Many thanks to Robert Jolles and Heather Flaherty for giving me the opportunity to be interviewed on this podcast!
I think I may have to take Rob up on his suggestion for a re-launch party.
Many thanks to Robert Jolles and Heather Flaherty for giving me the opportunity to be interviewed on this podcast!
I think I may have to take Rob up on his suggestion for a re-launch party.
Art often imitates life. In searching for stories and ideas, they often come from real life. Real people, events, situations, whether from the author’s life or from others’ experiences, make excellent soil to plant story seeds in. Sometimes the real story is told through the lens of fiction with fictional names for people and places (known as a roman à clef, or novel with a key; film à clef for movies), which allows for stretching of truth a little more. Yet this calls into question how close to the truth should a writer stick. What’s more, how will the people upon whom characters are based react?
If characters are not composites but primarily based upon specific individuals, there is a risk they might not like how they are portrayed, especially if it is in a negative light (such as caricatures, a technique used by a fictional writer in the mystery shows Magpie Murders and Moonflower Murders who wasn’t a good person). Ernest Hemingway has been accused of antisemitism due to the character Robert Cohn, based on his contemporary Harold Loeb, in his roman à clef, The Sun Also Rises. As revealed in Ken Burns’s program, Hemingway used people’s real names in his first drafts, but he changed them so as not to be sued.
If people’s real names are used, even if it’s just the first name, the risk is even greater that they will be forever associated with the fictional versions. It was true for Peter Llewellyn Davies, Alice Liddell, and Christopher Robin Milne. Even aliases in nonfiction/memoir can be viewed negatively, as it was with Donald Sinclair and the family of Fritz Pfeffer, respectively, over “Siegfried Farnon” and “Albert Dussel” in All Creatures Great and Small and The Diary of Anne Frank, or if unflattering names are used for fictional characters.
Then, of course, it’s not just themselves but those they care about, and trying to say counterparts aren’t the real people may not matter. William Randolph Hearst not only disliked that his life was the main inspiration for Citizen Kane, but he also hated how the counterparts to his mistress Marion Davies and his mother were depicted. He used his influence to sabotage the film’s box office success.
Of course, when telling a fictional narrative with fictional names, one can always claim plausible deniability. Plus, hopefully most people won’t mind, especially if the writer is on good terms with them. Nevertheless, it is always something to bear in mind when fiction is drawn from reality. There is a boundary regarding fact vs. fiction, and it should be taken into account when crossing it.
This is my second time appearing on the Merry Writer Podcast, which is hosted by authors Ari Meghlen and Rachel Poli. Many thanks to both of you!
You can also listen to it on Podbean. There are many other places you can choose from to listen to it as well.
I wish all my fellow Americans a Happy Independence Day tomorrow.
Years ago, I talked about the influence of Joseph Campbell’s The Hero with a Thousand Faces (one of my recommended resources), and how I saw Mystical Greenwood as the Departure phase in the hero’s journey. Thus, I planned for Beneath the Deep Wave to be the next phase, known as the Initiation. Likewise, I sought to look for little ways to stand out from the traditional storyline.
The “Road of Trials” is most prevalent in this phase, so I knew there would be a lot of traveling like in the first book. However, when I look at both books together, in terms of plots spelled out in another resource I recommend, 20 Master Plots and How to Build Them, I see Mystical Greenwood more of as an actual “Quest” story whereas Beneath the Deep Wave is much more an “Adventure.” The seeking more aligns with what the book refers to as the MacGuffin (made famous by Hitchcock). It makes sense, I suppose, since the Trials are meant to prove the hero’s worth.
I knew going in also that Beneath the Deep Wave was going to include romance, so this would tie in more with the “Woman as Temptress” rather than “Meeting the Goddess,” as I’d imagined Dermot might be faced with a dilemma: would his love compromise his vows to his magical order? Then, of course, there’s the “Atonement with the Father.” By the end, I don’t know whether this is a combination of “Apotheosis” and “Ultimate Boon,” but in some ways, akin to Dan Brown’s The Da Vinci Code, I thought about physical vs. symbolic treasures, in this case tying them in with the elements and the natural world. I shouldn’t say any more, for fear of spoilers.
I’ll end this post by saying that the last phase, the Return, will be and is an inspiration for the plot in last book in One with Nature. Happy Father’s Day!
I have a few author appearances coming up in the next few months. Mark your calendars!
In a few weeks, I’ll be participating in Balticon 59. This will be my second time at Balticon. I had a good time last year and hope I will have a good time this year as well. Here is my schedule:
I will be the moderator on the Name panel, a subject I was eager to contribute to, having done a presentation on it. And my autograph session will be alongside one of the guests of honor this year, Sebastian de Castell!
I also have an update on tickets for the Maryland Renaissance Festival, where I will be doing another author signing on August 30th, Labor Day Weekend, from 11-5pm. Tickets are required for entrance to MDRF and must be bought in advance, online only. Daily tickets will go on sale August 4th 10am Eastern Time, and multi-day passes will be available July 7th 10am Eastern Time. Also, the event is on Facebook.
On a last note, the Maryland Writers’ Association is accepting presentation submissions for their annual conference in October. The deadline to submit is at the end of the month. I hope to present myself, but I’ll have to wait and see whether that’ll happen.
Many thanks to Jenny for a wonderful opportunity to promote Beneath the Deep Wave and another upcoming anthology from Fae Corps Publishing that I’ll be featured in.
Wishing all my fellow Americans a Happy Labor Day tomorrow.
Recycling is something we’ve been told since childhood is vital for protecting our Earth, and I don’t dispute that. Today, however, I want to talk about another kind of recycling, one which may serve writers well, especially if they are suffering writer’s block. This is literary recycling.
And no, I do not mean recycling entire plots or characters. Definitely not. That would be counterproductive. Every writer, in my opinion, ought to strive for something different in every project. Recycling entire plot structures or character arcs would not only be boring for readers but also indicate to them that the writer isn’t showing any growth in their art.
What can you recycle literary wise, then? Scenes, scenarios, passages, anything that will not simply fit during the editing process. This was something I first discovered during my long and checkered history of writing Mystical Greenwood. New scenes were written, and some were altered, characters removed, names changed, etc. All for the sake of pace and telling a better story. That left some passages cut through different drafts, ones which I simply couldn’t fit back into the story. But I liked them. I didn’t want to simply trash them.
Instead, I used some of them as starting points in Beneath the Deep Wave. And you know what? The same thing happened again! Some bits were moved around, and a few would no longer fit within. So I’ve decided to simply use them again, but this time for the third One with Nature book. A few others were also saved for other projects that I thought they would work better in. They simply would require a few tweaks, such as changing names or other factors to accommodate different settings and structures.
It’s a good feeling to not entirely throw out some words you’ve written, especially when it might be possible to fit them into a different puzzle, perhaps even better that what they might have been before. The only other thing I would caution is be careful not to inadvertently use the same plots or plot elements over again. When I first started my pets mystery in college, at some point I realized I was using some similar elements to my fantasy story. I knew I had to make some changes.
Don’t forget that Beneath the Deep Wave is coming out next month! One another announcement: I have reopened my social media accounts on Twitter/X and Tumblr, with the same usernames as before. It wasn’t an easy decision, nor a light one. I remember leaving them for the sake of my mental health, and in the former’s case, it hasn’t had the best reputation, especially since its rebranding. but I am also aware that I did gain followers and readers/reviewers on each. Hopefully, I will be able to use them now wiser than before. So, if you were following me there before, you can do so again. Don’t forget about my other sites as well.
To all my fellow Americans, I hope you had a happy 4th of July yesterday.
Here’s my final panel schedule for Balticon later this month at the Renaissance Harborplace Hotel in Baltimore:
1:00 PM
Autographs with Jack Campbell and Andrew McDowell
2:30 PM
The Importance of Book Design
5:30 PM
Best Resources on Writing
11:30 AM
Recognizing Predatory Publishing Practices
1:00 PM
Dealing with Literary Rejection
Hope to see you there! And if you are reading this and are a mother, I wish you a Happy Mother’s Day.
It’s a question that all writers get asked at least once, including me. Some writers plan everything out in advance. Others make it up as they go, writing off the seat of their pants. It’s one of those things where writers seem to fall into one of two camps, it seems, similar to print vs. digital books when reading.
There are pros and cons for each method. With plotting, writers know exactly where they are going and able to consistently progress with their outlines, and so the likelihood of writer’s block is much smaller. I imagine that with some genres with plotlines or formulas already laid out, like the hero’s journey, historical fiction, or cozy mysteries, plotting might be easier for some. On the other hand, if the situation should arise where the writer doesn’t like where the story is progressing or even a specific element, starting over is even more difficult. I’ve encountered this feeling whenever I’ve grown dissatisfied with character names and wanted to rename them or other details, and often it feels like the only way I can move forward is to start over.
Being a pantser, in contrast, offers more freedom and flexibility. A story can develop more fluidly and build upon itself like a voyage of discovery. Opportunities for creativity are greater, but, as one would expect, so is the possibility of running into writer’s block. Most people I’ve met have expressed their surprise when they learn I’m not a full-blown plotter, because, as someone on the autism spectrum, I do prefer to plan ahead with many things, and have a preference for patterns and routines, in my life as a means to avoid anxiety. But life doesn’t always work out like that, and I get anxious anyway, so I have tried to not always have patterns, and some have been given up, I’m happy to say, because I’ve learned I don’t always need to have them.
Nevertheless, I’m also aware that even careful planning doesn’t always lead to things working as hoped for. But does that mean I’m a pantser? No, not entirely. Every writer has their preferences. Some see the first draft as their plotting, or seek a middle path, what is called a plantser. So perhaps this is like planting seeds and then watch them grow.
I don’t know if I even fall into that category. It could always change in the future. But I think that just like with print vs. digital books, we shouldn’t simply fall into camps because of what we prefer. Everyone has their preference and should be respected for it. I just write, and I am constantly seeking my own way, which is always evolving.
P.S. Check out the Moonstone Arts Center’s 2023 haiku anthology. It features five of mine! I also changed the site’s theme a few days ago. I hope you like it!
Anyone who’s an ardent Star Wars fan will know of Joseph Campbell’s The Hero with a Thousand Faces and how it influenced George Lucas. He outlines similar steps within what is known as the hero’s journey, which has been found in ancient myths, folktales, and modern fantasy/science-fiction stories. I received my copy one Christmas and poured over it, understanding these points. It’s among my recommended reads for writers! Whilst editing Mystical Greenwood, I tried thinking of the plot I was forming in terms of what Campbell outlined. In the end, I came to see the book as the Departure Phase, which consists of the Call to Adventure, Rejecting the Call, the Threshold Crossing, and the Belly of the Whale.
In my own observations of other fantasy works, I’ve seen two kinds of heroes who receive the Call to Adventure. The first is the protagonist dissatisfied with life and yearning for something more. The other is essentially the opposite, perfectly content. When creating the two brothers at the heart of this story I tried envisioning them as such. But in the end, I had to pick one to be the central hero, and that was Dermot, the one who was dissatisfied with life.
Often the mentor in fantasy is an old wizard with a long beard. Early on, I felt such a mentor at the beginning giving them the Call might be too much of a cliché, so I had that character appearing not until three quarters of the way into the book. The teenage characters instead traveled on their own and chose to do so, though there was a character who did in a way give them the Call to Adventure. But later on, I realized that scenario was not going to work. A mentor figure was needed in order for the hero and his allies to survive and be properly introduced to their world’s magic and their abilities. So that original herald was vastly reworked, evolving into the true initial mentor figure instead of my wizard.
What made me go ahead without risking cliché was that this mentor was going to be a woman. I sought to have her be an embodiment of Mother Nature, who is associated with three stages of womanhood, each of which I gave her attributes: maiden (her face), mother (her personality) and crone (her age/hair). This deviation, if you really want to call it that, shows a story doesn’t need to follow the Hero’s Journey to the letter, such as when Frodo fails the final temptation at the end of The Lord of the Rings. Changes from tradition can make the story stand out and give readers a nice twist.
I hope to continue with the Hero’s Journey in the rest of the One with Nature series, with the next book being the Initiation Phase. This month marks four years since the paperback first came out (April will be the Kindle anniversary). Please read and rate/review if you haven’t yet!
Amazon | Amazon UK | Amazon CA | Amazon AU
Goodreads | Barnes & Noble | Foyles | Waterstones | Deviant Art
Follow me on social media, too!
Facebook | YouTube | Goodreads | Amazon