Often, in a conversation, the quiet spots and silences are just as important as the words themselves. A conversation needs to breathe, to develop organically. Otherwise it’s just two or more people babbling frantically at each other until they run out of things to say, like old-school mechanical wind-up toys.
I find the same thing happens in my work, and that the non-writing moments, where I can let my story breathe, are crucial to my progress.
I see plenty of advice out there saying stuff like ‘just get that first draft done, you can fix it later’, or ‘power through the parts you’re unsure of, leave placeholders for things you still need to figure out’. And the one that’s everywhere: ‘writers should write every day’.
I’m sure that’s sound advice for some people. We are all different, and every writer needs to find the tools and working style that speaks to them. Personally, I find that if something just doesn’t feel right, or I can’t quite see how to get from A to B, I can’t just let it go and put it down as ‘fix later’. I need to mull it over and find a solution before I can move on. And that’s where the non-writing comes in.
Whenever I hit a bump (and don’t we all?!) it helps to step away and leave my story simmering on the back burner, on the lowest possible heat. I won’t consciously worry away at the problem, but it’s there, in the background, never quite forgotten, until the solution suddenly emerges. In the meantime, I get on with life. I work on other projects, and read, and catch up on all those TV shows.
Sometimes that ‘a-ha’ moment is only a dog walk away (I get a lot of ideas when I’m out walking the dog!). Other times it might take a week or two, or more. When, after a month of obsessive non-stop writing, my current project hit a huge plot snarl, I had to put it aside for a good couple of months before I was ready to tackle it again.
Taking a break until I figure out my way past a plot issue works for me; it might not work for you. But If you’re stuck, and find yourself guilty for stepping away for a while, don’t be: the non-writing can be every bit as important as the writing itself.
I missed last year’s conference, exchanging it for the Eastern PA SCBWI region’s Poconos Retreat instead (see posts here and here). I had a wonderful time in Pennsylvania, but I must admit it was nice to be back in Springfield this year! I only attended two of the three days, but going to the NESCBWI conference always feels like coming home. There are so many friendly faces — both old friends and new ones — that time zips by, and I was sad to see Saturday come to a close and end another year’s get together with my New England kid lit family.
A few of my personal highlights:
Patricia MacLachlan’s ‘Fireside Chat’ with Heidi Stemple was a delight. I’m actually new to reading Patricia’s work — I picked up my first of her books earlier this year, and thoroughly enjoyed it. Seeing Patricia speak helped understand a little of the writer behind the pages.
The branding workshop with my writing pal Jessica Southwick. Jess talked about treating our author and/or illustrator selves as brands when it comes to visual presence — website, business cards, social media etc. Her workshop included a practical feedback session where she looked at our material and gave us a handy list of pros and cons. I have so much website ‘homework’ to do now!
Lisa Yee’s revision intensive. Lisa is so much fun to be around, and her hands-on workshop was a really good glimpse of how revision techniques can be put into practice. She guided us through a series of short writing exercises that really helped understand how we can tighten and improve our work. Thanks Lisa!
Lynda Mullaly Hunt’s keynote talk was both inspiring and emotional, and had many of us in the audience wiping away a discreet tear or two. Lynda is amazing, and I’m looking forward to reading her brand new book, Shouting at the Rain.
The volunteer dinner! Volunteering at NESCBWI is a great tradition; volunteers help out with set up, registration, at workshops, in the book signing line, and in many other capacities. If you’re new to the conference, it’s a fun way to feel like you belong while you’re finding your feet. In exchange, the NESCBWI graciously invites all volunteers to a dinner on Saturday night — delicious tacos this time. It’s always a nice moment, held in a smaller and more intimate setting than the huge ballroom meals of Saturday and Sunday lunchtime.
People, people, people. Too many to list: some were friends from other events, some were local to me, some were online buddies I was finally meeting in person. And some were absolutely 100% new, and that’s just the way I like it: meeting amazing kid lit folks and expanding my circle of awesome. To all of you I connected with this year — thanks for making the conference one of my absolute favorite places to be!
Yesterday evening, a group of us who are local to the Hartford CT area met up to talk about all of our own highlights from Springfield and compare notes. I’m always happy to see that I’m not the only one who leaves the conference with a big smile and a fresh batch of inspiration. I hope the NESCBWI keeps up the good work for many more years to come. And for those who live in New England and write or illustrate for children and teens: see you next spring!
Last week, our local group of SCBWI members (Society of Children’s Book Writers and Illustrators) got together for our monthly meet up with a very particular theme in mind: to share our favorite craft tools. Books about writing, websites, podcasts… There are so many resources available nowadays — both free and paid — that sometimes it’s hard to know where to start. Hopefully, the list we compiled will help!
Disclaimer: I’m only familiar with a few of these resources. These are not personal recommendations, but a group effort that I’m sharing because it may be of interest to other writers.
Writing Children’s Books for Dummies – Lisa Rojani Buccieri
The Anatomy of Story – John Truby
Take off your Pants – Libbie Hawker (a short CliffsNotes-style book on outlining)
Second Sight – Cheryl B. Klein
Story Engineering – Larry Brooks
Story Genius – Lisa Cron
Rules for the Dance/ A Poetry Handbook – Mary Oliver (on writing poetry)
The Ode Less Travelled – Stephen Fry (on writing poetry)
The Practice of Poetry – Robin Behn and Chase Twichell
The Artist’s Way – Julia Cameron (on creativity)
Writing Down the Bones – Natalie Goldberg (on creativity)
Also, one member recommends learning lessons directly from published books – if you want advice on characters, for instance, or chapter openings, pick up a pile of books and flip through them to see how the authors did it.
Podcasts: (many of these websites also have blog posts on writing)
Additionally, one member recommends YouTube for tutorials on self-publishing.
Most of the group recommends attending writing events for networking and inspiration. There are events of all sizes and for all prices — find one that fits your personality and bank account. Large conventions and conferences are wonderful, but can be overwhelming. But there are smaller events, like retreats, or places such as the Highlight’s Foundation which offer space to just hide out from the world and write. Alternately, many organizations such as the SCBWI often hold webinars. Webinars can be a low-cost and low-key manner to get involved.
Anyone who has watched Ghostbusters will remember that, although ‘crossing the streams’ was supposed to be a Terrible Thing, ultimately it vanquished the Big Bad and saved the day. Likewise, for writers, learning to cross-network between different writing communities can enrich our lives and take our work to a whole new level.
In 2012, I joined my first writing community, the SFFChronicles.com — an online science fiction and fantasy forum with an active writer’s section. At the time, I had just made the decision to get back into writing and was working on my first novel, a middle grade fantasy. While researching children’s fiction resources I found the SCBWI (Society of Children’s Book Writers and Illustrators), but back then I lived in Brazil, and we had no regional chapters I could look into.
A year later, following my husband’s job relocation, I moved to Connecticut. As soon as I arrived, I joined the SCBWI. Six months later, I went to my first SCBWI conference in New York. I was making connections, online and in person, and my writing world was growing. At the same time, I continued to be an active participant in the sci fi and fantasy community. Both were equally important in teaching me about how publishing works, and in honing my writing skills.
From the kid lit community I learned how to craft middle grade and YA; the SF/F world taught me about genre fiction. The first was invaluable in helping me understand traditional publishing; the second showed me how to navigate anthology submission calls and other short story markets. The SCBWI brought me my wonderful local critique partners; the SF/F community gave me my first beta readers, and eventually a second online critique group. The SCBWI encouraged me to volunteer at conferences and events, and to get involved at a local level, organizing meet and greets for my area. SF/F brought participation opportunities for convention panels, my first public reading, and an opening to write interviews for a genre website. Both groups have nurtured me and cheered for my successes along the way, and expanded both my horizons and my circle of friends. I couldn’t keep moving forward without both of these communities at my side.
When I go to SCBWI events I’m always intrigued by how few members seem to even consider reaching beyond the kid lit community for connection and knowledge. The SCBWI is a wonderful place to call home, but there are many other thriving organizations out there to be explored. The Romance Writers of America is a busy and inclusive example, with many small local chapters throughout the USA. The Mystery Writers of America is another great society with active chapters in different regions. And those are only two among many. Broadening our worlds and cross-networking between communities can be a wonderful way to gain further insight in our work and widen that support web that is so crucial in the difficult world of publishing.
Whatever you chosen ‘home’ community, consider stepping outside and looking for others to connect with. Have a look around, both online and in your local area, and see what you can find. Take a chance on adding a whole new side to your network by joining additional writing organizations — either official ones, like those mentioned above, or unofficial ones such as the forum I’ve been on since 2012. Getting involved with a new community may be scary at first, but by casting that net a little wider and crossing those streams, you may find your creativity shines bigger, and brighter, and bolder than ever.
It’s 2019! Well, it’s actually been 2019 for a while now, but I haven’t done a book round-up since 2018 so does that mean I get to celebrate New Year’s all over again? No? Ah, well, it was worth a try. *discreetly shoves champagne glass and party streamers under the table*
I actually followed my New Year’s resolution and made a good dent in my to-read list. Okay, who are we kidding, that thing is huge! But I have upped my reading game this year, and it feels good to be back! Here are a few of my favorites from the last couple of months.
Recent Reads: A world tour of mythology.
I’d heard good things about City of Brass, so when I spotted it in my local library, I immediately picked it up. S.A. Chakraborty’s lush fantasy tale starts in the streets of 18th century Cairo and travels to Daevabad, the legendary city of brass, home to the djinn. Beautifully written, and with plenty of twists and turns to keep readers on their feet, I swept through this in a day and a half, absolutely enchanted.
Another 2018 release that plays with different world mythologies is Trail of Lightning by Rebecca Roanhorse. Set after a future climate apocalypse has ravaged the USA and the Navajo people have created the magically protected land of Dinétah, the story follows monster hunter Maggie Hoskie on the trail of dark witchcraft and ancient legends reborn. Roanhorse’s prose is swift and fierce, and Maggie is a wonderful character — at the same time flawed and fragile, yet strong as stone.
This next one is a relative oldie compared to the other books in this post, but I’d been wanting to read The Scorpio Races by Maggie Stiefvater for a while. I love Stiefvater’s writing style in the Raven Cycle series, and this one has a similar atmospheric allure. However, instead of dusty Virginia roads and rolling hills, we have bracing winds and sea-salt spray, tough island grass and even tougher island people. It plays loosely with the Celtic myth of the water horse, using it to tell a tale of resilience and determination. Very nice.
The Cruel Prince by Holly Black may well end up being one of my favorite books of the year. This dark fairytale has underlying themes of abuse and isn’t afraid to get its hands dirty. The story of a mortal girl, brought up in the land of Faerie among the members of the Royal Court and caught up in the violence and political intrigue that accompanies the fight for the throne, it’s a breathtaking read and I absolutely raced through the pages.
Now Reading: The end of the Shattered Realms.
I’ve only just started Deathcaster by Cinda Williams Chima, last book in the Shattered Realms quartet, but I’m already mourning the end of this series. I was thrilled when, back in 2016, Chima gave readers the chance to dive back into her Seven Realms world with a new quartet of novels, set a generation after The Crimson Crown concluded. It’s been wonderful meeting a whole new cast of characters while enjoying the setting she so beautifully delivered in the previous series.
To Read: It’s all about those sequels…
I have two sequels on my reading list, and I’d like to get to them soon while the previous books are fresh in my mind. Both are the second-in-series of books mentioned above: The Wicked King by Holly Black, and Kingdom of Copper by S.A. Chakraborty. I’m looking forward to jumping back into Black and Chakraborty’s worlds!
How has your reading been so far this year? Any good sci fi or fantasy suggestions? Let me know in the comments!
Back in 2018, a few of us who post regularly on the SFFChronicles.com forum decided to get together and produce a science fiction anthology. After much debate, the concept for DISTAFF emerged: a collection of stories by women. That’s the only connecting thread — the stories themselves are all vastly different, and all the richer for that.
DISTAFF will be released in August 2019, during Worldcon in Dublin and Titancon/Eurocon in Belfast. I’m absolutely thrilled to be a part of this project, and now that we’ve had a lovely cover reveal hosted by SFFWorld.com, I can finally share our beautiful art by Shellie Horst, one of the participating authors. Besides Shellie and myself, the list includes Jo Zebedee, Kerry Buchanan, Jane O’Reilly, Rosie Oliver, Damaris Browne, E. J. Tett, and Susan Boulton.
Here’s the blurb:
A staff used in spinning. Of women and women’s work. An anthology of women’s stories woven through time and space.
In 2018 a crack team of women sci-fi writers, all members of the sffchronicles community forum, came together to write an anthology. Distaff is the result. Join us as we share stories of people, of science and exploration, and enjoy the words we weave.
Another year, another edition of Boskone, ‘New England’s longest running science fiction convention’. I’ll always have a soft spot for Boskone, which represents a lot of firsts for me: first SF/F con I ever went to (back in 2015, two years after moving to the USA) and first time on panels (2017) are two of them. This year I added another couple of firsts: my first time moderating a panel and my first time doing a reading.
Here are some of my Boskone 56 highlights!
Trying my hand at moderating. I…actually had a great time doing this. The other participants of the Agency and Free Will in Speculative Fiction panel — Gillian Daniels, Rebecca Roanhorse, Greer Gilman, and M.C. DeMarco — did a fantastic job with a pretty tricky theme, so a huge thanks to them all for playing along with my not-so-easy questions.
The Broad Universe group reading. Broad Universe has been organizing their Rapid Fire Readings for years now, and as a new member of the group I was delighted to give this a go. We each got an allotted six minutes to give the audience (and each other) a taste of our work, and I really enjoyed the mixture of styles and genres.
Talking fights in the Now, That’s a Great Action Scene panel. Unfortunately our moderator Errick Nunnally only made it for the end of the panel, but Bracken MacLeod stepped in and kept S.L. Huang, Vincent O’Neil and myself busy with plenty of fun discussion points. And I got to take my HEMA longsword to show offprove a point (ha! point…) about the need for proper research.
Debating trilogies and series in the Middle Book Syndrome panel. Fran Wilde did an awesome job moderating this (plus, we had matching nail polish!), and Kenneth Rogers Jr., Sarah Beth Durst, Sharon Lee and myself had a great time trading tips and tricks for keeping those trilogies flowing.
Readings! Besides the Broad Universe reading, I also caught the Unlikely Imaginarium group reading, with Elaine Isaac/E.C. Ambrose, Clarence Young/Zig Zag Claybourne, Kenneth Schneyer, C.S.E Cooney, Carlos Hernandez and Cerece Rennie Murphy. And later that same day, a reading by S.L. Huang, whose Zero Sum Game sounds awesome and has already been added to my to-read list.
I always try to fit in a few panels, and Laundering Your Fairy Tales with Jane Yolen, Theodora Goss, Victoria Sandbrook, Karen Heuler and Melanie Meadors was a great pick, delving into the often-dark history of popular fairy tales. Of Gods, Devils, And Tricksters was another good one, with an in-depth look at trickster figures in mythology. This one was moderated by Max Gladstone, with Rebecca Roanhoarse, Shannon Chakraborty, Jane Yolen and Dana Cameron. And I ended up going to The Great Agent Hunt, with S.L. Huang, Joshua Bilmes, Christopher Golden, Lauren Roy and Barry Goldblatt. Lots of good advice, and plenty of cautionary tales…
People. All the people. New friends, old friends… Conversations everywhere: at the bar, in the hallways, at the tail end of panel sessions. This is what really makes Boskone such a great event — getting to hang out with other readers, writers, and fans for two days straight. You are all awesome and I loved spending time with you! I hope to see you next year!
I only stayed two days this time, instead of the full weekend, to save a little on hotel money. I was sad to leave early, but it’s for a good cause: in August I’ll be at Worldcon in Dublin and then Titancon in Belfast! I’m really excited to be trying something new, but you can bet that in 2020 I’ll be back at Boskone, my ‘home con’ and forever favorite.
Book news! Well, anthology news, actually. Tomorrow my short story King Swan comes out in a brand new collection — Gorgon: Stories of Emergence (Pantheon Magazine).
From the official blurb: “Be changed. GORGON: STORIES OF EMERGENCE contains 42 transformative stories spanning all genres from both emerging and new voices alike, with all new stories by Gwendolyn Kiste, Richard Thomas, Annie Neugebauer, Eden Royce, Beth Cato, D.A. Xiaolin Spires and more, and featuring 10 illustrations by Carrion House.”
I’ve had a peek at some of the stories and they’re awesome! You can buy Gorgon on Amazon in ebook and paperback, starting tomorrow…
It’s been two years today since HEART BLADE was published! Happy bookversary to the Blade Hunt Chronicles!
It’s almost February, and that means it’s getting close to Boskone time! I absolutely love this friendly New England Con, and I’m glad to be returning. If you like science fiction and/or fantasy, and live anywhere near Boston, why not drop by to check it out?
This year brings a couple of firsts for me: my first time as a panel moderator at Boskone, and my first reading, as part of the Broad Universe group. Besides my own program items, I’m looking forward to catching up with friends and hopefully making a few new ones; watching a couple of panels (see full program here); and maybe attending a reading. Let’s see how much I can cram into the two days I’ll be there!
If you’re planning to attend, here’s my schedule:
Agency and Free Will in Speculative Fiction
Friday 15th Feb 2019, 18:00 – 18:50, Harbor III
Fantasy often makes use of prophecy. But when a protagonist is the prophesied one, how can they experience true conflict, risk — or agency? They can’t fail, right? Shouldn’t this deflate the reader’s interest? What happens when you have conflicting prophecies? And if we’re in a mechanistic universe, governed by the laws of physics, where is free will?
Juliana Spink Mills (M), Gillian Daniels, Rebecca Roanhorse, Greer Gilman, M. C. DeMarco
Broad Universe Group Reading
Friday 15th Feb 2019, 21:00 – 21:50, Griffin
Join members of Broad Universe — a nonprofit association dedicated to supporting, encouraging, and promoting female authors of science fiction, fantasy, and horror — as they read tidbits of works and works in progress. Readers will include Terri Bruce, Trisha Wooldridge, L. J. Cohen, Roberta Rogow, Juliana Spinks Mills, Joanna Weston, and others. Moderated by Elaine Isaak.
Now, That’s a Great Action Scene!
Saturday 16th Feb 2019, 11:00 – 11:50, Burroughs
Fight scenes are not all created equal. Action scenes can make or break a story: drawing readers in, or shattering the suspension of their disbelief. Let’s look at some of the best action scenes and sequences to see how it’s done right — and why some scenes are just wrong. How do you keep the energy up without confusing the readers with a flurry of movements that only martial arts enthusiasts can follow — or care to?
Errick Nunnally (M), S L Huang, Bracken MacLeod, Juliana Spink Mills, Vincent O’Neil
The Middle Book Syndrome
Saturday 16th Feb 2019, 16:00 – 16:50, Marina 4
The first book of your series was amazing: solid story; compelling characters; great reception by publisher, critics, and fans. Now, the hard part: living up to all the high expectations. Or maybe the first book had a less receptive reception, but you still need to produce that second volume? Plus there’s the rhythm problem — first book, thrilling beginnings; last book, satisfying conclusions; middle book, recaps and repetitions … How do you deal with the pressures of a multi-book contract and impatient fans?
Fran Wilde (M), Juliana Spink Mills, Kenneth Rogers Jr., Sarah Beth Durst, Sharon Lee
Finnish-born author C.T. Grey is an engineer and self-confessed information junkie with a serious addiction to science fiction and fantasy. Besides his own novels, Grey has also published a number of articles and blog posts on technology, science, politics, and a wide variety of other topics, both fact and fiction.
In First Interview, book 1 of the Necromorphosis series, Grey introduces us to a bleak and horrifying post-zombie-outbreak London, where a mutated virus has escaped government control and now runs rampant among the population. The novel comes with a twist, though: zombies are not the only supernatural creatures roaming London. And now the Damned, which include vampires, are threatened with exposure as the entire structure of society begins to fall apart.
Juliana: Hi C.T., and welcome. First Interview is a zombie novel with a unique approach — one of its main point of view characters is a vampire! How did you come up with the idea of mixing traditional fantasy elements like vampires and magic with a classic zombie outbreak tale?
CTG: Thank you Juliana. It is a good question. At the beginning the trilogy was just a short story that I posted in its entirety in the SFF Chronicles under a title of “A New Beginning…” It was story where Herbert Jackson faced Jane and end up as her dinner, as the story ends in the classical Jane’s line: “I’d like some red, please.”
When I started to listen to Jane as my muse I was imagining a very different kind of story as I was admiring Bear Grylls and I wanted to put him as a character, which comes to rescue Jane from some tower in London. It would have been really romantic and somewhat a classical adventure. However it never happened as Jane led to a very different kind of survival story.
I never wanted to write a classical zombie story or follow Kirkman in the niche market, as the whole turmoil with the zombie uprise is a background detail in the book. It is not the main thing. Jane’s survival story is and I wanted to make her extraordinary as those types get highlighted born in the times of conflict.
You can read from between the lines that the story Jane tells to Henrik isn’t a normal journey. But it is the sort of case that Henrik would be normally investigating, but the deeper he ventures into the story that Jane is weaving, he starts to realise that everything isn’t as it should be.
I wanted that to be the fantasy element, not just supernatural as that would be boring. I honestly wanted to write in all the places she has visited, things she has seen but wasn’t mentioned in the books, like for example: dryads, centaurs, elves and dragons. What I think is interesting is that to Henrik all of those things are magic. He doesn’t believe in any of them, because he was born skeptic. But over the course of the trilogy, his views change somewhat dramatically.
Juliana: I know you are a fan of a wide variety of science fiction and fantasy TV shows, which you review for the SFFChronicles.com. Did your eclectic approach to entertainment influence your choice to draw from both sides of the speculative coin, so to speak?
CTG: No. It never was my aim, but I do admit I might have been influenced by them. Thing is whatever you read, watch, see will get mixed in your mind and eventually spilled out on the paper.
I started my own reading experience with Ursula Le Guin’s Tales from Earthsea and moved on to cover a number of classical masters like Asimov, Tolkien, Heinlein, Philip K Dick and so on. I read a lot and I still do, but these days I have the internet, so I don’t read as many books as I used to, but over the years I’ve never been just one type of guy.
If there is a fantasy creature in my stories, the chances are there are a number of others lurking at the background, ready to pop in the stage. I could claim that it’s like the case of Tove Janson’s Moomins, once you know they are real, they never go away and in the Moomin valley there are a large number of things that not present in the ‘real world,’ but we still do believe in there.
Therefore I cannot omit fantasy from a story, if the main character is already a fantasy creature. What I can and what I have done in the trilogy, is that I’ve rooted them into the realm of realism as much as I can. It just happens to be that after the Great Panic all these creatures start to pop all over the map.
So, in the case of the Necromorphosis trilogy, nothing you’ll see is traditional. I mix … sometimes quite strongly science fiction into fantasy because both genres can offer so much more than restricting yourself to write yourself into the corner. The biggest SF thing I have is the Portal technology, but it is also funny, because the portals are in scientific terms pure fantasy.
Juliana: I have a confession — I’m terrified of zombies! But First Interview, despite the sometimes-graphic descriptions of gore, somehow eased me in and kept me from running away. A lot of this is probably down to your protagonist Jane, and her matter-of-fact manner of telling the story. Was this a conscious decision on your part — to give the reader some breathing space, so the horror wouldn’t be too overwhelming — or did this just occur naturally?
CTG:(Laughs) You are not the only one. Jeff Richards, who has edited the whole trilogy, confessed to me very early on that he absolutely hates the zombie tales. To him, you and a number of other people, who have read the book, have confessed the same thing. First Interview isn’t about the zombies, or what they do, when the apocalypse becomes real, because that tale is Jane’s tale and I doubt she would ever bore Henrik with a simple zombie story.
When you later on read the next book – From Exopolis to Necropolis – you will notice that the same effect that plagues AMC’s The Walking Dead plagues that story as it keeps moving away from shuffling horrors to a short of story that is close to Inception. And that move was as much intentional as it could be. The dead will remain as threat and as a reminder about what happened when the Day of Great Panic dawned in Jane’s Earth and it became apparent that there was no return to the world of yesterday.
So to get Jeff to edit he had to love the story so much that he made me put it into various competitions with the Big 5 for over two and half years. When it became apparent to me that they liked it and saw something in it, but couldn’t invest money into it, I made a decision to publish it on my own.
Juliana: What challenges did your two main characters, the vampire Jane and Intelligence Analyst Henrik, bring? Who was the hardest one to write? And the easiest?
CTG: Henrik was the hardest. The simple reason is, he’s an invisible narrator in First Interview but his role grows much bigger later on. Because he was so vague I had harder time engaging him than Jane. Usually she’s much easier and more interesting thing to write than Henrik. With her you always know that you’re not going to have a boring moment. Instead you’ll get a chance to explore things that otherwise wouldn’t be possible. You could claim that Jane is sort of Super Heroine and you wouldn’t be wrong as that is almost what she is. With her being an over six and half centuries old vampire, you get a chance to explore world from a point-of-view that is far older than what you could do with a traditional human perspective.
She has seen history and met people since last mini ice-age and it shows in her narrative. With Henrik the case is different, as he studies things in the current timeframe rather than wallowing in the past, like Jane does sometimes.
There are only a few Jane focused chapters that I struggled to write. Some of them especially so because I got so emotional with her struggles to cope with the world she didn’t wanted to bring around. Jane would have happily stayed in the shadows and continued living in a normal world that we experience everyday.
Juliana: First Interview is full of high-octane action scenes. Do you have a system for writing these scenes? Do you work them out beforehand, in your mind or on paper, or do you just jump straight in?
CTG: I don’t plan them as I let the muse and flow bring them out, but each one of those battles has been written multiple times. In some cases Jeff has made me to rewrite them again. So you get multiple layers that over time became the scenes you see in the books. In First Interview there is a scene, where Jane is being targeted by a sniper. I wrote it probably ten times even though it is relatively simple thing to write. It is also a reference point that Henrik uses multiple times, because in his mind, nobody could have survived it. Jane, on the other hand, isn’t a nobody and her ending in it wouldn’t have made a very good book. (laughs)
With the choreography of the fights I have over a decade long experience as a game-master and making high-octane adventures for the top-class players. Believe me, they schooled me well on what’s an interesting fight and how it should go down. Although with the gamers what you expect to get isn’t ever going to happen, because their sole aim is to destroy you as a game-master. (laughs again)
So, with the fights I never aim to destroy my characters but to put them through fast-and-dirty fights where sometimes unbelievable things happens just like it is in the case of the real life. Although I have a chance to show those scenes to military people and ask their opinion on them, I tend utilize my service experience and stuff that I’ve gathered continuing talking and analyzing current fights in the world, before I bring them on the paper.
Believe me it would be easier to write them if I didn’t knew anything about the art of warfare or how the battles turn out. In fact I’m glad that you can reflect those experience in the fiction and anchor them into the reality as much as I can. It also helps that every week, sometimes every day I write reviews on the stuff you see in the small screen or in the big one.
Juliana: Since your first language is Finnish, what were the key difficulties you had to face when working in English? And do you have any tips for other non-native-English writers?
Finnish and English are very different. Whilst Finnish might be easier language to write prose, it’s not the main language in our world. I write both fluently and out of those two, English is way much harder, because it has so many rules. Some things don’t make sense to even English Masters as they have to accept that things are the way they are. On the other hand I can easily bend the Finnish words and use them in completely different meaning altogether as the language flexes more around the speaker and the writer than what you can do with English language alone. So, it is a question of how much you can cope, and how well you can learn those rules to be able write in second language. As English is one of the main languages I try not to play with it as much I can do with my mother tongue.
Juliana: Talk to me about your cover! What are your favorite things about it? How closely did you work with the artist, Jackie Felix?
CTG: The cover… Oh man, I don’t know where to start. Well, firstly, I wanted to show Jane and keep Henrik altogether, as Jane is the Main Character in the First Interview. Jackie did a fantastic job in bringing her and Sergeant Red out as a couple, as you can see them standing in the Interview Room 2, looking mighty grumpy. Through the book they are an item as much as Jane and Jaq is, but Jackie didn’t wanted to draw nasty dead in the streets of war torn London, hence you see them in the Interview scene.
I chose Jackie, because she draws the best females characters in the industry and she isn’t afraid of showing them curvy or full of life. She also has an ability to draw from the darkness and apply that to the canvas. Jackie also managed to capture the feeling that their world is close to us but in some terms it’s more technologically advanced than our own. You see the eye of the Source (an AI) in the background watching everyone. So even in that you can get layers of the that only make complete sense once you have the knowledge.
Juliana: On February 10th you’ll be releasing Book 2 of your series, From Exopolis to Necropolis. Can you give us any spoiler-free hints of what awaits Jane, Henrik, Jaq and Co.? Also, First Interview very briefly introduces deeper fantasy elements, such as magic, the teaser of more supernatural creatures lurking undercover, and the mysterious Underworld. Will you expand upon these in the sequel?
CTG: Yes, I’ve expanded them a great deal, as the reader gets to dive into the story that was hugely inspired by Nolan’s Inception movie. You’ll get to learn how the Necromorphis advanced in the streets of London. What role the Portals, the Exopolis and the collective of special people that the Authorities placed in the Moon has been doing since the dust from the Great Panic has settled. You also learn much more about Henrik and what he’s going to do when, after six months, he meets Jane in the Exopolis and one of the first things she asks is for him to become Mayor.
At the background, you can expect that the war between the Damned and the Authorities is continuing. And for your delight there aren’t that many scenes involving the dead as there are in the First Interview. Instead of them you get to learn more about the mysterious Underworld, and what role it plays in the grand scheme of things.
Juliana: Thank you CT for stopping by and answering my questions. And I love the cover of the new book, with art by Adam Burn!
From Exopolis to Necropolis is available for preorder from Amazon, and First Interview will soon be available at a special promotional price during the sequel’s pre-launch week.