’s own life, which reads very much like a thriller - so much so, that a Vanity Fair article about her was adapted into a movie a couple of years ago. Whatever subject matter you want to tackle, no matter how broad or epic it might be, put yourself in your characters’ shoes and make it as personal to them as you possibly can. 
​
The Apartment, a short film which you wrote the screenplay for, is now in post-production. What was the experience of writing for film like and what advice do you have for brand new screenplay writers who are trying to break in? 
​

It was a surreal experience to write words on a page and then see people bring those characters to life (I also directed the short, which my best friend and immensely talented filmmaker, Matthew Newton, produced). It was also rather frustrating. With fiction, you can write whatever you want - there are no budgets and production practicalities to hamper  your vision. With a screenplay, by contrast, you start with your dream vision (locations, scenes, the “look” of it all) … and then slowly whittle down that vision to a budget, production schedule, locations, and cast and crew hours you can actually afford. It is simultaneously a humbling and thrilling ride.
​
"With fiction, you can write whatever you want - there are no budgets and production practicalities to hamper  your vision. With a screenplay, by contrast, you start with your dream vision ... and then slowly whittle down ..."
​

I’m not trying to get an agent or sell a feature screenplay at the moment, so I can’t quite speak from experience about the industry, but I can give the following tips: 

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1) The Scriptnotes podcast, hosted by Craig Mazin and John August, is a fantastic resource. I have learned more about the screenwriting craft and the industry from them than from any book or website. They delve into detail on such nitty-gritty issues as the Writers Guild of America fee schedules, seeking agent representation, selling your screenplay, whether you have to live in L.A. if you want to make a career out of screenwriting, and so much more. I can’t thank them enough for the service they’re doing for us lowly newbies. 
​
"The Scriptnotes podcast, hosted by Craig Mazin and John August, is a fantastic resource. I have learned more about the screenwriting craft and the industry from them than from any book or website." 
​

2) Read as many screenplays as you can! Some of my personal favorites are Sicario (fantastic action sequences), Michael Clayton (brilliant dialogue and character development), and Traffic (great structure). Incidentally, all three scripts are examples of movies that take a big-picture political or social issue and make it intensely personal. There are so many other stellar scripts you can learn from. You can start with a search of the “top ten most important screenplays for a writer to read.” Or you can let your curiosity be your guide and start with the scripts of the movies you love. Either way, read with a critical eye and pay attention to plot structure, rhythm, dialogue, and all of the other craft elements you should examine when you’re reading to learn. 
​
What is the next big project you have on the go? Can you give us any sneak peeks or hints around what it will be about? 
​

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​I’m really excited to indie-publish my first supernatural mystery novella! Mile Marker Eight combines the small-town weirdness of The X Files with the dark comedy of Fargo. Here’s a sneak peak: All that is left of Norman Müller is his left boot on the bank of the Neversink Reservoir. When he reappears eight days later with no memory of what happened, Sheriff Brenda Barton must decide: has Norman lost his mind, or is something darker gripping their small town? My target publication date is Halloween 2020.

"I’m really excited to indie-publish my first supernatural mystery novella! Mile Marker Eight combines the small-town weirdness of The X Files with the dark comedy of Fargo."
​

I’m also currently revising the first draft of an adult supernatural thriller that melds three of my favorite things: super-strength, telekinesis, and mixed martial arts cage fighting (MMA is my favorite sport). It’s heart-pumping action, ticking-time-bomb danger, and a heavy dose of steamy romance. I hope to be ready to start querying agents in the fall. Until then, I’m sharing little details through my newsletter but otherwise playing this one close to the vest.
​​
Where can readers find more of your work and stay up to date on your latest publications?
​
I’m at @rrvaleauthor on Twitter, where I host writing sprints and write vss365 stories, and on Instagram, where I share writing motivation and tips, book reviews, and moody shots that inspire some of my writing. And you can sign up for the monthly Thrills & Magic Newsletter for exclusive updates, giveaways, and behind-the-scenes sneak peeks.
​
Sign up for R.R. Vale's newsletter and follow her on Twitter to stay up to date! 
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Q&A with Joanna McQueen

4/18/2020

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Welcome Joanna! First, a few quick-fire questions: Tea or Coffee? Sunshine or Rain? And if you could have any exotic animal as a tame pet, which one would it be?
​

Definitely tea, I’m stereo-typically British!

Sun for its brilliance and warmth. Rain; not the hard, fast thunderous rain, but the soft calming rhythmic rain that trickles down the window pane. 
​
I have a dolphin tattoo. I think that explains all.
​
"I have a dolphin tattoo. I think that explains all."
​

Any writer who actually finishes a piece of work, whether it's a short story or a novel, will at some point get ‘stuck’. What do you do when you get to that sticky point and what strategies do you have for working past it? 
​

As I have always done with life in general, when I am stuck I walk away. It’s a learned behaviour, but it does come in handy when writing. I plan a lot in my head, so when I do sit down to write and become stuck, I walk away from the computer or the notebook for a while. This way I can (usually) clear my head and refocus. The downfall of this is that sometimes I stay away for extended periods of time and I don’t revisit the piece I was working on and then it is left incomplete. 

I could publish a book entitled: The Complete Incomplete works of Joanna McQueen. I am working on this. No it’s not procrastination! Well maybe it is a form of it...
​
 "I walk away from the computer or the notebook for a while. This way I can (usually) clear my head and refocus."
​ 
You are querying agents and publishers for your first book, a children’s story written in a lyrical style. From your experiences so far, do you have any tips to share with other children’s authors who are just beginning to wade into the waters of querying? 
​

​Keep writing! Keep trying! Never give up! This is my daily mantra.

It has taken a very long time for me to see myself as a writer/poet. The internal  voices telling me I wasn’t good enough spoke very loudly and persistently, so I believed them. Unfortunately, some of these voices came from real people and not just self-deprecation. I am learning not to listen to them. 

So my best advice is don’t believe the voices (or the people/letters) that tell your work is not good enough, or right, or it’s not the right time, or you should just give up.  Don’t believe them. They are lies/liars! 
​
"The internal  voices telling me I wasn’t good enough spoke very loudly and persistently, so I believed them. [...]
I am learning not to listen to them."
​ 
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Joanna's Writing/Reading Space
Children’s stories have such potential to reach both the kids they were written for and the parents that read them night after night. How do you manage the tension between writing for kids and writing for the adults that will read the book out loud? 
​

That’s a good question. Well, I suppose as a parent, I look at the message that I want my book to send and I aim to help the parents teach their children the importance of something. In my current book series, it’s the importance of books and using your imagination. The story may also have a little bit to do with behaving and the consequences of not behaving or not listening to your parents, there is that!

I would like to believe that my books will resonate with the parents and they will be grateful for the lesson I am trying to teach. I suppose that is the teacher in me shining through. I also suppose that if I can bring the parents on board with the underlying messages in my stories, by supporting their parenting, then I help teach an important lesson to the children and sell a book. Win, win!
​
In your story, a young boy who has been grounded finds himself transported to a magical library. What role do you see libraries playing in this internet age as so much media gets transferred away from traditional paper onto digital platforms?
​

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Inside Halifax Public Library​
"The sensations that are experienced while in a physical library, or even a bookshop, cannot be experienced online, the sensory stimulation is lost."
​

​This transfer is one of the reasons I wrote the story. I believe libraries to be magical places filled with people and stories and other worlds that do not exist in reality. A physical place that children can go to look at and enjoy books. I know that people can find books online, but I believe it is not the same. Going to a physical library is an experience and is not the same as a virtual library. The sensations that are experienced while in a physical library, or even a bookshop, cannot be experienced online, the sensory stimulation is lost. Holding a book in your hands and flipping through the pages is an experience; a delightful one. I suppose I am trying to share this experience with children because modern technology has removed the essence of exploring a library and all the magic within it. 
​
Stories can be so powerful in communicating ideas. It is especially challenging, I would imagine, in a children’s book where your word count is limited. How did you manage to take the whole narrative and boil it down to the words that ended up in the story?
​

​Another good question. I believe I have been creating this story and ones like it, in my head, for a long time and one day I just wrote this particular one. The magic of this story flowed through me. It just worked. I can’t explain it. With that being said, I am a mother and a teacher and I love stories, especially whimsical rhythmic ones. I have read a lot of children’s books so I have been able to explore them quite extensively. I especially enjoy Dr Seuss and have several of his books memorised. He is an inspiration and I suppose I followed his narrative, unknowingly. 

Understanding the narrative and structure of children’s books is important and writing to fit the specifications can be challenging but sometimes, just sometimes, a story works all on its own. 
​
"The magic of this story flowed through me. It just worked. I can’t explain it."
​

Many authors day-dream about having an artist illustrate their work. What tips do you have for finding and working with an artist if an author chooses to go that route? 
​

​I’m not sure if I am the right person to give advice on this as I am so new and the experience of working with an illustrator is as well.  The illustrator I approached is the daughter of a long-time friend and I just love her. I asked her to illustrate my story not only because of the association, but because I see her as a talented artist that should be recognised for who she is. Knowing her as well as I do, I knew that she would be able to create with her hands, the images I created with my mind. Thankfully, she said yes and is delighted to work with me and I am so very pleased. 

"Knowing her as well as I do, I knew that she would be able to create with her hands,
the images I created with my mind." 
​

I suppose any advice would entail choosing an illustrator that will compliment your work, if this is an option of course. I reviewed a children’s book yesterday and the only negative thing I would say about it was that the illustrations didn’t fit the story. It was a lovely story but the illustrations did not do it justice. So now, I believe that illustrations complimenting your story are quite important. Hence why I chose who I did. 
​
Where can readers find more of your work and stay up to date on your latest publications?
​

​Because I am so brand new, I am still organising the platforms to promote myself as a writer. I have an Instagram account where I talk about books: adult, young adult and of course children’s. My pages are the title of my book: The Library of Imagination. My email is the same. I have very recently started a Facebook page also of the same name. I will create a website in time. It’s on my ‘to do’ list. I can be contacted on any of these platforms and would be happy to engage with people. 
​
Find out more about Joanna's book The Library of Imagination on Instagram.
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Book Review: 'Forged by Iron' by Eric Schumacher

4/15/2020

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Eric Schumacher presents the harrowing flight of young Olaf Tryggvason from the vengeful sons of Erik Bloodaxe in spectacular close-up detail through the eyes of young Torgil. Caught up in the deceptive schemes of Erik Bloodaxe’s sons, the two boys follow Torgil’s father, Torolv Loosebeard, as they flee to safety along with Queen Astrid, Olaf’s mother, and her retinue.
​
"Eric Schumacher presents the harrowing flight of young Olaf Tryggvason from the vengeful sons of
​Erik Bloodaxe in spectacular close-up detail through the eyes of young Torgil." 
​

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Author Eric Schumacher
​The narrative carries the reader across Norway, into Sweden, and through the Estlands as the fleeing party seeks safety with their kin in Holmgard, land of the Rus. Along the way Olaf and Torgil must grow into warriors as they suffer a brutal life undercover as thralls, a progression which Schumacher presents in grueling detail. In this, he has captured two equally vivid sides of Viking life, the valorous battles fought with bright shining steel and the stinking cesspit of the slave trading markets. He masterfully navigates the Norse customs of high-raftered halls while also illustrating the heart-breaking injustice of slavery. 
​
"In this, he has captured two equally vivid sides of Viking life, the valorous battles fought with
bright shining steel and the stinking cesspit of the slave trading markets."
​

Schumacher shines particularly bright while narrating battles at sea. These conflicts, fought in close quarters and on choppy waters on the far-famed Viking longships, were a defining feature of life in the East Sea in the time of Olaf Tryggvason. Through his retelling the reader feels as if they are aboard the ship in the thick of battle alongside Olaf and Torgil as they dodge deadly arrows and thrust their sharpened seaxes.
​
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"...the reader feels as if they are aboard the ship in the thick of battle..."
​
​Schumacher also infuses his deep knowledge of Viking history into the narrative with details such as how to make Scandanavian dishes like skyr and the finer points of spear-fishing in the river. Further, he gives a nod to some recent archeological discoveries, including evidence of the Viking’s more industrial pursuits such as the production of tar and the extraction of iron. Yet in all his descriptions there is no sense of encyclopedic exposition; rather, these savory details flow through the narrative naturally. 
​
"Schumacher also infuses his deep knowledge of Viking history into the narrative with details such as
​how to make Scandanavian dishes like skyr and the finer points of spear-fishing in the river."
​

​Any complaints I had were small. Queen Astrid, though stoic, seemed to me to lack both the tenacity and cunning required of Viking queens of the age, particularly in the first section of the novel. Second, though the narrative follows an epic and heart-breaking arc, I felt at times the need for a bit more comic relief between the heavy subjects of the book such as the abuse of slaves and the death of parents. That being said, neither of these issues prevented me from thoroughly enjoying the book.
​
I highly recommend Schumacher’s Forged by Iron for anyone who has an interest in Viking history, particularly if they enjoyed The Long Ships (Frans G. Bengtsson) or The Half-Drowned King (Linnea Hartsuyker). Forged by Iron can be found on Eric Schumacher’s website and will be available as of April 15th, 2020. 
​
To find out more about Eric's books visit his website and follow him on Twitter.
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Q&A with Ed Grabianowski

4/8/2020

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​Welcome Ed! First, a few quick-fire questions: What do you listen to when you write? Who is your favorite villain? And which movie ending do you wish you could go back in time and rewrite? 
​

If it’s quiet around me, I like the quiet. If I need to drown out some neighborhood kids or something, I might use nature sounds, film scores, or jazz. 
​
​Rarely, if I really need to get fired up for something or I’m struggling to get something done late at night, I’ll put on some rock or metal. The Who’s Live at Leeds album is a real good one to light a fire under your ass. Favorite villain is definitely Roy Batty, because you understand the motivations behind his brutal actions, and even come to sympathize with him quite a bit. Yet he’s still scary as hell. Honorable mention goes to the Serpent Society from Marvel comics, just for being a bunch of awesome weirdos in snake costumes. I would rewrite the end of the Avengers to include the Serpent Society.
​
"Favorite villain is definitely Roy Batty, because you understand the motivations behind his brutal actions,
​and even come to sympathize with him quite a bit. Yet he’s still scary as hell."
​

Many newer authors are intimidated by the idea of sharing their work. What gave you the confidence to put your creative projects out into the world and what advice do you have for those who might be nervous about sharing their art?
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​If you want to write on a pro or semi-pro level, you have to and there’s no way around it. Some people aren’t going to like your stuff, and sometimes they’re right and sometimes they’re wrong, but all that matters is improving your craft, going through those trials by fire until you get better and find the right editor and sell some stories. Then you build on that confidence.
​
"Some people aren’t going to like your stuff, and sometimes they’re right and sometimes they’re wrong..."​
A little while back you were part of a project to turn one of your stories into a short film. What were some of the joys and challenges of adapting your story as described in prose to the big screen?
​

I discovered that I love screenplay format. That mode of storytelling really worked for me, just in terms of the way you have to describe things in a visual way, and you have to be concise and clear. I also got to travel to England for more than a week!

"I discovered that I love screenplay format. That mode of storytelling really worked for me,
​just in terms of the way you have to describe things in a visual way, and you have to be concise and clear."
​
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​One thing that I think we made a mistake on was, we would have these meetings where me, two producers, and the director were in a room going over the script and rewriting in real time. And that was impossible, just to have four people going “How about this?” and writing by committee. That’s not to say that a writer shouldn’t get feedback and revise a script based on that, but getting script notes and going back and working to fix certain problems in the script is very different from literally building it word by word as a group project. 
​
Writing screenplays is a fairly competitive market, but sometimes the right tool can give a writer the edge on their competition. What platform would you suggest for writers who are interested in adapting their novel for film? 
​

The industry standard is a program called Final Draft. I’ve never used it, it’s damn expensive. That said, screenplays have very specific formatting demands, so you need something. I discovered that Scrivener, a piece of software originally designed for organizing and writing novels, has a screenplay mode with a bunch of shortcuts that make screenplay formatting incredibly easy. And it’s got a very reasonable price. No one has ever looked at one of my Scrivener screenplays and said, “Why wasn’t this done in Final Draft?” I don’t think anyone would know the difference. 
​
"I discovered that Scrivener, a piece of software originally designed for organizing and writing novels,
has a screenplay mode with a bunch of shortcuts that make screenplay formatting incredibly easy."
​

You are also a part of a band called Spacelord with several albums available on Bandcamp. Do you see writing music and writing SFF as separate creative endeavours or is there cross-over influence in your work? 

​They’re separate in the sense that there are very different sets of skills involved and totally separate paths to (and measurements of) success. But they’re very connected in that the things I’m interested in and influenced by affect both of them very deeply. My songwriting is heavily influenced by Tolkien and Robert E. Howard and Blade Runner, and my fiction is influenced by Dio and Led Zeppelin and The Sword. And of course every independent creative person is trying to build an audience for their work, and I think there’s a connection there as well. Someone who likes Spacelord is likely to be into my fiction too.
​
"My songwriting is heavily influenced by Tolkien and Robert E. Howard and Blade Runner,
and my fiction is influenced by Dio and Led Zeppelin and The Sword."
​

You wrote an article for Gizmodo back in 2013 titled “What's the connection between heavy metal music, horror and fantasy?” One of my current ‘most listened to’ bands is Brothers of Metal who pull heavily on the Norse myths for lyrical content. Why do you think metal bands are drawn to mythological themes?
​
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​I’m going to approach this from the opposite direction: mythological themes have resonated with people for literally thousands of years, because so often those stories hold some insight into the problems and trials we encounter in our lives: betrayal, hubris, guilt, love and lust, power and frustration. But they’re all elevated to this epic, blockbuster action movie level. Given that we’re going to continue to tell these kinds of stories, what better way to tell them than via metal? Who better to explore epic mythology than bands whose singers sound like demons or gods, with drums like marching armies and guitars that evoke the mightiest heroes battling nameless beasts from the Underworld?
"Who better to explore epic mythology than bands whose singers sound like demons or gods, with drums like marching armies and guitars that evoke the mightiest heroes battling nameless beasts from the Underworld?"
​

You’ve got quite a range of experience when it comes to music and writing. What has been the focus for you recently and what can readers look forward to as your next big project? 
​

On the fiction side, there’s a novel in progress, and some short stories. I seem to bounce back and forth between horror and epic fantasy. On the music side, Spacelord was literally days from starting the recording of our third album when the world ground to a halt. So right now we’re working on an acoustic EP of all new songs, with our guitarist and I sending sound files back and forth so we can get it done without ever actually being in the same place. We’re moving fast on that and I hope to release it by the end of April.
​
"On the fiction side, there’s a novel in progress, and some short stories.
I seem to bounce back and forth between horror and epic fantasy." 
​

Where can readers find more of your work and stay up to date on your latest publications?
​

Well, I’m pretty terrible at updating my website, so people should probably just follow me on Twitter.
​
You heard the man! Follow him on Twitter. 
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Q&A with Vaz Anzai

3/31/2020

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Welcome Vaz! First, a few quick-fire questions: What is your go-to writing beverage? How would you guess the world is going to end? And who do you think is the greatest villain of all time?

I'm off carbonated beverages completely now, so I would say currently I love both Monster Rehab Lemonade and Celsius Peach Mango Green Tea. Both are heavy on the caffeine.

World ending, well that's anyone's guess. Both Dean Koontz and Stephen King had books focused on pandemics getting out of hand. Right now with our country lacking any adult leadership, it's looking to be headed that way.

"World ending, well that's anyone's guess."
​

Any great villain is relatable. The ones you feel for and almost root for because you can empathize with what they went through. When I see villains who are just dicks and "born this way", I can't get into you. Show me a Venom or a Punisher bad guy and I'm all in. Someone who has lost everything and I'm behind them 100%. John Kramer killed for a reason, and even then, had people kill themselves. John Doe from Seven.
​
"Any great villain is relatable. The ones you feel for and almost root for
because you can empathize with what they went through."
​

Online presence is a big deal, especially for newer writers who are trying to build an audience. As your website is exceptionally professional, do you have any advice for newer writers who are weighing their options for an author website?
​

​Definitely. Use Leia. It's an app that will build the website for you, based off your preferences. It takes zero skill to learn. The team has been super professional in assisting me where I need. There is a free version I recommend starting off with. From there, you can go pro with the click of a button. My site averages 1,000 hits a month (or more) and I didn't have to learn anything. 
​
Though I am not a regular reader of horror, some of my closest author friends write in this genre. What drew you into the genre and what would you say to a potential reader who is hesitant about exploring horror-themed works? 
​

As a teen I gravitated from fantasy to horror through an author named John Saul. Saul's books were more "Teens discover secret society" and "people with dark powers". I burned through them in a day. Despite his huge library of work, I needed more. I moved on to Dean Koontz and Stephen King. Horror isn't always about gore in books. If the synopsis sounds good, look at reviews. They should give some insight if you're avoiding the genre due to graphic violence.
​
"Saul's books were more "Teens discover secret society" and "people with dark powers". I burned through them in a day."
​

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So before we dive into Strange Tales from the City of Dust, I have to ask about your covers. The artwork is absolutely smashing and the layout design is very professional. I know this is a particularly relevant issue for self-published or indie authors who want to be in charge of their own covers but sometimes end up with something that does not hold up to professionally published standards. How do you manage your covers?
​

I get this question a lot. The artist goes by the name "Grandfailure". I purchase the rights to use it and have a designer on Fiverr who knows me well now and will design the wording and art changes I need to incorporate it into my story.
​
"I purchase the rights to use it and have a designer on Fiverr who knows me well now and will design the wording and art changes I need to incorporate it into my story."
Strange Tales from the City of Dust, your serial sci-fi series, is a set of stories about a futuristic version of Pittsburgh which has now become the City of Dust. What inspired this dystopian cyberpunk world and what types of themes do you enjoy exploring through your stories?
​

The main things I was shooting for here was having a Bladerunner universe with a Sin City-type of spit storylines. As any writer knows, we get so many ideas that it's hard to keep up with all of our works-in-progress. Doing things as serial stories means any time I think of something new, I can find an episode to incorporate it. No waiting. No getting stressed at too many back burner unfinished stories.

"Doing things as serial stories means any time I think of something new, I can find an episode to incorporate it.
​No waiting. No getting stressed at too many back burner unfinished stories."
​

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I'm open on themes. I like sci-fi, or more often, future-tech. Like the world is pretty much the same, just with some cool upgrades. Cerebral horror has always been my main focus before now. I don't put that here, though. My horror is more genetic, anxiety, and real-world monster driven. I recently finished a short story that is essentially sexually themed with some "Black Mirror" vibes. This short is called "Solace: A City of Dust Side Story". When I'm ready to openly release it, it will be free.

I have been heavily influenced by franchises like "Terminator" and "Black Mirror". So now, I try and allow the season of episodes to be open to all themes and entertaining. No fluff. Every word is written to construct a living, breathing world to immerse yourself into. Villains can be oppressive, yet relatable. Protagonists are likable and still imperfect. I'm not afraid to kill a character people enjoy just to get the reaction.
​
You have decided to create a set of serial novellas which all take place in the world of Strange Tales from the City of Dust instead of writing novel-length books. Was that an intentional choice or did the stories themselves inform that choice? What have been some of the advantages and/or challenges of marketing serial novellas as opposed to more traditional full-length novels? 
​

​I've written a ton of normal books of varying lengths. I get so distracted. New ideas, so I abandon works in progress. Not anymore. Every new idea is blended into stories I'm working on. It might be an infection I was studying. It might be an event that takes place. It'll all be within the City of Dust.
​
"I get so distracted. New ideas, so I abandon works in progress.
Not anymore. Every new idea is blended into stories I'm working on."

As I read through the descriptions for Clockwork Deus, The Darkest Part, and Pinned Butterflies, I could not help but think of my favorite Netflix series: Black Mirror. Do you think that your novellas could play out well on screen? Also, what are your thoughts on Black Mirror as a series in terms of its contributions to the public conversation about modern Sci-Fi? 
​
I love Black Mirror. Been eating it up as soon as it launched and trying to find everything I can that released soon after and attempted to ride the waves it casted behind it. I always write things in a visual format so that it can be easily transferred to screen. I usually have specific actors/actresses in mind when designing characters. I look at the episodes like a comic book purchase. People enjoy comics for a fun, quick read. My episodes are always a buck each and have a 1-2 hour enjoyable read.

Each episode delves into something real-world, while also forcibly taking something currently that I don't care for and making it fixed and adamant. My books won't ever make sexual preference or sexual identity  an issue. This isn't to skirt the issue. It's because, as I see it, it's all considered normal in my universe. No one will give you a side-eye if you were born a girl but identify as a guy. No one cares what's between your legs. 

"Each episode delves into something real-world, while also forcibly taking something currently
that I don't care for and making it fixed and adamant."
​
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​The first episode starts with the protagonist sitting and explaining to a machine what the world is like, now. This is done for two reasons. One, world building. Two, their conversation sets the stage for the whole series. She details the ideas behind machines and A.I. controlling the population through militarized force. Although, this shows we have become such that we cannot police ourselves. 

Sexuality, while it exists, is less about physical contact and more about the indirect use of machines to obtain pleasure. Our society has become this. It's less about real, lasting connections and more disconnected. Yet here I start off with a human girl taking a bot created for pleasing people and instead giving her the freedom to think for herself and establish her own relationships.
​
"Sexuality, while it exists, is less about physical contact and more about the indirect use of machines to obtain pleasure. Our society has become this. It's less about real, lasting connections and more disconnected."
​

Last, but not least, where can readers track down your books and stay up to date on your latest publications? 
​

Amazon. For the moment, I am exclusively Kindle Unlimited.

Strange Tales From The City Of Dust
  • Episode 1: Clockwork Deus
  • Episode 2: The Darkest Part
  • Episode 3: Pinned Butterflies
 
Episode 4: Neon Pentagrams is being worked on now!
​
Find more from Vaz on his website!
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How to Take a Punch: Tips for Surviving the Editing Process

3/22/2020

0 Comments

 
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I had a Russian professor in university with who opened his third year class with the bold claim that the best part about physics is that it can help you win bar fights. Though I have never been in a saloon-style rumble, I must confess that it was an intriguing introduction. And so I thought I would draw on that experience and open with this claim: physics can help you win bar fights and survive the editing process.
​
"​And so I thought I would draw on that experience and open with this claim:​ physics can help you win bar fights
​AND survive the editing process."
Know that this article was inspired by recent and very real events. A few weeks ago I received an edited manuscript from a very patient editor, almost three-hundred pages absolutely covered in red-slashed edits. Flipping through it was like fast-forwarding through a B-grade slasher film. A few days later, I got a review back from a female beta-reader who said that the mother in the story wasn’t landing properly and that a risk I took near the end, a scene that was meant to be the narrative climax of the second book, bored her. Double ouch. So let’s get real about what the editing process is like and how to survive it. 

"...almost three-hundred pages absolutely covered in red-slashed edits.
​Flipping through it was like fast-forwarding through a B-grade slasher film."
​

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​First off, editing is brutal. It is taking a scalpel, a chisel, a sledge hammer, and a chain saw to something you crafted with care and diligence and love. Then you open the front door, toss it outside, and call on everyone in the neighbourhood who has a spare moment to come over and beat on it. That is the part where you cross your fingers and hope it emerges in some recognizable form as something you wrote. So if you are about to step into the ring, or you feel like you are going down in the third round, there are three physics/bar fighting/editing principles to help you through. 
​
"First off, editing is brutal. It is taking a scalpel, a chisel, a sledge hammer, and a chain saw to something you crafted with care and diligence and love."

Principle 1: Force equals mass times acceleration.  

Application to Bar Fights: Big people (i.e. big mass) don’t have to move very fast (i.e. low acceleration) to throw forceful punches. Small people (i.e. small mass) need to strike extra fast (i.e. high acceleration) to hit with the same kind of force. 
​
Application to the Editing Process: If you are really sensitive to honest criticism (i.e. fast acceleration) then don’t get people whose opinion matters a lot to you (i.e. big mass) to read your work. Instead, get strangers or friends-of-friends (i.e. small mass) to review it in order to lessen the force when those criticisms hit. Alternatively, if the reviews are not forceful enough then get people who you really care about (i.e. big mass) to read your work and give you some honest feedback. 
​
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​​By the way, this rule also explains why sugar-coated feedback (i.e. low acceleration) is not helpful. It doesn’t matter if you are dealing with a big mass or a small mass; if it’s moving really slowly it isn’t going to hit with noticeable any force. 
​
"...get strangers or friends-of-friends (i.e. small mass) to review it in order to lessen the force when those criticisms hit."
​

Principle 2: Force can also be viewed as change in momentum over time.

Application to Bar Fights: Bones don’t break because they are moving really fast. Bones don’t break because they stop moving. Bones break because they go from moving really fast to a complete stop really quickly. It’s the difference between being shoved up against a wall and being thrown into it.
​
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Application to the Editing Process: Making major changes (i.e. change in momentum) is easier if you do it over a longer period of time. Madly tearing into your MS for four hours on a Friday night will likely have some serious repercussions for the state of the narrative, not to mention your mental health. By spreading your edits out over a longer period of time you can effectively make the changes that need to be made without giving yourself creative whiplash.
​
"By spreading your edits out over a longer period of time you can effectively make the changes that need to be made without giving yourself creative whiplash."
​

Principle 3: Intensity of impact is proportional to an object’s rigidity.

Application to Bar Fights: If you tense up your shoulders and neck as that burly barbarian takes a swing at your jaw it just might end up being a knock-out hit. However, if you let yourself go slack before impact and ‘go-with’ the punch then your body can spread out the force of impact. This principle is also the reason you can go diving into a pool of water but not into a pit of gravel.
​
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"This principle is also the reason you can go diving into a pool of water but not into a pit of gravel."
​

Application to the Editing Process: The more nervous you are about others critiquing your work (i.e. rigidity) the harder their criticism is going to hit you. This is unfortunate because that means your own fear of criticism is proportional to how much it is going to hurt when it inevitably comes crashing into you. 

So don’t tense up. Pretend you are someone else looking at your work. Even better, treat the work as if it was someone else’s story or poem. The more you can relax into the idea that your story is going to take a few hits, the more efficiently you can spread the impact of that criticism around. 
​
"Pretend you are someone else looking at your work.
Even better, treat the work as if it was someone else’s story or poem."
​

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So there it is. If this article refreshed your knowledge of physics, turns the tables in your favour the next time you are in a tavern brawl, or helps you manage the punches thrown at you during the editing process, then I will consider that a solid win. Good luck, be brave, and never, ever give up. 
​​
For more on how to stay resilient through the editing process, Joshua recommends The War of Art by Steven Pressfield. 
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    Joshua Gillingham is the author of The Saga of Torin Ten-Trees Series.

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