Friday, November 21, 2008

Blog Talk Radio group interview, guest blog, and Meadow update

Here's the link for the audio for yesterday's Blog Talk Radio interview, focusing on world-building (I'd hoped to have the embedded audio, but it's not working for me, so just follow the link if you wanna listen).

Also, today I've got blog duty at SFNovelists.com, where I bring up the question of not just where but when to set one's novel--specifically around holidays or certain times of the year?

Our greyhound Meadow just went into surgery to fix four ruptured discs in her back. We tried the "conservative" method, i.e., crate rest and pain meds, to no avail, so this was our last option. Her road to wellness will be a long one (6-8 weeks, maybe more), but the doc seemed optimistic about her chances for a full recovery. Not sure if we'll ever let her run again, and she's definitely hanging up her WWE title belt (do they wear belts?), but we'll be thrilled just to be able to take her for a walk without painful consequences.

Keep your fingers crossed for her!


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Now playing: Lisa Loeb - Do You Sleep
via FoxyTunes

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Sunday, November 02, 2008

Interview with Diana Pharoah Francis, author of the Crosspointe Chronicles

Another of my fellow SFNovelists, Diana Pharaoh Francis, is having a big release this week. I've heard phenomenal things about her work, so take a gander at her newest. I can't wait to delve into this series as soon as the deadline trolls release their death grip from my throat.

*ducks back into cave*


Diana Pharaoh Francis’s latest book, The Black Ship, is the second in her Crosspointe Chronicles series. It's a novel of adventure at sea, friendship, betrayal and magic, and will be released November 4th, 2008.


1) What was your inspiration for writing The Black Ship?

Well, there were a couple of things that led to writing this book. First, I meant for it to completely stand alone, so very little of the first book in the series, The Cipher, ends up in this book. A bit of it is there as backstory, but this book is really about Thorn and his big mouth and the trouble he gets into. At the same time, I wanted to tie into the unrest and political events that started showing up in The Cipher, but hopefully those flow naturally from Thorn's story. Probably most importantly, I wanted to get my characters out onto the Inland Sea because it is such a marvelously strange sea. It's a magical see where what was shallow a moment ago is now deep, where the currents shift in the blink of an eye, and it's filled with magic and monsters. Many ships don't survive. Exploring the sea, more than anything, is what pushed me to write this book about these characters. And once I met Thorn and Plusby and several others, I had to tell their stories.

2) What do you find most interesting about Thorn?

I’ve become very interested in flawed characters—in people who don’t always do things in their own best interests, or who are contradictory and sometimes dangerous to themselves. These flaws can be incredibly valuable, when you think about people who are willing to sacrifice themselves for others. Yet those flaws can be dangerous, too. Thorn fascinates me because he ends up in a place where he’s torn between doing one version of right and doing another and he doesn’t know which is the more right thing to do, but he can't do both. That and he’s snarky and sometimes rude and he was huge fun to write.

3) What is it about fantasy that attracts you?

I think it’s the possibility for real heroism, and that an individual can have an enormous impact on his or her world. That a person’s decisions matter to the larger world, and that honor is worth something, and so is sacrifice.


4) What sort of research did you do to write this book?

I did something incredibly bizarre. I set this book on a square-rigged clipper ship, even though I’d never been sailing. Ever. I didn’t know anything. So I did a lot of research on clipper ships, square-riggers, the commands that are used, the feeling of being on the sea, life aboard and so on and so forth. I went out to Washington to take a short cruise on The Lady Washington and asked a whole lot of questions. I read all sorts of sailing accounts and manuals and fiction about sailing. I looked for diagrams and slang, I looked for everything that might have anything to do with sailing anywhere. I watched The Deadliest Catch to see a cold, vicious ocean in action. The process was wonderful. I think that when people read this book that they’ll really feel like they are aboard a ship. At least I hope they get that.


5) Who are your favorite authors and books now and when you were growing up?

I have so many favorites. Wow. Well, early on I read the Narnia books over and over, and of course the Madeleine L’Engle books. But I remember that the books that really jolted me into reading broadly in fantasy were Zelazney’s Amber books. I still don’t know what it was about them that appealed so much to me at that time, but after that, I became an avid reader of fantasy, almost excluding anything else.

As for favorites now . . . I love Carol Berg and Robin McKinley. I’m a fan of Marjorie Liu, Anne Bishop and Guy Gavriel Kay. But really, I’m a voracious reader and I have so many favorites that I couldn’t begin to cover them here.

6) Did you always want to write? Or did you stumble into it? How did you get where you are now?

I have always been a storyteller, but I didn’t start writing until I got into college. Then I tried to write mainstream sorts of fictions. They were bad. My heart wasn’t invested in them. Eventually I began to write fantasy, which made me so much happier. As for how I got where I am now? Hmmmm. Where am I? Essentially I did some short stories and published a few of them, but I am really more a novel writer—short fiction doesn’t really come to me very often and it's uncomfortable to write, not like novels. So I worked on a novel, then another one, and then another one. At the same time, I was getting my MA and my Ph.D.

Then one day a friend (Jennifer Stevenson) asked if I’d like to do a novel in a week. I said . . . “wha…?” She explained that a novel in a week is when you take time off from life. Most people can carve out a single week of life from work, family, and other obligations and totally focus on writing. The idea is to write as much as you can during that time. When you’re done, you’ll know if you’ve got the beginnings of something (or maybe a complete draft if you’re really kicking butt on the writing), or you’ll know if it’s not worth pursuing. Either way, you’ve only lost a week to it.

So I did this, and found that I was really rocking on a novel I liked. It turned out to be Path of Fate, my first published novel. I did the submitting rounds and it was picked up by Roc.

7) What does a typical writing day look like for you?

There’s no such thing as typical. I’m still working full time, and I have a family with kids, and so I end up squeezing the writing in wherever and whenever I can. I’ve become a lot better about getting more accomplished in shorter bits of time, but really, I’m always scrambling to keep all the balls in the air and hoping none of them shatter if they fall.

8) Where do you write?

I usually write in my office. It’s a room in the upstairs of my 1917 house. It’s painted purple and has a bank of five windows that looks out over the front yard and lets in a lot of light. It’s got wall to wall books and my ‘desk’ is an old kitchen table from when I was growing up. It is about eight feet long and about five feet wide. It’s also piled with papers and books, my computer, printer and scanner. On the walls are swords, a battle ax, a munch of maps, and a bunch of pics. I also have two lava lamps, one shaped like a space ship.

9) What is hardest for you as a writer?

You know, it really all depends on the day. Like many writers, my ego is sometimes fragile so some days it’s just hard to believe that what I’m writing isn’t utter dreck. Then other days, it’s squeezing out time to write. And then maybe it’s getting through a particularly tricky scene, or figuring out how to fix a scene that just won’t work the way it is. The hardest thing changes every day.


10) This isn't your first book; tell us a little bit about what else is out there?

The Path books (Path of Fate, Path of Honor, Path of Blood) are traditional epic fantasy. The first focuses on Reisil and how she has to make a choice to do something she absolutely doesn’t want to do, even though everybody else thinks is a great honor. In the second book, she finds out that not everybody is what they seem to be, and that evil can be really seductive. In the third book, she finally comes into herself and must really embrace who she’s become.

The Cipher is the first of the Crosspointe Chronicles, and is about Lucy and Marten. They are both very flawed characters and must come to terms with their flaws. In the course of it, they do some pretty awful things, even though both want to be good peopel. I really like them both. This world is not your usual epic fantasy world and has a lot in common with Victorian England.


11) How do people find out more about you and your novels?

First, thanks everyone for hanging out with me. I appreciate it. To buy the books, head over here to Mysterious Galaxy, Barnes and Noble , or Amazon. For more about me, a taste of the books, or random useful information, go to my website. Here’s a link for my blog, Mad Libs.

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Tuesday, September 30, 2008

Interview with Mindy Klasky, author of the Jane Madison series

A few years ago I had the pleasure of meeting Mindy Klasky at Capclave. Now I'm proud to count her as a friend, but I'm not here to talk about her warmth, her disarming sense of humor, or her inexplicable faith in humankind.

About a year ago I read SORCERY AND THE SINGLE GIRL, the second in Mindy's Jane Madison series, without having read Book One, A GIRL'S GUIDE TO WITCHCRAFT. This is not something I would normally do or even recommend (books are in a certain order for a reason, after all), but I was getting ready to write Bad to the Bone and was studying second books in series to see how other authors pulled it off.

Not only did I enjoy Sorcery immensely ("fun and charming" says my book journal), but I absorbed the characters and situation instantly. It was a masterpiece of seamlessly introduced backstory. This is a particularly tough challenge when writing in first person narrative. There's always the "Why would she be thinking this fact right now?" issue, and in most books I just accept the seemingly inevitable awkwardness.

I actually marked up my copy with a pen, bracketing every place where Jane introduced another tidbit of her past, so that I could go back and study how it was done, because the overall effect was, "I really want to read Girl's Guide, but not until after I finish this book." I was so thrilled to find a Book Two that truly stood alone while at the same time felt like it was part of a larger narrative tapestry.

Anyway, the conclusion of the Jane Madison series, Magic and the Modern Girl, comes out today, and I can't wait to see if (please please please) Jane ends up with David.

Here's Mindy to tell you more about the book, the series, her exciting new project, and her plan to raise charity dollars by making us all fat:

Mindy Klasky is the author of nine speculative fiction novels, including MAGIC AND THE MODERN GIRL, the third volume in the Jane Madison series, about a librarian who discovers that she's a witch. You can learn more about Mindy at her website - www.mindyklasky.com - including reading chapters from each of her novels.

Available at Amazon and Powell's (and at most online and bricks-and-mortar bookstores near you!).

1. Why this book? What made you want to write this story?

I started writing the Jane Madison series because I wanted to play with a world that was light and fun, with a clearly defined supernatural influence. (I had just finished the dramatic, dark, magic-less Glasswrights Series, along with a trunked novel about a world-destroying conspiracy of evil-doers who torture children, murder scholars, and do other depressing dastardly deeds.)

Despite the lighter tone, Jane confronts some serious questions in the books - most often about the nature of friendship and family. MAGIC AND THE MODERN GIRL was specifically sparked by my interest in how friendships change over time, particularly as we get older and more settled, losing some of the angst that cements some ... younger relationships. I think that it's the perfect conclusion to the Jane Madison Series, wrapping up loose ends, while letting readers envision a future for their favorite series characters.

2. Which authors inspire you? Has that changed over time?

I have always enjoyed authors who build incredible characters, giving them realistic plots through which to navigate. Over time, my list of favorite authors has evolved to include more Young Adult authors (such as Justine Larbalestier and Scott Westerfeld.) I find myself veering away from authors who take political stances that I find distasteful, particularly when their politics stray into their storytelling. (Orson Scott Card? I'm looking at you!)

3. Why genre? Is there something special about science fiction or fantasy that draws you to write in the field?

I love the opportunity in genre to answer the "what if" questions. I could certainly write a searing indictment of contemporary culture, drawing on "ripped from the headlines" stories about spousal abuse, abandoned children, tortured prisoners, etc. I find it more intriguing, though, to structure my inquiries in speculative terms. Readers free themselves to think more broadly when the framework for their thoughts is patently impossible. Jane Madison readers can ask themselves about their relationships with their mothers, grandmothers, best friends, and romantic interests without needing to cut too close to the emotional bone. Readers are less defensive and more expansive when they are freed from the direct constraints of the real world.

4. What do you find most interesting about Jane Madison?

Jane is a bundle of contrasts and insecurities. Usually, she knows what she should be saying and/or doing; she just doesn't remember to state those words or take those actions in the immediacy of the moment. (Her judgment is even more impaired when the men of her dreams are around....) I enjoy structuring Jane's foibles - mostly because she is, at heart, an educated, eloquent, strong woman who acts in her own best interest and in the best interest of those around her. (That action becomes even more challenging in MAGIC, when Jane meets her true love, only to find that "the course of true love never did run smooth.")

5. You're a writer. What else are you? What are your interests? Hobbies?

I've been a lawyer and a librarian. I'm a wife, a daughter, a sister, and an aunt. In between juggling all of the professional and familial hats, I am an avid reader, a cat-wrangler, a baker, a quilter, a movie-watcher, a Boston Red Sox fan, and a scrapbooker. (Basically, I can't just sit and watch TV; I need to have something in my hands. I get most of my quilting done during the World Series.)

6. Did you have to do any special research for this book? What did you need to know in order to write it that you didn't know before? Do you have some special preparation you do for writing?

For each of the Jane Madison books, I've conducted a lot of "spot" research, doing quick online searches for information about specific crystals, individual runes, and other magical paraphernalia. Jane and her best friend often quote Shakespeare, challenging each other to identify the play, act, and scene. I usually start out knowing the quotation, but I need to research the specific reference. MAGIC is heavily tied to Shakespeare's THE TEMPEST, so I re-read the play in preparation for writing this volume. I can't write without a live connection to the Internet (although I have to restrain myself from checking my email every twenty-seven seconds!) In the rare times that I've tried writing without an Internet connection, I leave myself cryptic notes (e.g., "Find Stomach Crystal.")

7. I see a lot of food, especially baking, in this book. Is that something that really interests you? Or is it more driven by the needs of the story?

I've always enjoyed baking, although I am almost always dieting. Creating the Cake Walk bakery gave me a chance to indulge my sweet tooth in low-caloric ways!

This fall, my baking interest is going to grow beyond the four corners of the Jane Madison series: I'm launching a charity calendar that will include some of the Cake Walk recipes, along with favorite recipes from a variety of paranormal, urban fantasy, and mystery authors. All profits will go to First Book, a charity with the mission of getting underprivileged children their first books to own. (Details will be posted on my website shortly!)

8. Jane's best friend, Melissa, goes on numerous disastrous first dates throughout the series. Do you have your own share of first date disasters to tell?

Every one of Melissa's horrific dates has a seed of truth in one of my own first dates. (In one horrific year, I went on 28 first dates - a record that convinced me that I was perfectly happy to live the rest of my life alone. A couple of years after swearing off dating, I logged on to match.com (in response to prompting from my concerned, married brother.) I reluctantly completed my dating profile, clicked on "match" and the first profile that came up belonged to the man I married 17 months later.)

9. What are you writing now?

I've started a new urban fantasy series, the As You Wish Series. The first volume, THERE'S THE RUB, will be in stores in October 2009. It's about a stage manager who discovers a magic lantern with a wish-granting genie inside. Alas, her wishes don't go precisely as she plans....

10. Anything else that we should know about you, your writing, and the Jane Madison Series?

In addition to selling the Cake Walk recipe calendar, I am raising money for First Book by auctioning off a stunning, handmade necklace-and-earring set inspired by the Jane Madison series. The glass jewelry was created by a prominent librarian and jewelry artist specifically for this First Book fund-raiser. Details (including pictures of the incredible themed jewelry) will be posted on my website on October 1; the auction will close on October 31.

Thanks for taking the time to ask these questions! I hope that people will stop by my website and/or email me any questions at mindy@mindyklasky.com.


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Now playing: Sad To Be Alone - Sonny Boy Williamson
via FoxyTunes

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Friday, September 19, 2008

Plot Synopsis Project Part Deux (and giveaway)

Today I'm undertaking a special project with some of my fellow SF Novelists authors. The Plot Synopsis Project was started by Compton Crook Award nominee Joshua Palmatier (author of The Skewed Throne, The Cracked Throne, and The Vacant Throne, the Throne of Amenkor fantasy series).

Joshua explains it here:
Essentially, I gathered together a group of authors who were willing to post an entry about their own plot synopsis writing technique as well as a sample copy of one of their own plot synopses OR post an entry about how they got published without using a plot synopsis, to show everyone how different people write their synopses, and that it isn’t necessarily required to get published.

So today I'm honored to take part in...Plot Synopsis Project II. Because in science fiction and fantasy, we loves us a good sequel!

At the bottom of this entry I've included links to the other PSP2 participants, whose synopses are undoubtedly better than mine, or at least shorter. But not self-deprecating-er, I bet.

I'll present the synopsis with which I sold the Aspect of Crow trilogy to Luna Books in February 2005. I sold the trilogy on proposal, which means I didn't write the entire book before selling it, but only three chapters and this eighteen-double-spaced-page synopsis.

It's fascinating (and rather hilarious) to see how much the eventual book changed from the original synopsis. With Book One, Eyes of Crow, the changes were relatively minor [and are presented in italics and brackets with self-directed snark].

With Book Two, Voice of Crow, almost the entire story changed from my original conception, because I came to my senses and decided, what the hell, let's NOT kill off the hero of Book One.

And the synopsis of Book Three (what eventually became The Reawakened, which comes out November 1) bears no resemblance whatsoever to the final version, other than the Descendant occupation and ultimate good-conquers-evil ending.

NOTE: It should go without saying that these synopses contain THE ENTIRE PLOT OF THE FIRST BOOK, which means HEY, SPOILER ALERT. I hope that even after reading it, you'll still want to read Eyes of Crow and its two sequels. (I swear, the books are better written than the synopses. Check out these excerpts if you don't believe me. Oh, and this one, too.)

***To raise those hopes, I'll give away one signed copy each of both Eyes of Crow and Voice of Crow to one commenter. I'll draw a name at random from my three blogs next Thursday at 11:59pm eastern time.***

Here we go--the synopsis as submitted to Luna Books in 2004. For those short on time, just read the stuff in italics.

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Aspect of Crow trilogy synopsis

by Jeri Smith-Ready

The trilogy covers the three major phases of the protagonist Rhia’s life and the coinciding evolution of her powers.

World background: Rhia lives in a pre-modern society [which is actually several thousand years in the future--can you believe I didn't even know that when I started? It can charitably be called 'improvisation.'] in which animals are revered, respected, and even worshiped in their iconic forms. Each animal has its own domain, similar to the members of ancient Greek and Roman pantheons. For example, Hawk is the messenger of secret truths; Turtle governs fertility; Bear and Wolverine are defensive and offensive warriors, respectively.

Each person, upon reaching adulthood, is bestowed a particular kind of wisdom and magic—their Aspect—depending on the characteristics of their own animal Guardian Spirit. One cannot choose one’s Spirit; the Spirit makes the choice, which follows neither lineage nor gender, but rather the needs of society. The powers evolve in three phases: the first phase lasts until the person becomes a mother or father, and the third and final phase begins when one becomes a grandparent. Some people manifest magic powers even before their bestowing but lack the wisdom to use them properly. One must possess and both parts of one’s Spirit power (Aspect): magic and wisdom.

Rhia’s village of Asermos has seen several generations come and go since someone possessed Crow magic, which influences the passage between this world and the next, particularly at the moment of death. In their youth, Crow people can sense if and when a sick or injured person is going to die or recover. Later, as their power grows, they can communicate with the dead. In the third stage of a Crow person’s life, he or she can cross over and bring back souls. While Crows are valuable to society, they are often isolated by others’ fear, as if they carry death with them wherever they go. On the other hand, people pay them tribute because they hope that someday the Crow will resurrect them or a loved one. [Mmm, not really. Resurrection is extremely rare.] Crows are also held in awe because the crow is the closest relative of the Raven, which represents the Spirit Above All Others, akin to a supreme god. No one has ever had the Aspect of Raven.

The people of Asermos fear the adjacent Great Forest. [Wow, I said that? Mostly it's Rhia who's afraid, because she's a scaredy-cat to begin with.] Particularly dreaded are the packs of wolves that lurk within and occasionally prey on livestock. The villagers hunt along the forest’s edges, but most only venture inside once: for the “Bestowing”—the time in each young person’s life when he or she must receive their Aspect from their Guardian Spirit.

The Asermons believe that the capacity for magic resides in every human being, not just those of their society and its kindred villages. Long ago, some of the Asermons grew arrogant in their humanity, splintered off and moved south to a gentler climate so that they could create a more “advanced” civilization, with bigger cities to hold their pride. In doing so, they lost their connection with the energy of nature—the source of all magic—and replaced it with their own works of technology, as well as a pantheon of human gods. The Asermons call these people the Descendants, a word with a double meaning—they are genealogical descendants, and in the Asermons’ view, they have descended or lowered themselves by spurning the old ways.

Book One: Crow Sees [Uh, actually, it's EYES OF CROW]

The novel opens as eight-year-old RHIA prevents her mother MAYRA from putting to sleep their sick dog. Despite all odds and signs to the contrary, she knows somehow that he will recover and even predicts the circumstances of his eventual demise, a prophecy that comes true a few years later. The villagers begin to ask her to diagnose their ill animals. Meanwhile, Asermons such as Rhia’s father LETUS [changed his name to TEREUS because a beta reader thought it could be pronounced "lettuce"] begin to worry that a war is approaching because so many young men are being called as warrior Bears and Wolverines.

When Rhia turns fifteen, the village shaman, GALEN the Hawk, comes to her family and tells them his suspicion that she has the rare Aspect of Crow. He tests her ability on his sick brother DORIUS. Rhia sees that Dorius will survive the illness, but then she receives a vision of his violent death, a vision she must keep secret. Galen asks her to journey to Kalindos, a forest settlement, to study with a Crow woman of another tribe. Though they share the same religion, Asermons consider the Kalindons wild and untrustworthy; for example, a Kalindon man named RAZVAN abandoned Mayra with twin sons several years before she married Letus.

Frightened both by her own powers and the thought of entering the woods, Rhia refuses. She resolves to shut down her mortality awareness, but the memory of her own near-fatal illness as a young child—when Crow visited her for the first time—haunts her still. The illness weakened her body forever, an effect exacerbated by her parents’ overprotectiveness and the chronic pain she still battles. Her years-long helplessness intensified Rhia’s desire to be useful to family and community, yet she is hampered by her sometimes inchoate fear.

On a late summer day two years after the incident with Dorius, Rhia is helping her best friend/lover ARCAS tend his flock of sheep in a secluded meadow. As predicted by his father Galen, Arcas has recently received his Aspect of Bear. [Or so we're told.] He possesses the strength, intelligence and acute senses necessary for a warrior, but also has an artistic side that he reveals only to Rhia. That afternoon, they make love for the first time. Afterward, her half-brother LYCAS arrives to tell her that their mother has taken ill. When she enters their home, Rhia’s awareness of Mayra’s impending death alights on her consciousness like a heavy bird. She finally accepts that she needs help coping with this power and decides to go to Kalindos for training.

During the half-year mourning period before Rhia can leave, Galen instructs her on the ways of Spirit. He teaches her to pray, meditate, and take spiritual journeys to prepare for her bestowing. These exercises, combined with her guilt over the fact that she could not help her mother cross over in peace, cause her to turn inward. Arcas begins to feel neglected. Fearing she will abandon him for another man after many months apart, he frees her of obligation to him. Rhia offers him a lock of her hair—now shorn close as a traditional sign of mourning—and a crow feather as a token of her faith, but he refuses it. Heartbroken, she leaves her home and enters the forest, with Galen as a guide.

Galen says that he cannot accompany her all the way to Kalindos, for she must fast and meditate for three days alone in the forest to claim her gift. She wakes one morning to find the shaman gone. The first night she spends sleepless, staring wide-eyed into the darkness, her empty stomach aching and her limbs stiff from the cold winter air. The second night an old, gaunt wolf approaches her, belly to the ground in supplication. She is terrified but takes pity and tosses it the last of her food. It accepts her offering and runs away.

As evening falls on the third day, when Rhia has reached the end of her strength, the forest around her turns to a place of enchantment, and the great Crow Spirit appears. Before bestowing its powers upon her, it guides her into a glade where the cold winds cease to blow and her fear drops away. There stand two trees—one lush and vibrant, one barren and scarred. The healthy tree, Crow says, is her own inner wisdom, resilience, and love of life. The barren tree symbolizes her powers’ self-destructive potential, which will manifest if she surrenders to the illusion that death makes life bitter rather than sweet. Rhia herself will become like the barren tree if she allows death to take over her life. After she pledges not to make such a mistake, the vision clears, and her Aspect is granted. Peace and serenity overcome her, along with a sense that someone is watching over and protecting her. She continues on the way to Kalindos.

A cloudy, moonless night falls, and a young man appears without sound or sight. He reveals himself as MAREK from Kalindos, sent by the Crow woman to guide Rhia the rest of the way. He has Wolf magic, which allows him to travel in silence and become invisible at night—in fact, he has been following her for the last night and day. His lupine nature frightens her, yet she cannot resist her attraction to this man who seems to know her so well. Their mutual lust is instant and all-encompassing—they make love in the dark before she ever sees his face, and it takes several extra days for them to reach their destination. In the meantime, he helps her overcome her fear of the dark, an essential element of her Aspect. Her encounter with the old wolf, he says, was a test of her compassion and will help her in return one day.

Rhia learns that Marek’s Wolf powers are in the second phase already, which means that though not much older than she, he is already a father. He tells her he had a child and will speak no more about it, except to say that he has no wife. His short hair and haunted look, however, suggest that he has suffered a recent tragedy. [He actually does tell her his mate (girlfriend) and son died in childbirth.]

When they reach Kalindos, she meets her new mentor, CORANNA. Rhia is relieved to discover that the Crow woman is anything but a menacing harbinger of doom; Coranna’s gentle humor and lightness of spirit put her at ease immediately. She gives Rhia a few days to grow accustomed to her surroundings before training begins.

Magic permeates the everyday life of Kalindos more so than that of her home village. Compared to the bustling riverside port of Asermos, Kalindos feels like a place of spiritual retreat. The people there live in close communion with the surrounding forest, which Rhia learns to regard with reverence instead of trepidation. A friendship blossoms between her and a young Wolf woman named ALANKA, who turns out to be the daughter of Razvan, the Fox man who abandoned Rhia’s mother and brothers over two decades ago. The warm, charming Razvan clearly loves Alanka and regrets the reckless irresponsibility of his youth. He explains that he left Asermos because Mayra’s family disdained him for being Kalindon. Rhia still has trouble trusting him, but she dismisses her uneasiness as a result of her family’s old wounds and her perceptions of Fox people (who possess powers of stealth and invisibility similar to the Wolves, but are also great liars and have none of the Wolf strengths of cooperation and social cohesion—Foxes are basically individualists who look out for themselves [And if anyone suggests a connection between lying Foxes and the cable news channel of the same name, I'll deny it until the day I die]).

Through Alanka, Rhia learns more about the Aspect of Wolf, the first phase of which grants certain powers of stealth as well as the ability to read others’ moods through the subtlest of body language. The Wolf wisdoms of devotion and loyalty also impress her as her relationship with Marek deepens into the emotional realm.

Her training begins in a baptism by fire. Before Rhia can help the dying, Coranna says, she must learn not to fear and dread death, and the only way to do that is to experience it herself. They will travel up the mountainside the following day, where Rhia will freeze to death and Coranna will bring her back to life. Naturally, Rhia is terrified at the thought of dying, even temporarily, but she pretends to agree.

That night, she escapes the village with Marek’s help. They travel on foot until morning, when she discovers that he has led her to the base of the mountain, where Coranna waits for her. Marek apologizes for his betrayal, but says his loyalties lie not with what Rhia wants but rather with what she needs. He accompanies them to the summit, both for emotional support and to prevent another escape attempt. Rhia weeps bitterly all the way up the mountain, until exhaustion overcomes her and Marek must carry her to the top.

[Screeching halt! In the final version, Rhia decides on her own to turn back and go through with the ritual--she is not I repeat NOT tricked by Marek. Because that would've made him a complete dick.]

When they reach the peak, Coranna removes Rhia’s coat, then chants and prays while Rhia paces, shivers, and curses both of them for their cruelty. A full day passes before her body surrenders its battle for survival. She lies down and immediately falls into the embrace of a warm, peaceful slumber. The chants of the Crone are the last sound she hears as a large black bird gently carries her into a place of light and freedom. The Crone pulls her back, though Rhia does not want to leave the Other Side and its peace. She discovers that dying isn’t half as painful as coming to life. Angry at her lover’s betrayal but even more ashamed of her own cowardice, Rhia rejects Marek. [Obviously this last part isn't true, since he didn't betray her (not a dick, remember?).]

Crossing over has changed Rhia in many ways. Newfound courage leads her to take risks she never would have considered before, and Coranna must warn her to be careful with her own life. She accompanies her teacher to deathbeds and assists in the ceremonies to help people cross over without incident. She learns to offset her new fearlessness with sensitivity for the dying and their families. At burials, Coranna speaks for the dead to deliver a final message, allowing people in effect to attend their own funeral. [Most of this was dropped or compressed for length.] Rhia will be able to perform this communication after she enters the second phase of her life, when she has carried a child inside of her.

Tapping into her powers makes Rhia unstable, unanchored, in a painless, dreamlike state—a welcome relief from the physical discomforts that have plagued her since childhood. [Also dropped for length.] Marek offers himself as an anchor to this world, and they reconcile. [No breakup = no makeup.] He convinces Rhia that she doesn’t need to prove her courage with reckless acts, that he accepts her as she is. He also divulges the truth about his late wife and baby—they died during a difficult childbirth nearly two years ago, and Coranna was unable or unwilling to bring them back. In his ongoing grief, Marek cut his hair not once, but many times, against the usual tradition. Furthermore, he became a parent before he was spiritually mature enough to move to the second phase; thus he struggles to control his Wolf powers (e.g., he has trouble not being invisible at night) and has been something of a rebel within his tribe. [All true, except in the final version he tells her this the day after they meet.] Since meeting Rhia, however, he has settled down and gradually learns to forgive Coranna and himself for the death of his wife and daughter. He wants Rhia to stay in Kalindos always, but they both know that one day she will have to bring her gift home to serve her own people.

Rhia begins to suspect Razvan in the recent sudden death of ETOR [ETAR], a Kalindon man, whom she had seen Alanka’s father threaten. She asks Coranna to communicate with the dead man to find information. Coranna remembers that Etor’s soul seemed restless and reluctant to let go of this world during his funeral. Because of his untimely death, his spirit still lingers enough to speak with Coranna when she tries to contact him. Etor warns of a “treacherous fox” before slipping away to the Other Side. [Etar is a little more direct than Etor--he comes right out and accuses a young Bear named Skaris, the brother of Marek's dead girlfriend.]

Coranna and Rhia decide to gather more evidence before confronting Razvan or revealing their suspicions to anyone else, mostly to avoid hurting Alanka. Rhia finds an opportunity to follow him alone through the forest, and is stunned when he meets with one of the Descendants to discuss the invasion of her home village. Razvan has long harbored a hostility towards Asermos for that community’s rejection of him. The Descendant takes the information Razvan offers, then slays him in cold blood. [Not really--he freaks out when Razvin shapeshifts into a fox in front of him. Also, Razvin tells the Descendant that Skaris tried to poison Rhia but accidentally got Etar instead.] Rhia feels his death and cries out. The Descendant chases her through the forest and easily catches her. She tries to fight him off, and he breaks her arm [dislocates her shoulder]. He is drawing his sword to kill her when they hear a low growl. The old wolf, the one she fed the night before her bestowing, leaps upon the Descendant. As they struggle, Rhia flees, her arm stabbing with every step. She is about a hundred yards away when a yelp, followed by silence, reaches her ears.

Panic and sorrow threaten to paralyze her, but she overcomes these feelings and acts to preserve her life, since her entire village depends on her survival. Realizing now that she can’t outrun the killer, Rhia evades him using her familiarity with the environment and the methods of stealth Alanka and Marek have taught her. Eventually the Descendant gives up and heads back to the river to return home.

Rhia runs to Kalindos and proclaims what she has just witnessed. Alanka is heartbroken at her father’s betrayal and death, but she alone vows to accompany Rhia back to Asermos. The rest of the village displays typical Kalindon isolationism and refuses to risk their paradise by getting involved in the upcoming war. Marek is torn between love for Rhia and loyalty to his tribe. Ultimately he decides to stay behind, infuriating Rhia. [No no a thousand times no. He takes off after Skaris to avenge the attempt on Rhia's life.]

After the village healer sets Rhia’s arm, the two women set off at full speed for Asermos. Along the way, Alanka’s horse is bitten by a poisonous snake, injuring her in its fatal fall. [This was removed for length.] Rhia uses all her strength, and then some, to lift her unconscious friend onto her own horse and continue on. They reach Asermos in time to save Alanka, who is overjoyed to meet her half-brothers Lycas and NILO for the first time. Upon Rhia’s warning, spies and scouts are dispatched to gather intelligence on the Descendants’ troop movements.

The people of Asermos prepare for battle, including the reluctant Bear warrior Arcas, who despite his vows to do otherwise, has remained faithful to Rhia in her absence. He gives her a beautiful wooden crow that he has carved in secret. Her bitter longing for Marek makes awkward the reunion with her former love. They turn their thoughts toward the upcoming conflict.

A major challenge is the enemy’s use of war horses, a concept that scandalizes the people of Asermos because it endangers the creatures. They want to disable the enemy horses without harming them, though Wolverines like Rhia’s brothers show little interest in fighting fairly or showing mercy. While the warriors work on tactics to remove the horses from the battlefield, Rhia devises a more innovative plan: tranquilize the horses before they even enter battle. On foot, the two sides will be better matched. But to steal into the Descendants’ camp requires someone with courage, stealth, and the willingness to sacrifice himself if necessary. Marek appears in time to declare his love for Rhia and volunteer for the assignment. He has brought with him dozens of Kalindons, including Coranna, who pledge their powers to aid Asermos. That night Marek sets out on his mission. [Some of these events are scrambled, but basically, yes.]

The Descendants invade the following day, without horses, yet Marek has still not returned from the enemy camp. Because the wounded outnumber the healers, Rhia and Coranna must perform battlefield triage, making instant judgments on who has a chance to live and who will die with or without help. Rhia’s brother Nilo is one of the fallen who cannot be saved, as is Dorius, just as her vision had shown her years before. She insists that the healers aid a few of the Descendants’ soldiers who would die otherwise. At last she comes upon a wounded Arcas, and a swelling of emotion clouds her ability to discern his chance at life. She tells the healer to save him, knowing that she may have given up hope for anyone else in his condition.

The two forces reach a stalemate until the Descendants reveal that they have taken Marek prisoner and ask a ransom of all the horses of Asermos. The villagers demand that the enemy prove that Marek is in their capture and still alive. He is brought forth, badly beaten and tortured, and Rhia must determine whether he will survive. When she faces him, he signals to her that he won’t be traded for such a high price, a price that would surely debilitate Asermos. She lies and tells the Asermons that he will die, anyway. The ransom is refused and the standoff continues.

Overwhelmed by the death and suffering around her and guilt-wracked over her complicity in Marek’s self-sacrifice, Rhia drifts into despair. [No! Over and over I planned to have her 'drift into despair' throughout this series. But when I tried to write it, it was depressing and lame. Anyway, she and Alanka and Lycas sneak into the Descendant army camp and rescue Marek.] But that night Crow delivers the vision of the two trees again, reminding her to fight for life. She wakes with a plan to free Marek from the enemy camp. When the rescue party arrives, Marek assists in his own escape, having exaggerated his condition to instill complacency in the guards.

On the way back to Asermos, they encounter Descendant troops, including the man who broke Rhia’s arm. In the skirmish, he tries again to kill her. Lycas knocks the Descendant’s sword to the ground. As they fight, Rhia picks up the sword and turns to her attacker just as he lunges for her. He impales himself on his own weapon, and feeling his death, she shrieks as if the sword had pierced her own body. [Mm, no. Marek stabs him while he's strangling Rhia.]

Frustrated at the loss of their bargaining chip and daunted by the villagers’ magic, the enemy warriors retreat, vowing to return. A few of the more seriously wounded enemies remain in Asermos.

Rhia and Coranna preside at a mass funeral. After reciting prayers for the departed, Rhia hears her dead brother Nilo’s voice. At first she mistakes it for that of his twin Lycas, but he is silent in his mourning, holding onto his sister Alanka for comfort. Rhia realizes that she has moved into the second phase of her powers, signifying that she’s pregnant with Marek’s child. She and Marek journey back to Kalindos together to marry and begin a new life.

Book 2: Crow Speaks [Voice of Crow]

[Here it's easier just to italicize the things that actually happened. IF IT'S NOT IN ITALICS, IT DID NOT HAPPEN. Look at this crazy tragic crap. You know, it's so bad, I'm just going to strike it through, lest anyone glance at it and think I actually wrote this.]

Rhia continues training with Coranna. In her conversations with the dead, she learns that the peace she experienced during her brief death is only part of the dying process—a temporary serenity to lull the person into leaving the old world behind. It can also be terrifying and unbearably lonely for some. Rhia confronts Coranna with this knowledge and accuses her of deception. The crone acknowledges that she only imparted a half-truth to her protégé, and explains that part of the wisdom of a maturing Crow person is knowing how to protect others from truths that would paralyze their lives. Rhia struggles with an internal battle between honesty and compassion and becomes fiercely protective of her newborn son DAMEN.

In retribution for assisting Asermos in the previous battle, the Descendants from Book 1 attack and overwhelm Kalindos, killing Coranna and Marek. Rhia flees back to Asermos with Damen, Alanka, and several other surviving Kalindons. She nearly wastes away, spending most of her time communicating with her dead husband, and becomes addicted to the pain-free death trances. Damen’s needs and the efforts and devotion of Alanka and Arcas eventually drag her back to reality. Later she marries Arcas and has a son by him as well, named THERON.

Book 3: Crow Flies [Wings of Crow and then eventually The Reawakened]

Enemy forces now occupy Asermos. They suppress the expression of the old, animal-based religion and force the Asermons to worship the humanlike gods they have constructed. Asermons continue to practice magic in secrecy, in defiance of the Descendants’ death penalty for doing so.

As they grow up, Rhia’s two sons Damen and Theron develop a burning animosity towards each other, and eventually the half-brothers fight over a woman and die from the wounds they inflict on each other.

[MY GOD, WHAT WAS I THINKING? HER CHILDREN KILLING EACH OTHER? WHO DID I THINK I WAS, SOPHOCLES?]

[Anyway, the rest of the synopsis for The Reawakened is also inaccurate, but it includes my original answer to the big Who Is the Raven? question, so if I tell you it's wrong, that eliminates one person.]

Aspect series possibilities: Other characters in this world could become the focus of later books, with titles such as Aspect of Wolf, Aspect of Eagle, etc. Many features of this world could form the basis for further volumes—issues such as:

What happens when someone strongly resists their Guardian Spirit and the Aspect it tries to bestow? [Covered to some extent in all three books.]

What happens when someone lives long enough to become a great-grandparent? [Nothing.] Is there a fourth-level power to these Aspects? [Nope.]

What happens when parents pressure their own children to reproduce before they’re ready, so that they themselves can achieve third-level powers? [Addressed in The Reawakened. Dire times call for dire measures.]

What happens when two people with the same Aspect fall in love? (When Rhia exhibits jealousy over Marek’s closeness to Alanka, he explains that sharing an Aspect makes two people more like siblings than sharing a parent.) [Addressed in The Reawakened. Hot stuff!]

------

And here are my fellow PSP2ers:

Alma Alexander (Will post on the 20th instead.)

Sam Butler

Diana Pharaoh Francis

Daryl Gregory

Simon Haynes

Jay Lake’s comments and his synopses

Kelly McCullough

Joshua Palmatier

Jennifer Stevenson

Edward Willett

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Friday, August 15, 2008

Interview with Kat Richardson, author of the Greywalker series

Here's a series I've been wanting to get my hands on for a long time. I've never met Kat but I've heard from reliable sources that she's really sweet and gives great panel.

Quick reminder: I'll be at the Author Extravaganza in beautiful Cumberland, MD, tomorrow from 11-3 at the Country Club Mall. Click here for directions. Hope to see you there!

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Kat Richardson is the author of the Greywalker paranormal detective series. UNDERGROUND, the third book in the series, will be out August 5--it's her first hardbound book and she's very excited about it. You can learn more about Kat and her books by visiting her website or blogs (katrich.wordpress.com or katatomic.livejournal.com).


1) Why this book? What made you want to write this story?

I had a couple of things I wanted to do: I wanted to write a "monsters in the sewer" adventure and I wanted to expand a little on the character of Quinton, Harper's mysterious tech-geek friend in the Greywalker series. So I combined the two interests into one book and this was the result.


2) Which authors inspire you? Has that changed over time?

Oh, it's definitely changed over time. My tastes change, and there are always new writers coming on the scene who surprise and excite me. I love classic writers of excellent English, like Shakespeare, Austen, and Kenneth Graham as well as their contemporary colleagues like Patricial McKillip who make language a joy. I also really admire groundbreakers like William Gibson, Richard K. Morgan, and Ken Bruen. I'm a total fangirl of quirky writers like Cherie Priest--and she only lives a few miles away!--Liz Williams, Jasper Fford, and Victor Gischler. I've let a lot of writers drop off my reading list for lack of time, not lack of interest.


3) Why genre? Is there something special about science fiction or fantasy that draws you to write in the field?

I like the "what if" that underlies SFF. It's a challenge not only to style, craft, and story but to raw imagination. It's the quintessence of invention and curiosity that drives humans to strive. If it were not for "what if" would Gallileo have invented a telescope to look at the stars? And you see where that led.


4) What do you find most interesting about Harper Blaine? Her various adversaries? Why these characters?

I lover Harper's toughness. I don't just mean that she carries a gun and talks like Sam Spade; it's her sheer drive to keep going in the face of any and every adversity that makes her intriguing. She had a nice, settled life that she's worked hard to build and when it was suddenly upended, she hated it, but she rolled with it and keeps on going. She's learning more in each subsequent book about her abilities, but also about herself and what really drives her and what ultimately satisfies her. Her adversaries change in each book but in the end there is always the problem of making peace with herself and living with her challenges.

I have to say that my favorite of her adversaries is yet to be fully revealed. I'm working up to it in a future book. Suffice to say, he has a plan and it is Not Good. But writing about it should be tremendous fun.

As to why these guys... Well, they just seemed like the right group to complicate Harper's life.


5) You're a writer. What else are you? What are your interests? Hobbies?

I'm a former magazine and technical editor, so I'm kind of an English and History geek, but I'm also fond of sailing, computer games, swing dancing, ferrets, target shooting, and motorcycles. I used to work at a renaissance faire as a dancer and actor. I've read the Sunday funnies for a radio service for the blind. I work on the Northwest regional board of the Mystery Writers of America, and before I got into journalism in college, I majored in vocal music. I'm also a bit of a science geek: I love to read physics books and biology, I used to write technical course material about diamonds for the Gemological Institute of America, I hand-code my own website (which explains the very plain design), and I poke my nose into all kinds of tech-y subjects whenever I have the time.


6) Did you have to do any special research for this book? What did you need to know in order to write it that you didn't know before? Do you have some special preparation you do general to writing?

UNDERGROUND required quite a bit of reading as well as interviewing. I spent a lot of time in my library reading about local Indian tribes and legends, local history, local architecture, and then I tracked down the historian for Seattle's underground tour and picked his brains, too. Research is one of the things I love about writing--I always find some weird detail I hadn't thought of that can be useful. I've found information on crimes, earthquakes, people--even buildings--that have turned out to be fascinating and useful. The Lisbon earthquake of 1755 made it into GREYWALKER, POLTERGEIST utilized information and locations from Washington's most notorious mass murder, and the collapse of a building in Pioneer Square in 1897 became an important clue in UNDERGROUND.

7) I see a lot of information about the homeless in this book. Is that something that really interests you? Or is it more driven by the needs of the story?

It was more story-driven, but I have to admit that after doing the research, my awareness of the homeless, and the situations that surround them, has gone way up. Some really have given up on getting out of their situation--it can be really bleak and crushing--but most are trying very hard to re-enter the mainstream, to get jobs and homes and stop living on the street. There are some surprising grass-roots organizations out here--like Peace for the Streets, Women in Black, and the Coalition for the Homeless--trying to help these people get off the street and back to living lives that aren't haunted by a constant state of fear and hopelessness and raise the awareness of people like me.


8) So, if you were Harper Blaine and someone introduced you to a zombie, as happens UNDERGROUND, what would you do?

Me? I'd freak right out. I am so much not Harper Blaine. Babbling... yeah... that would be my most likely response.


9) What are you writing now?

I'm working on Greywalker #4 which has just been retitled VANISHED. It's a continuation of the arc that started in GREYWALKER and it will wrap up a lot of questions as well as posing some new ones to be answered in Book 5.

I'm also working on an SF Police thriller novel I'd like to finish and sell and I'm noodling with a bunch of other ideas. But that's pretty much the way all writers are--noodling constantly.


10) How did you become a writer? Is this what you saw yourself growing up to be? Or did it take you be surprise?

It was a bit of a surprise. I'd always wanted to be a singer or a dancer or maybe an ice skater--very girly. But when I was heading for college, I realized I'd been writing all my life--my first short story was written for a class when I was eight--and I thought that was a huge clue that maybe I should just do that, instead of being a music teacher.


11) Do you have a writing routine? Talk process for a moment, how do the words get on the page?

I do and I don't. I start with ideas either under a deadline or something that has just jumped to the front of my brain and won't shut up. Then I try writing it out for a while. Eventually I get stuck and have to fall back and outline. After that I can usually go ahead, although I've been known to write up to four outlines of 35 pages or more each before I can comfortably finish a novel so it's a bit more complicated than "I just write." I write my novels with a Mystery structure where timing and placement of clues is vital, so what I'm really doing when I outline is working out ahead of time a lot of the issues that would normally come up in revision. That doesn't mean I don't revise, but it's not usually too heavy. With shorts or novellas, I tend to just jump in with an idea and thrash around, revise a couple of times, and then finish it up and ship it. I don't have much of a routine per se, I just get up, clear off the housework and paperwork, mess around until I feel like I've wasted enough time for one day, and then write until I can't stand any more, or I've reached a good stopping point. And I write pretty much every weekday and do things like this interview on weekends.


12) Office? Closet? Corner of the living room? Do you have a set place to write? A favorite? How does the environment you write in affect your production? Your process?

I don't have much space, living on a sailboat. I just plop myself down on the dinette bench, pop open my laptop and work. I like being at home where I can blast music, look after our geriatric ferrets, or pace around and talk out the dialog aloud, so I'm not really comfortable in coffee shops or libraries. I do occasionally have "playdates" with Richelle Mead and other SFF writers in the area whom we've started calling "Team Seattle" where we sit in her living room and work because we're too embarrassed to let the other one see us not working.


13) Is there anything you especially like to work on in a book? Anything you hate?

I hate writing sex scenes, which is why I never do them. There's one in UNDERGROUND and it was the worst thing I ever had to do. Ugh! I'd rather write an action sequence, or even revise, than do that again! What I love is making the past come alive, letting the setting and the ghosts flow out--that's just too much fun!


14) This isn't your first book; tell us a little bit about what else is out there?

Right now, only the Greywalker series: GREYWALKER, POLTERGIEST, and now UNDERGROUND, but I have a werewolf Christmas short story coming out in an anthology in October called WOLFSBANE AND MISTLETOE that was edited by Charlaine Harris and Toni L.P. Kelner. A Harper Blaine novella will be out in January 2009 in the collection MEAN STREETS and I'm really looking forward to that, since the collection is just four of us from Penguin's fantasy noir side: Jim Butcher, Simon R. Green, and Thomas Sniegoski.


15) Do you see fiction as having a purpose? Generally? How about your own work?

My work is mostly entertainment, but I hope that readers do occasionally see the depth of history in it, and the way in which human beings shape their worlds by what they believe--good or bad--as much as by what they do. That's a bit of a recurring theme in the books, along with the idea that you can control and shape your own life, no matter what gets thrown at you.

In general I think fiction should sneak ideas into our heads--not bludgeon us. It pretends to be entertaining, but it should tickle our minds to thought, if possible.


I'm excited that the UNDERGROUND is out in hardcover and I hope it does the series proud. It's been an interesting book to research and write and I'm looking forward to seeing it "in the wild" at last. It's a Roc book, so it's available from major booksellers all over the US, Canada, and the UK and you can get one online--I'll even sign it if you ask--from one of my favorite independent booksellers: Seattle Mystery Bookshop, or find an independent bookseller near you, or order from Barnes & Noble.

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Monday, August 11, 2008

Interview with Gregory Frost, author of the Shadowbridge series

This week I'm featuring interviews with two authors from my SFNovelists group. The first is Gregory Frost, fantasy author extraordinaire. I loved his take on the Bluebeard legend, FITCHER'S BRIDE. It was fascinating and absolutely riveting, and I would tell you more if I were better at a) remembering specifics about books years after I read them and b) capable of a coherent book review. Regardless, Frost is definitely an author to keep your eye on.

Gregory Frost is the author of, most recently, LORD TOPHET, the sequel to the acclaimed fantasy novel, SHADOWBRIDGE (both from Del Rey Books). Shadowbridge is a world dreamed into being, as its creation story--included in the first volume--makes clear. It's an accretion of our myths, legends, folk and fairy tales but they've all altered in the translation somewhat, and taken on lives of their own. Everything in Shadowbridge thus sounds familiar and alien at the same time.

1) What was your inspiration for writing these books?

The answer is, there's no single inspiration. The idea of this world of bridges was one I kicked around for years. I talked it over with other authors, like Michael Swanwick who threatened to steal it if I didn't do something with it (nothing like that sort of terror to push you into action). One inspiration might be Gormenghast. Another is surely M. John Harrison's Virconium stories. And Hadawy's translation of The 1001 Nights. The Trelawney translation of The Ocean of the Streams of Story by Somadeva. But you won't find any direct reference to these things. Samuel R. Delany has a concept he calls "received language" and to a degree, I think that's what happens with all of us--we absorb, we receive, and bits and pieces accrete, and this thing emerges. It's original, it's us, but it's also all this stuff we've read, seen, heard, thought about. This is one reason why as a writer you absolutely must read beyond your narrow genre or you're going to be boring.


2) Who are your favorite authors and books now and when you were growing up?

Roger Zelazny, Philip K. Dick, Fritz Leiber, Walter M. Miller, Mikhail Bulgakov, Homer, T.C. Boyle, Donald Westlake, Jack Williamson, Kelly Link, Shirley Jackson, Ian Fleming, John Irving, Alexandre Dumas, Arturo Pérez-Reverte, Rafael Sabatini, Herman Melville, Robert Louis Stevenson, Arthur Conan Doyle, Flannery O'Connor, Raymond Chandler, Carlos Fuentes, Julio Cortazar...I don't know if this is anything like a definitive list, but it comprises the names of writers whose work I treasure and can come back to time and again and be rewarded.


3) What is it about fantasy/science fiction that attracts you?

I think, as a kid, it was the 'gosh-wow' factor. Fiction that took me away from where I was, and at the same time sort of wryly commented on where I was. I loved its strangeness, its otherness. Really, I wallowed in reading it. I never thought I would be writing it.


4) How did you come to make Leodora your protagonist?

When Mr. Swanwick threatened to run off with my world, I immediately went out and wrote a story called "How Meersh the Bedeviler Lost His Toes." I created the "Coyote" figure for all of Shadowbridge, and in the frame of that tale created a storyteller named Bardsham (which is a Shakespeare joke of sorts--the faux bard). Bardsham was based on a real shadow-puppeteer I'd met. But when I came to the prospect of a novel, I didn't want to write about him. At some point, I arrived at this vision of a girl, Leodora, standing on top of a bridge support tower, high above the city, and looking at her world. What I said about about things coming together out of all the material you read, things you see...I don't know where she came from, where that moment came from. The view from Arc de Triomphe, or from a railroad bridge I'd climbed as a kid, or looking down from the Palatine Hill in Rome? I have no idea. Maybe it's all those things at once. But it pushed the book in a direction, and the rest unfolded from there.


5) What (besides writing) do you do for fun?

I've been an avid cyclist for (shudders to admit it) 38 years. This is the first summer, in fact, in all that time, I haven't been on a bike (I had a serious leg injury last fall and I'm still working that off). I studied aikido for ten years, under the tutelage of sf/fantasy author Judith Berman. Used to sing in three garage bands (not at the same time of course). And I tremble to admit it, but I like to read research.


6) What sort of research did you do to write the Shadowbridge books? What kind of preparation do you do when you are writing?


Frankly, every book requires a different amount of and sometimes entirely different kinds of research. I got hooked on that element back in the 1980s, researching for TAIN and REMSCELA, which comprise the retelling of the Tain Bo Cuailnge and subsequent events in the life of the Irish hero Cu Chulainn. A lot of sociological research into bronze-age Celts went into those books. Research into Druids, and into mythology. Shadowbridge has been more of the same, but now it's not just one branch of mythology, it's all of them shoved in a blender and pureed. But my first novel, LYREC...I did no research at all. That book came, whole-cloth, out of my head. I heard Jeffrey Ford say the same thing about The Physiognomy, too--to my amazement. He just invented that world and ran with it. Didn't do a lick of research, and those three books are just sodding brilliant.


7) How much of you goes into the characters? How much is Leodora like you?

They're all me, aren't they? Villains, heroes, heroines, lovers and fiends. She isn't "like" me. How could she be? She's herself. I think that writing fictional characters is akin to acting. You adopt the role of the character and try to inhabit it while that person's on stage. Then you try to become the next character, and so on. To a degree you have to know these people before you pick up the pen and write (sorry, I still use a fountain pen so that's my metaphor). You have to know what motivates. You have to know at the very least what they want. Even if they want nothing at all--wanting nothing is a state of being. It tells you something about the character and how she'll react. It sounds horribly pretentious, but it's not. It's ridiculously basic. Creating characters is understanding on some intuitive level what they want right now.


8) What are you writing now?

A supernatural mystery (no, there are no frickin' vampires in it, so stop asking now). Contemporary, and set on the Main Line outside Philadelphia. As far from Shadowbridge as one could get...which is no doubt why I have no career at all. I just can't stay in one place long enough to concoct a series.


9) Did you always want to write? Or did you stumble into it? How did you get where you are now?

I thought I wanted to be a comic book illustrator. I wrote and drew comics all through junior high and high school. Showed them to nobody, really. But I'm not one of those who says "Oh, yeah, I popped out of the womb knowing I was going to be a writer." Great, man. Love ya. Not me, I had no damned idea at all.


10) Why genre? Is there something special about science fiction or fantasy that draws you to write in the field?

I think it's hard-wired into me. The first book I can remember ever choosing on my own from the library was a retelling of The Odyssey. I grew up on Captain Midnight and Superman and The Twilight Zone and Commander Cody. And comic books. I was utterly fantasy oriented, and story ideas when they come are invariably fantastic or horrific. I don't think in terms of "people paralyzed by angst at recognizing the human condition." Sorry, just not my cup of hemlock.


11) What does a typical writing day look like for you? How long do you write, that sort of thing?

That would depend on where I am in the book and whether or not I know what the next part looks like. First drafts are hard, and crappy and fragmented. Revisions just seem to last forever. Different parts of the brain and different processes, and so different lengths of time. But I now write far more often in coffee shops than I would ever have thought possible.


12) This isn't your first book; tell us a little bit about what else is out there?

Before this was FITCHER'S BRIDES, a reworking of the Bluebeard line of fairy tales. The serial-killing husband. Dark, nasty, and great fun to write. There's a collection of short stories out from Golden Gryphon Press called ATTACK OF THE JAZZ GIANTS & OTHER STORIES--I've been publishing short fiction since 1981. I mentioned already the early novels. There's also a science fiction novel, THE PURE COLD LIGHT, that was a Nebula nominee back in the mid-'90s.

The Shadowbridge books are available pretty much everywhere, but I recommend purchasing them through Powells.com simply because I support independent booksellers.

If you want to order Shadowbridge, go to http://www.powells.com/biblio/1-9780345497581-0
If you want to order Lord Tophet, go to http://www.powells.com/biblio/2-9780345497598-1
If you're interested in Attack of the Jazz Giants go to http://www.powells.com/biblio/61-9781930846340-0
If you're interested in Fitcher's Brides, go to http://www.powells.com/biblio/17-9780765301956-0

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Latest Release

The Reawakened

“Myth blends with passion in the colorful conclusion to Smith-Ready's Aspect of Crow trilogy” — Publisher's Weekly

The Reawakened — Available now!

Order at Mysterious Galaxy, Barnes & Noble, or Amazon

Previous Release

Wicked Game

“A colorful premise and engaging characters” — Library Journal

Wicked Game is now available!

Order at Mysterious Galaxy, Barnes & Noble, or Amazon

About the author

Jeri Smith-Ready

Jeri Smith-Ready is a Maryland author of romantic and urban fantasy.

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