Talent is an Asset

Maybe you shouldn’t be a writer after all.

I don’t want to discourage anyone from pursuing their dream, but not everyone can be successful in the world of art (and yes, writing is a creative art). snoopy-writing

I’ve thought about this a lot (especially when I look at my own work and get depressed). In one previous blog I wrote about how you need talent, hard work, and connections to be successful. You don’t need them in equal amounts — if you have great connections, you don’t need as much talent, for instance (which is the only way to explain the success of some writers, musicians, and actors).

But assuming you’re an average person who wasn’t born into a well-connected family, talent is pretty much a necessity. And by “talent” I mean that creative spark that gives your work uniqueness and originality.

There are just too many creative people out there who, well, aren’t very creative.

Come on, you know it’s true. They may have all the skills but there’s still something missing.

In the past few years, as I have attended writer’s conferences and readings and so on, it’s becoming clearer. There are so many aspiring writers who know their grammar rules and understand the concept of what makes a good story who just don’t have that extra something that makes a story real. And yes, during my moments of self-doubt, I worry that I belong to that group.

I don’t know how to teach talent. I sometimes think that is something you are just born with.

When I was in High School, I wrote a musical comedy that our drama club put on. It was a silly western called “But I’m Allergic to Horses.” I got my musician friends to play for us, and I also recruited some of the students from the music department to help. There was one girl who played piano who, if you put the music in front of her, could play it without a mistake — something that always impresses me. I never learned how to read music other than the very basics. When we practiced the songs, I would give her the chords and ask her to improvise, and she was absolutely lost. She had no creative skills at all, despite her mastery of the piano in all other respects.

And there are some writers like that. They write much better than I ever could, but their stories lack originality, surprise, excitement. They have the technical part of writing down pat, but their work is predictable and boring.

Obviously, what you need is mastery of both the technical part of writing and the creative part.

But at least one of those, you can learn.

Interview with Bud Webster

MICHAEL A. VENTRELLA: I’m pleased to be interviewing long-time friend Bud Webster today. Like previous interviewee Mark Waid, Bud was part of my old Dungeons and Dragons crew in college (Bud played a mercenary dwarf whose catchphrase was “When do we get paid?”) Bud We both worked at Peaches Records where we spent much of the day making bad jokes and entertaining the customers. We also took at least one class together that I remember — Animated Films (or something like that).

BUD WEBSTER: History of Animation, taught by the inestimable Steve Segal.

VENTRELLA: Yes indeed, thanks. Bud, as a voracious reader, you became quite the archivist? Anthologist? Expert? I’m not sure what word to use – how did that come to be?

WEBSTER: “Anthopologist” is the word I coined. It happened the same way it did when I was collecting rocks, magic tricks and records. The true geek can’t shut up about his/her geekery, we’re compelled by our passionate interests to blather on about it to anyone who’ll listen (or even pretend to). I was lucky enough to have found outlets that spanned a greater audience than just a roomful at a party; first, I did some exploration in my own fanzine, Log of the Starship Aniara (later just Aniara) back in the early to mid ‘70s, then a few pieces in other ‘zines. None of that, of course, was for money, and was mostly just about books in general. I did, for instance, a long piece for Aniara in which I detailed the holdings of a special collection at the University of Virginia that originally belonged to an alum who was seriously into HPL. It wasn’t until 2001, though, that I actually did anything I consider serious with my heavy interest in anthologies. That’s when Peter Enfantino invited me to contribute something on the subject to bare*bones, the ‘zine he co-edited/published with John Scoleri. I did a fairly lengthy examination of Fred Pohl’s Star Science Fiction series for Ballantine, and had the chance to interview Fred (via mail, since he wasn’t doing e-mail at the time). He was very cooperative, happy to answer all my questions, and he continued to read the columns as they appeared elsewhere, sending me the occasional correction when they were needed. That column was reprinted in ’02 in David Hartwell’s New York Review of Science Fiction and that was the beginning of my writing about this stuff for actual, y’know, money.

VENTRELLA: Tell us about the SFWA Estates project.

WEBSTER: Well, SFWA had been tracking estates for years when I was asked to take it over in ’07, but it was catch-as-catch-can and some of the information they had was either outdated or inaccurate. I was on the verge of leaving SFWA after several events had transpired, and then-president Russell Davis and former president Michael Capobianco offered me the position of Estates Liaison not to placate me but to give me a legitimate reason to stay on and be productive. 1256I had already been able to track down a few estates through the network of email lists I was on, so it was right up my alley. It appealed to my sense of history, and it fit in with my interest in keeping classic sf and fantasy alive.

VENTRELLA: Have you had much difficulty in locating anyone?

WEBSTER: If you only knew. I have names on the list that I haven’t been able to track down since the Project was handed to me. Some of them are almost certainly legitimately orphaned – Frank Belknap Long and his wife left behind no family so his only “heir” is the State of New York – but others … Well, how easy is it going to be to find the heirs of George H. Smith?

VENTRELLA: Which writer do you think just hasn’t received the attention her or she should have (and why)?

WEBSTER: How much space do you have? Seriously, there are dozens of authors whose work has been forgotten or unfairly ignored, not all of them old guys from the pulp days. Terry Carr, a fine writer as well as a prolific anthologist; Tom Reamy; Alfred Bester, who wrote two of the best novels sf has ever seen; Avram Davidson, Robert Sheckley and Richard Matheson, all of whom wrote brilliant short fiction; Cordwainer Smith, James Tiptree (aka Alice Sheldon) and R. A. Lafferty, whose work transcends any and all genre limitations… The list can go on for a long time. It’s the big reason I began writing the Past Masters columns.

VENTRELLA: Does one need to be an expert on classic SF to enjoy your essays?

WEBSTER: I’d like to think not. I don’t write them exclusively for fellow geeks, although they enjoy them too. I’m more concerned with piquing the interest of the average reader, with urging them to look for old paperbacks online or in used bookshops than I am in trading minutiae with my colleagues. I get as much pleasure from a note from a stranger telling me that they can’t wait to track down a copy of San Diego Lightfoot Sue as I do from a fellow historian saying, “Hey, I didn’t know that!”

VENTRELLA: Your fiction has received great reviews and awards as well, but you haven’t written that much of it. Do you plan to do more?

WEBSTER: Absolutely. I’ve recently placed stories with Orson Scott Card’s Intergalactic Medicine Show (“Fantasiestűck in A Major – A Flight of the Imagination in Three Movements” in #40) and The Magazine of Fantasy and Science Fiction (“Farewell Blues” upcoming in the January/February 2015 issue), and there are a couple more I’ve just sent out. 51LV1Irkn+L._SY344_BO1,204,203,200_I have plans to do at least one more Bubba Pritchert story, too. Let’s face it – writing is hard work and for some of us, non-fiction is not only a little easier but can pay better and faster. I pitch it, the editor greenlights it, I turn it in and get paid. I still have to throw fiction in over the transom like everybody else, and there’s no real guarantee. I still get rejections.

VENTRELLA: Speaking of science fiction, you had a role in the film “Futuropolis” (I missed my chance to do a cameo in it by being sick that day and I still regret it). I expected that film to become a cult favorite, something shown regularly at SF conventions, but it isn’t. Why do you think that it never caught on?

WEBSTER: Mostly because it hasn’t been available except as a video cassette. I’ve been trying to get Steve Segal and Phil Trumbo (the creators) to do a DVD, and they do think it’s a good idea; Phil mentioned recently that he’s even done a “Making Of” segment that would really add to the interest level. Maybe if we poke them enough…?

VENTRELLA: Let’s talk about fiction in general. What kinds of characters are you sick of reading about?

WEBSTER: Badly conceived and delineated ones. As long as a character can really walk and talk to me, I don’t care if it’s a sparkly vampire.

VENTRELLA: Do you think readers want to read about “believable” characters or do they really want characters that are “larger than life” in some way?

WEBSTER: Why can’t they be both? Yeah, readers have to be able to identify with and believe in characters, but there’s no real reason why there can’t be a little exaggeration as well. Bubba, for example, is an autodidact who knows what “autodidact” means; he’s down-home but intelligent. His persona tends to be a little loud and jokey, but I’ve tried to give him depth and seriousness as well.

VENTRELLA: What is your writing process? Do you outline heavily or just jump right in, for instance?

WEBSTER: Alfred Bester, one of my idols, couldn’t begin until he’d created a detailed outline. I tried it once; the story never got written because I’d scratched the itch too thoroughly with the outline. I’ve found that I need to keep a relatively comprehensive chronology as I go along, but I don’t outline beyond that.

VENTRELLA: Do you find yourself creating a plot first, a character first, or a setting first? What gets your story idea going?

WEBSTER: Depends. Sometimes I write to, sometimes I write from. Sometimes I have a specific idea, other times it’s an overall concept. I have had stories change as I wrote them, more than once. “Christus Destitutus”, for example, was originally envisioned as a satire, the sort of wry observation that Damon Knight and others used to write for Galaxy or F&SF. It turned into a dark and angry commentary on my own religious upbringing, something I honestly did not expect. I still find the story disturbing, in fact.

As a rule, though, I rarely start the actual process of writing until most of the story is clear in my mind. A lot of the time I even have the last lines right there in front of me. The-Joy-of-Booking Other times, well, it’s very different. I was doing research online one morning for my wife when I decided, just for kicks, to Google a small town not far from Richmond called Frog Level. Turns out there are two small towns in Richmond by that name, and that was the genesis of “Frog Level ≇ Frog Level”. That story wrote itself in four days, with very little rewriting.

VENTRELLA: Since we are on panels together at conventions all the time, I assume you think they’re worthwhile. Why do you find these to be a useful activity?

WEBSTER: Good question. Part of it is that in many cases, verbalizing helps me firm up my thoughts and make them workable. The exchange of ideas between the other panelists (as well as intelligent and well thought-out questions/comments from the audience) can lead me to reconsider my own opinions in a very real and constructive way. Plus I get to show off my vocabulary.

VENTRELLA: What’s your opinion on self-publishing?

WEBSTER: I’ve never had a problem with it in general, I’ve even done it myself. And there was a time when there were honest vanity presses who offered their services to people who wanted to self-publish family genealogies, poetry collections, regimental histories and the like. They made no promises of promotion, distribution, or best-sellerdom though; all they did was deliver a case or two of printed and bound books that the author was responsible for thereafter.

Is someone with a checkbook who Kinkos their own book and shows up at a convention demanding table space and signings and their own panel(s) a colleague of mine? Not necessarily, no. Anyone with a thick enough stack of credit cards can throw something together and run through their local copy shop, it takes a lot more than that. There are plenty of those who have proven to me that they are a colleague both through their own hard work as a writer, editor and publisher and though their obvious skills at promotion and willingness to go the literal extra mile to travel on their own dimes to conventions, festivals, conferences and bookshops all over the place for the possibility of a couple of dozen more sales. Why? Because that’s what it takes to market your own books, and that’s what it takes for me to take them (as well as the current conception of self-publishing) seriously – hard work.

VENTRELLA: In this market, with the publishing industry changing daily, how important is the small press?

WEBSTER: It is absolutely vital. It’s always been important, especially back in the days of Gnome Press and Arkham House, but now with the majors being inundated with more and more crap that they have to wade through to get to the Good Stuff, the small presses make it possible for a new author to reach an audience larger than they could reach on their own. If the press has a good, solid rep, it adds a cachet to the author and makes it more likely that sales will be even better: “Hey, there’s a new book out from HomminaNomicon Press! I really liked the last two, so I’ll try this one.”

VENTRELLA: What sort of advice would you give an un-agented author with a manuscript?

WEBSTER: Don’t go the “easy” route first. Find agents and/or publishers who are willing to look at new work by new writers, put together a proposal, a solid three-hots-and-a-cot (first three chapters and a synopsis), and get ‘em in the mail. AFF JUl-AUG 2007 FINAL RG.eps Be very careful, though – there are predatory “agents” out there who are dedicated to ripping you off and will sweet-talk you into believing that the Sun sets in the East if you let them. Go to the Predators and Editors website and look through the list of agents and see what their records show. There’s nothing easy about writing, no aspect that doesn’t require careful research, attention to details (especially with contracts) and hard, hard work.

VENTRELLA: What advice would you give to a starting writer?

WEBSTER: Bust your behind to get it as right as you can, pay attention, and let your work speak for itself. If you can find a good writers’ group in your area, check them out to see if you’re a good fit. They can be enormously helpful, but again, be careful; some groups can be deliberately harsh, even cruel, and there’s no quicker way to be discouraged. Critiques should be honest and firm, but never mean. Do not look for shortcuts, because there really aren’t any.

VENTRELLA: Who do you like to read? Who are your favorite authors?

WEBSTER: Boy, you really don’t want short answers, do you? Let’s see … Bester, Ellison, Heinlein, Effinger, Doyle, Simak, Russell, Niven, Niven and Pournelle, Pournelle, Pratchett, King, Haldeman, Sanders, Silverberg, Pohl, Gaiman, Davidson, Clarke, Bradbury, any Conklin anthology, Cordwainer and Doc Smith, McKenna, Bond, Leiber; how many more do you want? Oh yeah, there’s this guy named Ventura or Ventiller or something, but he writes like a sissy.

VENTRELLA: Hmph. What projects are you working on now? What can we expect next from you?

WEBSTER: I’m putting together my first fiction collection, including stories and poetry. It’s going to have most of what I’ve done over the years except the Bubba stories; they’ll have their own book with new material tying them together. Some of the stories are pretty old – going back more than 20 years. I’m hoping it will be out by the end of 2015.

VENTRELLA: With a time machine and a universal translator, who would you invite to your ultimate dinner party?

WEBSTER: In no particular order: Nelson Bond, Einstein, Buzz Aldrin, Frank Zappa, Pierre Boulez, Steve Allen, Igor Stravinsky, John Lee Hooker, Arthur Conan Doyle, Tom Lehrer, John W. Campbell, Charlie Chaplin, J. R. R. Tolkien, August Derleth, William Gaines, Mel Blanc. And my wife, or course. Have to be a big table, though.

I doubt I’d say a word, but I would video the whole damn thing and live off the revenue from the books I’d write about it for the rest of my life.

Interview with author Leona Wisoker

MICHAEL A. VENTRELLA: I’m pleased to be interviewing novelist Leona Wisoker today. Leona is a frequent guest at the conventions I attend and I always have a great time when she’s on a panel with me (as long as it’s not too early in the morning before she’s had her coffee).leona-square1 Her science-fantasy series “The Children of the Desert” is set in a world still struggling through a number of basic moral and developmental issues. Her webpage is here.

Leona, how did you first become interested in writing?

LEONA WISOKER: I’ve told stories for as long as I can remember. Whenever my older sisters were out of the house, I would sneak into their rooms and tell their stuffed animals endless fantastical tales. I have no idea if I told stories to my own toys. I probably did. But theirs were so much cooler! Besides, I wasn’t supposed to be in their rooms at all, so that added to the fun.

When I was … around ten, maybe eleven, I taught myself to type using a self-directed record and flipbook course. It made me feel important and business-y and Just Like Dad, who went to an Office every day and had a Desk and Important Grown Up Business to handle. I remember deciding, early in life, that I wanted to have a job that involved an office and a typewriter and a pencil cup and a calculator. Thankfully, I turned out to be a terrible receptionist.

I wrote quite a lot on various typewriters and computers from that point on, although for many years my first processing point was handwriting a story in a notebook. Ah, the days of scribbling away and getting blue ink all over my hands! I think I was in my late twenties before I abandoned that in favor of brainstorming on a computer.

At some point I started submitting my tales to various magazines, if you can call it that. I sent in roughly one story a year: my annual Why-Am-I-Doing-This-When-I-Know-I’m-Gonna-Get-A-Rejection-Day. I was always too busy getting in my own way, of course. I resisted learning technique or craft because I already Knew It All. I had a huge vocabulary! SecretsGallery I earned straight A’s in English class — when I turned in my homework, of course. That was always a problem. Homework is so boring…

Gaming was a lot more fun. I put far more effort into my AD&D campaigns than I ever spent on homework. I built detailed worlds and plans — I wanted to be sure that any tavern or stable the characters walked into, I had plots and hooks ready in all possible directions. By the time I was in my mid-twenties, I had a file cabinet drawer full of backstory and modules and character sheets and so on. I even developed voices for special NPCs.

Inevitably, it occurred to me that all this work would be better off used for stories. I drifted away from gaming and focused on my writing. Now I could finally showcase all the really cool stuff the gamers kept missing, and these characters wouldn’t ever insist on wandering off across town to the one spot I hadn’t developed, goddamnit–

Um. Yeah. Well, by the time I learned the flaw in that reasoning, it was too late. I already had so much time and effort invested into learning to write properly that there was nothing for it but to plow ahead. End result, happily, was a four-book publishing contract with Mercury Retrograde Press, and a handful of short stories accepted by various anthologies and short-fiction magazines.

In some ways, it was a lot more fun to tell stories to my sister’s stuffed animals. They were a fantastically supportive audience. Real life writing involves an awful lot of boring homework and practice exercises. I often miss being a GM, too; there’s something exceptionally cool about being in charge of steering a group of people from one disaster to another while they try desperately to outwit you.

But I have a desk, and a chair, and a pencil cup; I go to work in an office, and I feel very Business-y and adult. This is the life I dreamed of as a kid. And I have stuffed animals of my own now — two dragonets that ride on the dash of the Blue Dragon, my much-beloved Jeep; the mini dragons are named Marguerite and Henry. (Bonus points to anyone who gets the reference!)

I cannot confirm nor deny telling stories to my dragonets while I’m on long road trips.

VENTRELLA: the transformation from Dungeon Master to author is one I can relate to completely, as can many authors I’ve interviewed here. GuardiansGallery

Which of your characters was the hardest for you to write and why?

WISOKER: Hands down, Ellemoa has been the most difficult character in the series to date. For those unfamiliar with the series, a quick explanation is in order: Ellemoa is a ha’ra’ha from Arason, and Idisio’s mother. She is completely psychotic — by human standards, at least.

Ellemoa illustrates what happens when a ha’ra’ha loses interest in following human morality structures. The only reason she doesn’t go on a rampage and wipe out every single human being in sight is that it would hurt her son–and the last remnant of her sanity is tied to keeping Idisio safe from harm. Balancing her brutality and sympathy was a tricky process. Idisio needed to see himself as independent, Ellemoa needed to believe that she was in charge, the reader needed to see the dangerous slide toward mutual insanity underlying the entire relationship. And I needed the reader to be rooting for Ellemoa to come back from the darkness in spite of her terrible actions. So from a technical standpoint it was tough; from an emotional standpoint it was painful, because I had to really think about what she’d gone through and how she would react.

Not something I really want to do again. I’m not planning on ever developing another character quite that damaged. Once was enough, unless I want to start along Stephen King’s career path….

VENTRELLA: How do you make your protagonist and antagonist believable characters?

WISOKER: With the “Children of the Desert” series, I found it easiest to round out each character by showing them from other points of view; thus the multiple POVs in each book. For example, one person thinks Alyea is wonderful, another sees her as a spoiled noble brat; and then there’s how she sees herself. That approach brings fantastic complexity to characters.

When I’m working with a single POV, as in my short stories, I try to keep ordinary and extraordinary moments balanced. BellsGallery In one of my stories (“Silver and Iron”, Sha’Daa: Pawns), an evil fae makes plans to sacrifice her lover in order to summon demons, then goes to the grocery store and deals with traffic jams. “Believable” roots in common experiences, in keeping a foot in what we see as real life. Meals are a really easy way of hitting that shared note, because everyone has to eat. Basic weather changes also give the character and the reader to meet on common ground.

The hardest part, for me, is cutting out the fat. I tend to overwrite, and my early drafts have to be put on a drastic diet. It’s a painful but strangely satisfying process.

Speaking of process, it’s time for me to return to my fiction writing. I’m still not done with the first draft of the last book in the “Children of the Desert” series, and it’s getting both annoying and embarrassing. Fear and anger are excellent motivational forces, aren’t they?

Thank you so much for inviting me onto your blog, Mike! This was a lot of fun.

Interview with author Shane Lindemoen

MICHAEL A. VENTRELLA: I’m pleased to be interviewing author Shane Lindemoen today. Shane is a newer science fiction writer from Minnesota. He started with short literary fiction, earning honorable mention in the 2005 Lorian Hemingway competition with his story “Mount Airy,” and a Glimmer Train nod in 2011 for “Lucretius.” His debut novel ARTIFACT (Boxfire Press, 2013) won the National Independent Publisher Award (Gold, 2014). Shane has had a varied professional life, working as a private investigator, a shoe salesman, and as an Editor of National Affairs for the ezine Secret Laboratory (Maple Hills Press, 2011). He’s also an inactive, licensed Peace Officer for the state of Minnesota, and very nearly finished with his MA in Behavioral Systems Analytics. You can typically find Shane at http://www.shanelindemoen.org trying his darndest to transform his thoughts into tradeable monies.Profile

Shane, what is your writing process? Do you outline heavily or just jump right in, for instance?

SHANE LINDEMOEN: My process is an unmitigated, undifferentiated mess. My workstation is enclosed by a mountain of reference books that I call upon at any given time; my browser has thirty bookmarks open at once, always Wikipedia, always a thesaurus, always Google. My writing has this tendency to take on the language and feel of whoever I’m reading at the moment. Which is beneficial in some ways, but harmful in others: there are many books I can’t read while in the midst of writing something. I once spent two weeks obsessively reading every single Chuck Palahniuk book in existence, and when I sat down to write it was the most horrendous block of text every typed into a word processor.

I have learned to use this weird dynamic to my benefit: if a scene calls for suspense, for example, I’ll use time reading John Little, Stephen King, Joe Hill, Ronald Malfi, or John Everson, which puts me in the right mindset to write suspense. If I have an action scene, I’ll read Matthew Woodring Stover. If it’s time to paint exposition or do some world-building, I’ll read Dan Simmons, Larry Niven, Ian M. Banks, Tolkien. Alex Garland, Amy Hempel, or Cormac McCarthy if I want to say something profound and thoughtful. There’s a whole pantheon of heroes I invoke at any given time when I write. This is why I hesitate reading stuff by new authors, especially when I’m in the throes of writing a new yarn, because if I read something that’s written poorly, I’ll begin to write poorly.

As for the outline. I take that pretty seriously. Before I even drop ink on a draft, I’ll spend time drawing out on paper the various plot threads and where they intersect on the broader timeline. I’ll mark the beginning, the big events, and the end – and while I may not know exactly how things will unfold between those events, I try to make something happen every 1500 words to raise the stakes, create more peril, reveal small amounts of plot, and move things forward. I don’t spend much time on characterization, because I feel the characters flesh themselves out through interacting with each other and responding to things I throw at them. Some say it’s beneficial to have personality types in place before hand, but I get the feel of a character as I go. I simply tag them with something that readers will identify – I give them an image to anchor a voice to, and I try remaining consistent to the way each character responds to things.

VENTRELLA: How much of writing is innate? In other words, do you believe there are just some people who are born storytellers but simply need to learn technique? Or can anyone become a good writer?

LINDEMOEN: I subscribe to the belief that we’re all red-blooded, anatomically-lateral humans capable of accomplishing the same things. Our species hasn’t drifted too far from itself in something like 200,000 years, and yes, there are dimensions of difference specific to us, and yes, many do have certain predeterminations, but excluding functionally demonstrable certainties (disability, mental illness) there is nothing one human can do that another can’t. Writing is a skill – it can be learned, it can be honed, and it can be perfected like any other.

VENTRELLA: Writers are told to “write what you know.” What does this mean to you?

LINDEMOEN: I think it means to either stick to your expertise, or write what you’ve experienced. I think they say this because the yield is more authentic that way. How I’ve interpreted this is simply to know what I’m talking about in terms of research. If I’m writing a space adventure, for example, I’m going to want to know actual spacecraft design and engineering. I’ll learn about antimatter and ion propulsion and how to theoretically create artificial gravity. The goal is to sell the idea of authenticity, and swindle my readers into thinking that I know what I’m talking about. Nothing kicks readers out of perceived immersion more than illogical crap that doesn’t make sense on real terms.

VENTRELLA: Science Fiction doesn’t seem to be selling as much as fantasy these days, including urban fantasy and all the varieties. Why do you think that is?

LINDEMOEN: Reading science fiction is more work. I think it’s a genre that requires its readers to be active observers and engage with the theoretical aspects of it. In other words, reading fantasy is like a ride; reading science fiction is like a homework assignment.

A lot of science in science fiction is actually, functionally possible, which appeals more to the scientific-thinking person – someone who expects a certain amount of reality in what they’re reading. A reader of fantasy doesn’t feel compelled to analyze and measure things against functionally demonstrable laws of nature, because the expectation is that everything – from the nature of the characters, to the nature of the universe itself – is fair game and intended to be taken at face value, no matter how fantastic or absurd. This might sound like I’m making fun of fantasy or something, but that’s not my intention. Fantasy is just a different delivery system of narrative and truth, which I think appeals more to the largest bell of the readership curve. Readers won’t suddenly debate internally about the natural selection of dragons and griffens and trolls, because it isn’t possible in real terms. Readers can accept each thing for what it is and enjoy the ride as passive observers. An interstellar warp drive is possible. Suspended animation is possible. Colonizing other planets is possible. And because of this realness of things, readers of science fiction come into a story with certain expectations.

VENTRELLA: Tell us about ARTIFACT! Jacket

LINDEMOEN: ARTIFACT is my debut novel, which recently won the 2014 Independent Publishers Book Award for best science fiction. It’s about an ancient alien machine recovered from beneath the surface of Mars by interplanetary miners. When scientists bring it to Earth for study, a physicist activates something inside of it that causes him to inexplicably teleport back and forth between different points in the same timeline. As the separate moments begin to focus on some sort of singularity, the physicist must use what little time he’s given in each place to piece together exactly what happened the moment he invoked the artifact, before it rips reality apart. I’ve been comparing it to equal parts Matrix, Inception, Dark City, Stargate, and Night of the Living dead. I’m not going to lie… it’s pretty out there.

VENTRELLA: What projects are you working on now? What can we expect next from you?

LINDEMOEN: I’m currently working on another science fiction yarn tentatively titled VAGABOND. I haven’t tried soliciting it to publishers or agencies yet, so we could be talking about a slushpile candidate, but it really depends on whether or not I can sucker anyone into buying it. Here’s the setup:

The last evidence of the Endeavor spacecraft became immortalized in a single image captured by the Pinnacle telescope: A teardrop silhouette falling into the shadow of Saturn’s largest moon, moments before losing contact with Earth. The mission and its crew vanished, never to be heard of again. It was considered the last great human push into the fringes of deep space.

Years of silence, speculation, and uncertainty intervened – an uncertainty that stifled any hopes of interstellar travel – and without warning, the IDSI administration received a signal from an outpost in deep space matching the Endeavor’s distress beacon.

Commander Susan Fenroe of the International Deep Space Initiative – a veteran astronaut assigned to her last six-month rotation aboard the science station and galactic telescope, Pinnacle – is beseeched by Command to select a crew of eight, and once again tempt the final darkness. Her mission: travel to the source of the distress beacon, and ascertain the fate of her long lost contemporaries. And when her ship comes in violent contact with something close to where her predecessors disappeared, Fenroe and her crew quickly learn that they must surrender faith to each other and their training if they hope to make it back alive. Because what they find in that distant outpost of human curiosity and ambition is a force of nature that could bring about the end of all things.

A dark fantasy mixed with equal parts survival-horror and hardline science fiction, VAGABOND is one woman’s odyssey into the last of all unknowns. A poignant contemplation of being lost, of shapes moving in the dark, and of the light that keeps them there.

VENTRELLA: What’s your opinion on self-publishing?

LINDEMOEN: I think it’s great. I think it fills an important void in the market. But there’s almost no way other than word-of-mouth for the consumer to sift through the innumerable quantities of crap out there. Many serious self-published authors have the odds stacked against them, because they must somehow find a way to set themselves apart, and there’s really no validation of quality at the onset other than the author’s word. But like in anything, good stuff will always claw itself out of the lesser muck. I know of at least two people who’ve made livable money going the self-pub route after they couldn’t land any traditional contracts.

One author – Adam Nicolai – decided to publish one of his fantasy yarns (CHILDREN OF A BROKEN SKY) exclusively on his own, because he had faith in its success and wanted a larger cut of the profits. Of course, almost every self-pubbed author claims that self-pubbing is a choice, but in his case I actually believe it – Adam is an excellent writer, and his novels are good enough that it’s conceivable publishers would consider picking them up. And then there’s Andy Weir, author of the phenomenally amazing science fiction novel THE MARTIAN, who’s probably going to win the Hugo and the Nebula next year. He couldn’t sell TM at first, and decided to self-publish it. When it sold a couple thousand copies on Kindle, it was quickly picked up by Crown, and hit the New York Times Bestseller list shortly after that. So, yeah – self-pubbing is a good platform for the fierce amateur, but it’s also a thankless, unglorified, disrespected, cut-throat place in which only the serious, learned, passionate, and skilled authors will survive.

VENTRELLA: What sort of advice would you give an un-agented author with a manuscript?

LINDEMOEN: I didn’t have an agent when I made my first professional sale. But I can tell you theoretically what the process should look like. I know that you’re to solicit agencies first, before you try finding a publisher. And if none bite, you have five options. You can 1.) spend the next year refining and perfecting your manuscript, and approach agencies again with a better product, or 2.), start immediately contacting publishers directly. The reason you hit up agencies first is because they won’t normally take you if you’ve been rejected by every single publisher in existence. And most advance-paying publishers don’t accept unsolicited, albeit unagented manuscripts. But say you’ve been rejected by agencies a couple of times, and your manuscript has been refined to the extent that neither you nor your cohorts can find a single reason why it hasn’t been picked up. Well, you really have nothing to lose by pawing the mail slots of various publishing houses. Your manuscript is dead – might as well flame out on the off chance it gets picked up. And if it doesn’t, option 3.) Self-publish. Option 4.) Toss your manuscript in the garbage and start a new one. Option 5.) Enroll in creative writing classes and learn how to write better.

VENTRELLA: What’s the best piece of writing advice you ever got?

LINDEMOEN:A few sage words from one of my favorite authors, Matthew Woodring Stover:

“ ‘Unreliable narrator’ is a tautology. Belief in the reliable narrator is an act of faith intellectually equivalent to belief in the inerrancy of the Bible.”

And:

“If your writing is not a vehicle for truth, it’s just fucking product. Pink slime. Chicken paste.”

One more:

“The next time someone advises you, as an aspiring author, to ‘Show, Don’t Tell,’ advise this person in turn to read BREAKFAST OF CHAMPIONS, and then invite him on my behalf to shut the fuck up for the rest of his life.”

Last one, from Neil Gaiman:

“Whatever it takes to finish things, finish. You will learn more from a glorious failure than you ever will from something you never finished.”

Thanks for inviting to your site! If anyone needs me, I can usually be found in two places: http://www.shanelindemoen.org, or http://www.facebook.com/shanelindem. Thanks again!

Interview with NY Times Bestselling Author A. J. Hartley

MICHAEL A. VENTRELLA: I am pleased to be interviewing NY Times Bestselling Author A.J. Hartley today! A.J. is the international bestselling author of a dozen novels including the mystery/thrillers such as THE MASK OF ATREUS, young adult fantasies like ACT OF WILL, and children’s fantasies like DARWEN ARKWRIGHT AND THE PEREGRINE PACT (which won SIBA’s best YA novel of 2012). Hartley With David Hewson he has written two adaptations of Shakespeare plays as Game of Thrones-esque epic thrillers, the first of which was MACBETH, A NOVEL (audio edition voiced by Alan Cumming), and HAMLET, PRINCE OF DARKNESS. When he’s not writing, A. J. is UNC Charlotte’s Robinson Professor of Shakespeare.

A.J., I just finished reading ACT OF WILL and enjoyed it tremendously! Like my own ARCH ENEMIES, it is a first-person high fantasy story with a punnish title about a cowardly young entertainer with a sarcastic voice who gets thrown into an adventure against his will — so you can see why it appeals to me. (The stories otherwise have nothing in common plot-wise.) What inspired you to write ACT OF WILL?

A.J. HARTLEY: I grew up reading high fantasy—Tolkien, Le Guin, Lewis, and the like — and loved it all, but as my reading tastes expanded, I started to crave fantasy which was rooted in some version of reality and didn’t take itself too seriously. I’m a big fan of Terry Pratchett because I think he proves that fantasy with a comic edge needn’t be “light” and can be as serious as more obviously ponderous works. I like that. I’ve always been a devotee of writing which is fun, outrageously populist, deliberately and self-consciously “genre” but still rich and complex and layered. Like Shakespeare, a master genre writer if ever there was one. ACT OF WILL grew out of many of these impulses: high fantasy with an attitude and a strong sense of character voice, swords and sorcery with a little Salinger thrown in.

VENTRELLA: It seems to have gone through a number of different printings with different publishers. Can you share that story with us?

HARTLEY: From the first time I submitted the manuscript, I ran into the familiar problem of publishers saying something like “we love it, but we don’t know what it is.” In other words, it was considered a hybrid in terms of genre. They didn’t know what shelf to put it on. It took me twenty years to sell it. Literally. By then the market had evolved so that smart-mouth heroes and a pointed absence of dwarves and elves were no longer considered antithetical to fantasy.

Even so, when the book came out from Tor, people weren’t sure how to market it. The original hardback cover (which I actually really liked) didn’t look like a fantasy novel at all, and it certainly didn’t suggest its young adult protagonist. Both novels (ACT OF WILL was followed by WILL POWER) were very well reviewed (the second book made Kirkus Top ten for the year –- and Kirkus are notoriously hard to please!) but they didn’t really sell. ActofWill

When they went into paperback, Tor went with more conventional fantasy style covers, but that didn’t solve the problem. Simply put, people who read them liked them, but not enough people read them. They eventually went out of print and I self-published them with the current, more aggressively YA covers. Interestingly, these covers (stylishly designed by a wonderful designer called Asha Hossain) have really touched a chord with readers and book sellers. They play up the drama of the stories, rather than the slightly tongue in cheek tone, but they fit the books very well indeed.

VENTRELLA: ACT OF WILL takes place in a sort of alternate middle ages, in that there are some things that are definitely relatable to the real medieval world (the way women were treated, men playing female parts in plays, etc.) yet without using any real places (and of course, adding some magic to it). How did you decide what to use and what not to use? In other words, how did you go about developing the world?

HARTLEY: To be honest, Michael, I didn’t. I just made it up as I went along, doing remarkably little of the kind of systematic world building I would do now. The world of the books is an odd mixture of my historical work as a Shakespearean, my travels all over the world (there are moments which — at least to me — evoke India, for example, where I had been right before the final version came into focus), and the voice is clearly modern, without being so contemporary that it would date quickly. What the world contains and doesn’t was determined by the story and the character, particularly the voice of the character.

VENTRELLA: What makes a novel Young Adult? When writing one, how do you change your style (if at all)?

HARTLEY: Most importantly, it’s about the age of the protagonist, and therefore about confronting adulthood in all its aspects. Beyond that, a young adult novel can do anything you might do in an adult novel. YA is defined by the age of the readership rather than by genre, of course, which means that there’s a lot of different kinds of stories within the bracket. Some are virtually indistinguishable from a middle grades novel, while others push the envelope as far as possible in matters of sex, violence, subject matter and vocabulary. So long as you are consistent and clear from the outset as to what you are writing, you can do pretty much what you want. For me, style has less to do with age group as it is to do with the sub genre or style of the story and I never consciously self-censer or simplify.

VENTRELLA: What are your upcoming projects?

HARTLEY: My next publication will be the HAMLET, PRINCE OF DARKNESS (co-written with David Hewson) performed by Richard Armitage (Thorin Oakenshield in the Hobbit movies) which comes out May 20th. I think that will get a lot of attention. hamlet-cover-300x300 After that, I’m not sure. I’m mid stream on a couple of YA projects, but they aren’t done yet.

VENTRELLA: Of which of your fiction books are you most proud and why?

HARTLEY: This will sound like a dodge, but it’s not. I’m always proud of my work when I first finish it and wouldn’t want it published if I wasn’t, so each project tends to have a special place in my head/heart. Each book has something about it I’m proud of. In ACT OF WILL, it’s voice. In WILL POWER it’s about pulling off a socio-political critique of the genre from within.

VENTRELLA: What should someone read first if they want to get to know your work?

HARTLEY: Depends what they like. If they like YA or adult fantasy, ACT OF WILL. For something a little more Harry Potter-esque, I’d recommend DARWEN ARKWRIGHT AND THE PEREGRINE PACT. For historically rooted thrillers, MASK OF ATREUS. For Shakespeare fans, the Macbeth or Hamlet.

VENTRELLA: I see from your CV that you were studying for your doctorate at Boston University around the same time I was graduating from law school and being a public defender there. Maybe we even rode the T together from Brighton. Why did you leave?

HARTLEY: I left after completing my Ph.D and getting my first academic job in Georgia.

VENTRELLA: Much of your work is scholarly. How have you found your styles compare when writing fiction and nonfiction?

HARTLEY: Apples and oranges. There may be a little bleed over in terms of ideas which inform both, but academic writing is an entirely different beast, from writing fiction. Scholarly books are much slower to produce for me, much cagier, much more research-driven and hyper aware of what other people have said. I can do the first draft of a novel in two months. My performance history of Julius Caesar took me almost six years.

VENTRELLA: I’ve always wanted to ask a Shakespeare expert this: Of the hundreds of Shakespeare movies that have been released, which one(s) is/are your favorite(s)? And which just made you scream at how terrible they were?

HARTLEY: I can usually find something of value in most half-way competent films or stagings because I’m looking to be shown something new from a production, not a “correct” interpretation of the play, which I don’t believe exists. We do theatre/film to generate a new art object which grows out of the (necessarily partial) play text, not to somehow broadcast the original in some kind of unmediated way. DarwenArkwrightmedium That’s aid, I do, of course, have preferences. Of recent efforts, I like the Loncraine Richard III with Ian McKellan as an early twentieth century fascist, Branaugh’s Henry V, the Goold Macbeth with Patrick Stewart as a Stalinist tyrant, the filmed stage version of Greg Doran’s Hamlet starring David Tennant, and Joss Whedon’s wonderfully intimate Much Ado.

VENTRELLA: How do you deal with the conspiracy nuts who claim Shakespeare never wrote his plays?

HARTLEY: Impatiently.

VENTRELLA: Shakespeare is often cited by authors who point out that what makes a good story is not originality, but the way the story is told. Do you agree?

HARTLEY: Well, it’s sort of a false binary, isn’t it? Shakespeare didn’t generally originate plots, but the stories have his unmistakable stamp which goes beyond sentence-level utterance. I think he proves that a gifted author can own and refresh a story people thought they knew

VENTRELLA: How much of writing is innate? In other words, do you believe there are just some people who are born storytellers but simply need to learn technique? Or can anyone become a good writer?

HARTLEY: Hmmm… I believe that writing is generally a fairly self-selecting process, in that you need to love stories and words and work to be good at it, but I see plenty of writing from people who have been at it a while which isn’t that good, so no, I don’t believe anyone can do it. There’s a lot you can learn—from classes, from studying other people’s work, and from just doing it—and I think that most people can achieve a basic competence in getting a story down coherently. But writing really well, with power and subtlety, with an eye for character and an ear for voice? No. I don’t think that can simply be learned by anyone.

VENTRELLA: Do you think readers want to read about “believable” characters or do they really want characters that are “larger than life” in some way?

HARTLEY: I think that’s a genre question. Most people who read thrillers and fantasy novels want big drama and larger than life characters which take them out of their conventional reality. For people who read realist literary fiction, generally that’s not true. I like something in between the two.

VENTRELLA: What is your writing process? Do you outline heavily or just jump right in, for instance?

HARTLEY: I outline briefly and loosely — 10-15 pages that sets up the story, main characters, world, key scenes. The book, however, is in the details. Execution is all. atradus But the outline helps me to start with a clear sense of what the book is going to be so that I don’t wander for fifty pages trying to figure out what the story is, what drives it. You need a special gift for self-denying and brutal editing to write without an outline, I think, and most writers don’t have it. It can take me months, even years, to see what a book needs in terms of cutting. Outlines help get me there faster.

VENTRELLA: Do you find yourself creating a plot first, a character first, or a setting first? What gets your story idea going?

HARTLEY: Varies from book to book. ACT OF WILL, for instance, began with character voice. Plot came later. MASK OF ATREUS began with two intersecting plot ideas. DARWEN began with a way of reinventing the cross-over-into-a-fantasy-world I first encountered in The Lion, the Witch and the Wardrobe. WILL POWER came from an idea about what I found frustrating about some conventional fantasy…

VENTRELLA: Writers are told to “write what you know.” What does this mean to you?

HARTLEY: Usually, it means, write what you value, what you want to read, what you care about. Then it means, make sure you know what you need to pull it off.

VENTRELLA: What do you do to avoid “info dumps”?

HARTLEY: Cut them out and then find ways to reveal the information in another way! Unhelpful, I know. I think it helps to think of how movies handle the problem, usually visually.

VENTRELLA: Do you think it is important to start by trying to sell short stories or should a beginning author jump right in with a novel?

HARTLEY: I’ve never been a short story writer. I’ve done a few recently, but I think it’s a very different skill from writing novels, and for the most part I don’t they necessarily transfer that helpfully. If you want to be a novelist, write novels.

VENTRELLA: Do you think short stories are harder to write than novels?

For me they are, to do them well as genre fiction. They are, paradoxically, easier to pull off as literary fiction, I think, because they don’t have to have the pesky necessity of plot and event. Most genre short stories read—to me—like unfinished novels or, worse, mere episodes.

VENTRELLA: What advice do you have to people trying to find an agent?

HARTLEY: Write a really good book. Tears-of-the-Jaguar-cover-199x300

VENTRELLA: How do you promote your work?

HARTLEY: Badly. Minimally. Irritably.

VENTRELLA: We’ve met at a few science fiction conventions. Do you find attending these to be a useful activity?

HARTLEY: I do, and find them useful to a point. They can help you answer real questions about the craft and the business, but their real value is in making you feel part of a community. Writing can be very isolating, and it is good to know other people are in the same boat. And sometimes they can produce connections which are directly useful. BUT, some people treat the discourse around writing as a substitute for writing itself. It’s not. Never will be.

VENTRELLA: What’s your opinion on self-publishing?

HARTLEY: It can be a very useful tool for people who already have a fan base, or for people who just want to make their work available but aren’t looking to make a lot of money off it. Some people do make money, of course, but I don’t think they are representative and for many the riches some self-pub promoters tout will never materialize. I also think self-publishing requires a degree of self-promotion most people are not good at, and which takes time away from the development and production of their actual craft: writing. Self-publishing can be a nice extra string to your bow, or a way to find an outlet as you work, but I would still recommend traditional publishing to most writers. Sometimes—not always, of course—but perhaps more often than we usually admit, rejection from publishers is indicative of the fact that the work isn’t ready. Publishing it in any form can do you more harm than good in the long term. I wrote lots of books that were rejected before I had one accepted, and I thank the stars that I didn’t opt to self-publish them. I might not have been able to see it at the time, but I can now. They weren’t ready. They weren’t good enough.

Ravencon 2012

Ravencon 2012

Guidelines are there for a reason

At a recent convention panel I was on called “Editor’s Complaints,” there was unanimity about the biggest problem: Following the Guidelines.

Every editor, publisher, or agent has a preference as to what kinds of submissions they will accept and in what format they want it submitted. These submission guidelines will be posted on their web pages. They are not hard to find.

Why then do writers ignore them?

Read the guidelines! They are not there as polite suggestions. They are requirements.

For my TALES OF FORTANNIS anthologies, I post my guidelines on this blog and send them to whoever emails me asking about submitting. And still I get stories that do not fit the genre and are formatted in such a way that I cannot read them. baby_w-glasses I’ve even received stories that have no contact information, so I do not know how to accept the story even if I wanted to. (No, I do not feel like searching through all my emails to figure out where it came from. Once I’ve downloaded it, that’s as far as I go.)

What’s worse are people who don’t even try to determine whether the submission is the right fit. I know science fiction editors who have received mystery stories, children’s books, and even nonfiction. How hard is it to figure out whether the magazine you are sending your story to publishes your kind of story?

It gets you nowhere. You’ve wasted both your time and the editor’s time, and that won’t get you far in the publishing world.

Read the submission guidelines. Read the magazine or previous editions of the anthology if you can so you will get a better idea of what the editor wants. Do your research before you waste everyone’s time.

Does this sound unreasonable to you? Tough. Editors are busy people and we don’t have time to deal with those who cannot follow simple instructions. It tells us that you are not professional and may be difficult to work with when we send you the editorial changes we want.

Remember, although you are a writer and an artist, publishing is a business. You need to treat this with all the respect you would give a job application.

Interview with author Leah Cypess

MICHAEL A. VENTRELLA: Leah Cypess is a writer of Young Adult fantasy who I’ve met at various conventions and am thrilled to be interviewing today. She used to be an attorney living in New York City, and is now a writer living in Boston. Leah Cypess author photo 1 She much prefers her current situation. When she is not writing or chasing her kids around (or doing both simultaneously), she enjoys reading, biking, hiking, and drawing.

Let’s start by discussing your latest release, DEATH SWORN. Tell us about the story!

LEAH CYPESS: To quote Kirkus: “A teenage sorceress without magic attempts to solve a murder in a cave full of killers. What could possibly go wrong?”

DEATH SWORN is the tale of a sorceress, Ileni, who was raised to believe she would be the next leader of her people — until her powers began to fade. Now she has been sent to be magic tutor to a cave of assassins, as part of a forced tribute. The last two tutors before her both died under mysterious circumstances, and presumably she is next … unless she can figure out what happened to them and how to keep it from happening to her. But she will soon discover that those murders are part of a much larger plot, and ultimately she will have to make a decision that could change the world.

VENTRELLA: This is not a sequel to your previous works. What made you decide to move on?

CYPESS: I started writing DEATH SWORN before I got an offer to publish MISTWOOD. I couldn’t write a sequel to MISTWOOD or NIGHTSPELL because I didn’t know if either of them would ever get published.

VENTRELLA: It seems that these days, all it takes for a book to be considered “Young Adult” is to have a young protagonist. Do you agree?

CYPESS: Pretty much, yes. DeathSworn HC CContrary to the opinions of many, there are almost no content or style restrictions in young adult, and more than half of its readers are actually adults.

VENTRELLA: Do you hold back anything when writing YA?

CYPESS: Nope. First, like I said, there’s no need to hold anything back; and second, since I started writing DEATH SWORN thinking I was writing an adult novel — because at the time, I wasn’t that familiar with how the YA genre had evolved.

VENTRELLA: What YA do you like to read? Who are your favorite YA authors?

CYPESS: I mostly read speculative fiction YA, since that’s my favorite genre in general! As for favorite authors, I have many, but to pull a few out of the bucket: Sarah Rees Brennan, Anna Jarzab, Leila Sales, and Megan Whalen Turner.

VENTRELLA: What do you think separates your books from all the other fantasy novels out there?

CYPESS: I don’t think of fantasy books as being generic, any more than I think of realistic literature as being generic. In fact, I think they can be more original because not only do you have a unique character and a unique plot, you also get to make a unique world!

VENTRELLA: What led you to write MISTWOOD? What inspired you?

CYPESS: I had an imagine in my mind of a shapeshifter hiding in a forest, being hunted by men on horseback. I started writing without having any idea where the story was going. In fact, I thought it was a short story, though about an hour later I realized this was going to be a novel.

VENTRELLA: Did your publisher ask for a sequel or was there already one in the works?

CYPESS: MISTWOOD doesn’t have a sequel, no matter what Goodreads says. :) Mistwood hc cNIGHTSPELL is a “companion novel” to MISTWOOD — it’s a unique story with new main characters, though it does take place in the same world and have a few cross-over minor characters.

VENTRELLA: How are you promoting your works, and have you found anything that seems to be more successful?

CYPESS: I do promote my books, both online and through bookstore visits. I have no way to judge what’s successful and what’s not, though. I do the things I enjoy or at least am comfortable with.

VENTRELLA: You’ve attended science fiction conventions — do you think these are worthy expenditures of time and money in order to promote your work?

CYPESS: If you’re going just for promotion, then no — dollar for dollar and hour for hour, I don’t think it’s worth it. (At least not as a young adult author.) If you enjoy them, though, you do get the benefit of some promotional value as well.

VENTRELLA: Do you plan on attending more?

CYPESS: I do, though I’m considering holding off until my kids are older and childcare isn’t such a hassle. Of course, I’ve said that in the past and then reneged…

VENTRELLA: When I speak about writing with other authors, I find that I tend to be very organized with my outlines, and I know exactly where I want to go and what information needs to be placed where before I even start writing. Is this a lawyer thing? Do you do that, too?

CYPESS: See above re how I wrote MISTWOOD. ;) I am a terribly disorganized writer. At some point, my manuscript resembles a jigsaw puzzle with me trying to fit all the scenes together in a way that makes sense. So, I suspect it’s not a lawyer thing, though you’d probably be better off polling lawyers who are still practicing.

VENTRELLA: Do you think a particular style is better or is there no right way to do it?

CYPESS: I think the best style varies by writer, and sometimes even by project. To quote A.J. Liebling, “The only way to write is well and how you do it is your own damn business.”Nightspell hc c

VENTRELLA: What sort of advice would you give an un-agented author with a manuscript?

CYPESS: Get it critiqued (more than once!), revise it (more than once!), then write a killer query and start sending it to agents. And while you’re doing that, write a new manuscript.

VENTRELLA: What’s the best piece of writing advice you ever got?

CYPESS: When the manuscript is done, read it out loud.

VENTRELLA: What projects are you working on now? What can we expect next from you?

CYPESS: Right now, I am hard at work on the sequel to Death Sworn! And it’s scheduled for March 2015, so that’s definitely what’s next.

VENTRELLA: And finally – what is it about lawyers that make us want to write science fiction and fantasy? There seems to be so many of us…

CYPESS: On my first day of law school, the dean said, “You’re all here because you got good grades, but you don’t like math and you can’t stand the sight of blood.” That’s not entirely true, of course, but I think law does tend to attract many people who don’t have a strong ambition to enter another profession … which means it’s going to attract a number of people who really, deep down, want to be writers. (But not the poverty-stricken kind.)

Thank you for interviewing me!

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