Category Archives: Author Interview

Author Interview – Nigel Blackwell

Today I’m interviewing author Nigel Blackwell, a fellow member of one of the writing critique groups I’m in.

Nigel Blackwell was born in rural Oxfordshire in England. He has a love of books, a PhD in Physical Chemistry, and a black belt in pointing out the obvious. He is presently working on both short stories with supernatural and mystical elements, and thrillers. By The Light is the first book in this range. In the past he authored Paris Love Match, the story of what happens when an engineer encounters the mob, a bag of diamonds, and a girl to die for— and finds that’s exactly what might happen if he doesn’t think fast.

Collaborating with New York Times best selling author Diane Capri, he wrote the Jessica Kimball series of thrillers. Jess is an investigative reporter with an uncanny gift for putting herself in mortal danger when justice needs to be served. Nigel has driven trains, crashed single seat race cars, and travelled much of the world. He now lives in Texas with his wife and daughter, where they enjoy the sunshine and listen to the coyotes howl at night.

And now, the interview:

Poseidon’s Scribe: How did you get started writing? What prompted you? 

Nigel Blackwell: I‘ve loved reading and stories since elementary school, and writing seemed an obvious thing to do, but I didn’t start on full length novels until about ten years ago.

P.S.: Who are some of your influences? What are a few of your favorite books? 

N.B.: Wow. Where do I start? In (what Americans would call) middle school, we used to have to read classics such as Sheridan, Shakespeare, and Chaucer (but sadly not the “Wife of Bath’s tale!”). I can’t say I hated them, but at the time HG Wells, AC Clarke, Aldous Huxley, Isaac Asimov and almost anyone else was more interesting. Weirdly, when I read back over my own writing, I think the stiff style of the former set have influenced me as much as the latter.

These days, I’ve added many more influences. Lee Child for the way he’s made a brilliant series that doesn’t feel like soap opera; Michael Crichton for his variety; Greg Bear for his science; F Paul Wilson for his mix of realism with the supernatural, and … well, it’s a big list.

As for books, The Affair by Lee Child is a standout in both style and story, Rendezvous with Rama because of its mystery and portent (Raman’s do everything in threes …), and Pirate Latitudes because (published after Crichton passing) it is a fitting end to a fabulous storytelling career.

P.S.: Is there a common attribute that ties your fiction together (genre, character types, settings, themes) or are you a more eclectic author?

N.B.: Ha, if eclectic is the polite way to say all over the place, then yes, with thrillers, capers, mysteries, and verse, I’m eclectic! That said, what I try for in all my work is close POV with conflict on multiple levels.

P.S.: You’ve collaborated with author Diane Capri on several books in the Jess Kimball thriller series. What was it like to collaborate? How did you split up the work?

N.B.: Diane’s a full-time author. She works very hard on all aspects of the business from concepts and writing to marketing and promotion. That focus certainly helped my productivity! We tried various approaches to collaborating, interleaving chapters for example, but they made for more work. So we settled on a quick first draft which we would cycle back and forth editing. It was a great time, and I’m proud to have worked on the series.

P.S.: You’ve written novels, novellas, short stories, and poems. Do you have a preference among those forms?

N.B.: I prefer to write novels, they give time to explore the characters’ lives and situations. But short stories and verse are good in two respects, they help you focus on what’s essential to tell the story (no getting sidetracked into bunny trails), and they take a month not a year 🙂

P.S.: If you could win a trip to the fictional world of another author, where would you go and what would you do there?

N.B.: As a teen, I wanted to be in Clarke’s 2001—grown up and heading to Jupiter. Now I’m grown up I want to be a teen at Hogwarts. But that’s the great thing about books, they give us the chance to live vicariously. You can travel in time and space meeting new people in faraway places—all at the turn of a page!

P.S.: Your most recent book is By the Light, a collection of novellas, short stories, and poems. Please tell us about it. Is there a common theme?

N.B.: After a string of Jess Kimble thrillers, it was great to write self-contained pieces on different subjects. Most have a touch of the supernatural to them, and a number have an element of ambiguity until the end. For example, the captain (a typically male occupation) in “Sisters” is never said to be female, but for a cryptic comment (“… of no comfort to man. Nor me.”).

P.S.: What are the easiest, and the most difficult, aspects of writing for you?

N.B.: Easiest is the first draft, most difficult is the last. Sadly, that’s more than just humor. It’s easy to come up with ideas, but filling in all the details is hard work. But it’s satisfying when things come together in a scene, and that makes it all worthwhile.

P.S.: If you traveled through time and met yourself at a point when you were first thinking of being a writer, what would you tell this younger version of you?

N.B.: Know the ending before you start.

A book takes readers on a journey. If you simply take left- and right-hand turns hoping to end up somewhere interesting, you might, but most times you won’t. On the other hand, if you decide you’re going to Niagara Falls you can plot the most interesting way to get there. That way the reader feels like the draw of each step inevitably leads to the right conclusion.

P.S.: What is your current work in progress? Would you mind telling us a little about it?

N.B.: I’m closing in on the end of The Devil’s Bible. In WW1, a British mathematician is sent to retrieve a document from occupied France. He finds the document is one of a series of scrolls spread across Europe that will bestow demonic powers. Chasing after them, he discovers a German General is also in the hunt … and the General has a whole army behind him.

Poseidon’s Scribe: What advice can you offer aspiring writers?

Nigel Blackwell: The typical response would be to stop aspiring and write. I’d also say, see question 9 😉

Less flippantly, watching movies is a quick way to pick up story ideas, characters, and locations. But most important is to read. When I started writing novels, I felt reading was a luxury that took me away from the work. But really it’s education, inspiration, and encouragement all rolled into one—mysteries are solved, justice is done, and heroes and heroines save the day. Stories are all about playing with the readers emotions, and is there any better feeling to help put pen to paper?

Thank you, Nigel.

Readers can keep up with Nigel at his website, and on Facebook, Amazon, and Goodreads.

July 23, 2022Permalink

Author Interview—Scott Edelman

Today I have the honor of interviewing author, editor, and podcaster, Scott Edelman. He recently interviewed me on his unique podcast, Eating the Fantastic and we’re delighted he could visit our modest skyscraper at Poseidon’s Scribe Enterprises for an interview.

Scott Edelman has published over 100 short stories in magazines such as Analog, The Twilight Zone, Postscripts, Absolute Magnitude, Science Fiction Review and Fantasy Book, and in anthologies such as You, Human, The Solaris Book of New Science Fiction, Crossroads, MetaHorror, Once Upon a Galaxy, Moon Shots, Mars Probes, and Forbidden Planets. His poetry has appeared in Asimov’s, Amazing, Dreams and Nightmares, and others.

His recent short story collection is Things That Never Happened. Of that book, Publishers Weekly wrote: “His talent is undeniable.” Other collections include Tell Me What You Done Before (and Other Stories Written on the Shoulders of Giants), What Will Come After, and What We Still Talk About. He has been a Stoker Award finalist eight times, and What Will Come After was a finalist for the Shirley Jackson Award.

Additionally, Edelman worked as an editor for the Syfy Channel. Magazines he edited include Science Fiction Age, Sci-Fi Universe, Sci-Fi Flix, Satellite Orbit, and Rampage. He has been a four-time Hugo Award finalist for Best Editor.

He got his start editing at Marvel Comics, writing ad copy and editing the Marvel-produced fan magazine FOOM (Friend of Ol’ Marvel). He also wrote trade paperbacks such as The Captain Midnight Action Book of Sports, Health and Nutrition and The Mighty Marvel Fun Book number four and five. After leaving Marvel, he freelanced for both Marvel and DC, and his scripts appeared in Captain Marvel, Master of Kung Fu, Omega the Unknown, Time Warp, House of Mystery, Weird War Tales, Welcome Back, Kotter and others.

His first novel, The Gift, was a finalist for a Lambda Literary Award in the category of Best Gay SF/Fantasy Novel. His writing for television includes Saturday morning cartoon work for Hanna Barbera and treatments for the syndicated TV show Tales from the Darkside (the episodes “Fear of Floating,” “Baker’s Dozen” and “My Ghost Writer, the Vampire”). His book reviews have appeared in The Washington Post, The New York Review of Science Fiction, and Science Fiction and Fantasy Book Review.

An awesome bio! Here’s the interview:

Poseidon’s Scribe: How did you get started writing? What prompted you?

Scott Edelman: The earliest writing I can remember doing—back when I was only in the single digits, probably around the 3rd Grade—were prose stories of comic book characters who hadn’t yet met in the pages of the comics themselves, but who I very much wished would get together. I scribbled out long, complicated encounters between all the Marvel and DC characters—something which wouldn’t happen in the real life world for several decades. So it was a case of writing the stories I wish had already been written by others, but since they hadn’t yet done it, I had to do it myself. And once I’d done that, I learned I enjoyed telling stories.

But the first story I ever wrote and submitted professionally came about after I’d read a few of Robert E. Howard’s Conan stories, and with the ego of youth, thought, “Hey, I can do that!” So at age 16, I wrote what would be my first story every written with the goal of publication. It was about a barbarian warrior on a quest, was sent off to The Magazine of Fantasy and Science Fiction, from which it was rejected in three days.

And several thousand rejections (I stopped counting after my first 1,000) and 113 short story sales later, here I still am.

P.S.: I’m sure people are fascinated that you worked at Marvel Comics. Please describe what that was like, and your advice for writers thinking of working in comics today.

S.E.: I have no useful advice whatsoever for writers thinking of working in comics today. I wouldn’t even have had advice for writers who hoped to work in comics at the same time I did, which was in 1974, 48 years ago. That’s because it all happened by accident! Serendipity has always been my friend.

I’d never intended to work in comics. I’d always thought I’d be a journalist, and hopefully become a three-day-a-week newspaper columnist in the Pete Hamill or Jimmy Breslin vein, names which probably mean little to contemporary readers. I was a comics fan who, living in Brooklyn as I did, was able to become friends with the professional writers, editors, and artists who worked at Marvel and DC through the convention circuit,  but I wanted nothing from them. I wasn’t on the make for freelance assignments or a staff job. But then one came looking for me.

A comics fan named Duffy Vohland who’d moved to New York to begin working for Marvel rented an apartment in my neighborhood, and as he was unloading his possessions, some local kids saw his boxes of comics, and told him there was another guy only a few blocks away who also collected comics—me. So one day, he showed up at my door, we became friends, one thing led to another, and when a job opening happened at Marvel Comics, I was asked to apply.

So I got my job because a) I was born in Brooklyn b) started attending comic book conventions when they were small c) developed friendships with creators d) had someone move into my neighborhood e) was offered a job…and several other steps which no one could possibly replicate. How to do it today? No idea!

As for what it was like…it was a job which didn’t feel like a job, and from which none of us ever wanted to go home. Imagine the Dick Van Dyke Show, except about comics. No one ever wanted to leave, because we were living in a dream, and didn’t want to wake up. In the evenings we’d go to restaurants and movies together, or play poker, and on the weekends, we’d get together for volleyball and BBQ. There was no separation between work and the wider community of comics professionals of the ‘70s. It was the most creative group of people I’ve ever worked with. It was a family.

And eventually it became more than a family, because that’s where I found my wife, with whom this year I’ll celebrate my 46th anniversary.

P.S.: In what ways, if any, did your start in the comic book industry shape your later fiction writing?

S.E.: What I took away from my time in comics were lessons about what I didn’t want my prose fiction career to be like.

To begin with, it had multiple negative effects. First, I found it difficult to write what I wanted to write, vs. what others wanted me to write. It’s hard to turn down writing assignments when you know whatever you hand in on a Friday you’ll be paid for the following Wednesday. So I was writing not just comics, but letter columns, house ads, etc., doing those rather than my own writing. I shut down my muse during those years. I was the embodiment of what George Bernard Shaw meant when he wrote: “If you want to be a writer, you must have money, otherwise people will throw money at your head to buy your talent to use it and distort it for their own frivolous purpose.” A dreadful warning!

But in addition to stealing my time, comics also affected my style. I noticed the writing I did manage to find time to write for myself began to sound more and more like Stan Lee’s Bullpen Bulletins prose. Bombastic. Alliterative. His style had seeped into my subconscious and I was unable to control my word choices.

But remember—I was only age 19 when I started in comics, not yet mature enough to keep the walls separated between the writing I did for myself and the writing I did for others. Later on, during my years editing Science Fiction Age and working for the Syfy Channel, I was able to maintain that separation, But back then, I knew the only way I’d get back to my own fiction again, written my own way, was to leave. And so began a series of non-creative jobs so I could protect what I considered the most important.

That’s not to say I didn’t love my time there. But I probably loved comics too much for my own good, and would probably have been better off remaining a fan than becoming part of the industry.

P.S.: Who are the three main people who influenced your writing? What are three of your favorite books?

S.E.: My answer would differ depending on when you asked me that question. When I was a kid, I’d say Isaac Asimov, Robert A. Heinlein, and Arthur C. Clarke. As a teen, my triumvirate was instead Harlan Ellison, Samuel R. Delany, and Roger Zelazny. Next came Italo Calvino, Raymond Carver, and James Tiptree, Jr. (that is, Alice Sheldon).

But influence doesn’t end just because we’re no longer at the beginning. I continue to be influenced by my peers. So I take from writers such as (to name just a few) Sarah Pinsker, P. Djèlí Clark, Meg Elison, Fonda Lee, Andy Duncan, Sam J. Miller, Amal El-Mohtar, Victor LaValle, Alyssa Wong, Sam J. Miller…I could go on.  They are as much an inspiration as any of those I encountered when I was starting. It’s important to continue to read widely, and to leave ourselves open to the future as well as the past.

As for my favorite books, I’d prefer to share three short stories I return to and reread year after year, because they still amaze me—

“Day Million,” by Frederick Pohl

“What We Talk About When We Talk About Love,” by Raymond Carver

“The Women Men Don’t See” by James Tiptree, Jr.

P.S.: You’ve written for, and in, so many mediums—short stories, novels, poems, comic books, television, podcasting, etc.—which is your favorite, and why?

S.E.: It will now and forever be the short story. I am a minimalist, and my sweet spot when writing is 5,000-7,000 words. I prefer to create stories which can be consumed in a single sitting, so the whole of it can be contained in one’s head at once. I feel no need to fill in the entire background history of a character, or what happens next once the story is over, or to follow every untold side tangent which might arise. The only novel I’ve ever published was originally a short story, but it got away from me in rewrites, and I find the chances of that repeating as highly unlikely. I’ve heard it said that a short story is the most important moment in a person’s life, after which they are changed forever, or conversely, decide they’ll never change. Those are the moments I always wish to explore.

P.S.: Is there a common attribute that ties your fiction together (genre, character types, settings, themes) or are you a more eclectic author?

S.E.: If you look past genre, the common attribute is love. Theodore Sturgeon once said all of his stories were actually love stories, and I think anyone who reads widely in my published fiction—and I just placed my 113th story last week—will see that as my most predominant theme, though there are others.

But in terms of form and genre, I am indeed eclectic. The opening line of my entry in the Science Fiction Encyclopedia reads: “US editor and author, his fiction having had perhaps unduly little recognition, almost certainly because his work shifts from horror to fantasy to SF without any marketing consistency.” I wear that description as a badge of honor! I will always use any metaphorical tools to tell the stories I want to tell.

P.S.: Much of your writing leans to the horror side. What fascinates you about that genre?

S.E.: Your question made me curious about the true extent of my relationship with horror, so I ran down my list of 113 published (and about to be published) stories and discovered the breakdown is—

  • 43% horror
  • 34 % science fiction
  • 20% fantasy
  • 3% metafictional/unclassifiable

Which I thought intriguing…but unsurprising.

But those percentages shift if I categorize only the most recent 25 stories, though—

  • 48% science fiction
  • 30% fantasy
  • 22% horror

So over the past five years, I was still writing horror… just not as high a percentage of my output as before. The only explanation I can imagine for that shift is—the horror of the 2016 election and what came after was enough for me, and for that period of time, I didn’t feel felt like dwelling there. But I imagine that shift is only temporary.

As for why I love horror…it provides me with an amazing toolbox of metaphors with which to speak of our true fears—the fear of aging, the fear of loneliness, the fear of loss of agency, the fear of loss of self. Wrapping those fears in zombies, ghosts, vampires and the less traditional horrors makes them more terrifying…and more poignant.

Though sometimes, of course, it isn’t about the metaphors, and zombies are just cool!

P.S.: What are the easiest, and the most difficult, aspects of writing for you?

S.E.: The most difficult aspect of writing for me is my writing method itself, as I have learned my best work only comes when I scribble my first drafts longhand, and then edit them the same way. I’ve tried to compose at a keyboard, but when I do, either nothing comes, or if it does, its either clumsy or facile. So I write with pen and paper, then key it into a computer, and print it out to do edits and revisions…which I then key in, print out, and do the same over and over again.

And another thing that’s difficult for me, I guess—though I don’t think of it as difficult, just slow—is that I can’t begin a day’s writing without rereading all words on a particular work up to that point. So if I left off in the middle of page 10, I must the next day slowly reread all that went before, rebuilding the house of cards in my head. And if it’s a novella, I must reread dozens of pages. I can never jump right in.

As for the easiest? I will never run out of ideas! I usually get 3-4 new ones for each one I write, so I will never catch up during this or any other lifetime. I am grateful for my subconscious, which collaborates with me that way.

P.S.: I was pleased to participate in your unique podcast, “Eating the Fantastic.” Tell us about that podcast series—how it started and what listeners can learn from it.

S.E.: I’d been a guest on many podcasts in my life, but it wasn’t until I appeared on The Horror Show with Brian Keene podcast during its first year that I thought—hey, I can do that! I love talking to people, love finding out their secret origins and how they do what they do. But I knew there were dozens, if not hundreds, of interview shows out there. How to differentiate mine from all the others? What would be my niche? I decided to marry my love of food and love of people into a single podcast—but one which was about the people more than the food.

My love of tracking down good food while traveling the world attending conventions was so well known one blogger dubbed me “science fiction’s Anthony Bourdain.” And since the con away from the con—which takes place when I wander off-site with friends for a meal—can often be more fun than the con itself, I decided to replicate that good conversation with good friends over good food for listeners.

I believe food relaxes my guests, loosens their tongues, distracts them from the interview process so they sometimes forget they’re even recording, and as a result, gives listeners a more intimate picture of them than any studio podcast where the guests is always aware they’re “on.”

As for what listeners can learn from it—across the nearly 300 hours so far, they’ll hear from nearly 250 writers, editors, and agents about both the art and craft of writing. They’ll feel they’re at the table with us, learning as I learn how they create the fiction of the fantastic we love.

P.S.: Tell us about Things That Never Happened. How did that book, and its interesting cover, happen?

S.E.: I wish there was some fascinating backstory I could tell you about why and how my most recent collection came to exist, but it’s merely that I had reached critical mass of a certain type of story—dark fantasies of the Twilight Zone-ish type—and so began looking for publisher willing to join me on the project. That’s often the way collections occur for me—when looking back at the mass of stories in my wake—currently 113 of them—and seeing such similarities. Luckily, Norm Prentiss of Cemetery Dance was willing to take me on, and I’m extremely pleased with the result.

As for the cover of Things That Never Happened, I’m so glad I had nothing to do with the creation other than to inspire artist Lynne Hansen with my stories. The covers I’d helped design myself have all been disasters. Which is an important lesson to learn—just because you’re a writer, it doesn’t mean you’re also a cover designer who can help create what’s essentially an advertisement for you book. The ones I had anything to do with I later realized repelled rather than attracted readers. Those mistakes were how I learned to stay out of cover design other than to say “thank you very much” when others do great work.

P.S.: What is your current work in progress? Would you mind telling us a little about it?

S.E.: I dislike talking about my stories in progress—not just until after I’ve finishing writing them—but also not until they’re sold and published. But I will say this much—

I earlier today completed the first draft of a new fantasy story which came in at around 4,200 words—and for which the ending I decided necessary is, I fear, almost impossible to pull off. But I’ve always felt that if I’m not always attempting to do something I think can’t be done, what’s the point?

Some believe a writer—or anyone in any field—should stick to their strengths. But I’ve always felt I should stick to my weaknesses. How else will I get better, and level up to the point where one of my facets becomes a strength rather than a weakness? Writing, like anything else, is a muscle, and I can only get better by doing what is hard, what needs improvement.

I’m able to do this, I think, because I recognize my writing life is more about a career than any particular story, which means what attempting to get something right this time around might do, even if I should fail, is equip me for getting it right next time. At least that’s what I hope.

And that’s all I feel comfortable saying about my current story—which still has about 10 working titles. My next step, before diving into draft two, will be to winnow down to the final one, because that will focus me as I move on.

Poseidon’s Scribe: What advice can you offer to aspiring writers?

Scott Edelman: I think I’ve already given some with my previous answer, but the most important advice I can give is to repeat the memorable line from Galaxy Quest: “Never give up! Never surrender!”

The reason I’m still here isn’t because I was any good when I began. It’s because in the face of rejection—the first of which I received at age 16, remember—I never took it personally. I kept writing, I kept submitting—and because inevitably, if one does both of those things—I kept improving.

If you can find find joy in your work, so that the writing can be its own reward, if you can focus on having fun writing the next story rather than worrying about the fate of the last one, you will eventually achieve your goals.

I urge you to find joy in telling the tales you want to tell, the ones only you can tell. I can think of no better life than that.

Thank you very much, Scott. Readers of my blog can find out much more about Scott at his website, or on Twitter, Instagram, or Facebook . Also check out his podcast.

Poseidon’s Scribe

June 25, 2022Permalink

Eating the Fantastic, with Scott Edelman

Earlier this month, I had the honor of being interviewed by author Scott Edelman (Wikipedia page here).

The author, about to talk with his mouth full for 1.5 hours

We’d met a few years ago at Balticon, the Baltimore Science Fiction convention, and served on a couple of discussion panels together. For several years now, he’s been interviewing scifi authors for a podcast series he calls ‘Eating the Fantastic.’

While attending cons, Scott enjoyed eating meals with other authors and discussing science fiction. He soon realized he didn’t need to wait for cons to do that, so started his unique podcast series and has interviewed over 170 authors so far.

We met at the Bonnie Blue Southern Market and Bakery in Winchester, Virginia on May 3rd. A nice day, so we ate outside at one of their patio tables. After conducting so many of these interviews, Scott knew just how to make me feel at ease, and I forgot about the microphone and just answered his questions the best I could.

Most authors enjoy talking about their writing, and I’m no different. Ask any author that, and you’ll see. Before you do, though, clear your schedule for the next few hours.

My conversation with Scott ranged over many topics, and I struggled for answers at times, but overall, he’s a wonderful interviewer. My breakfast at Bonnie Blue tasted delicious. The restaurant staff provided professional and friendly service.

As you listen to the podcast, you’ll hear my views on:

  • the pandemic’s effect on writing;
  • SciFi conventions, including my experiences as panelist and moderator;
  • how I started writing;
  • my early influences, including Verne, Asimov, Heinlein, Clarke, and Bradbury;
  • my own writing career and writing style;
  • my short stories;
  • Alternate History, and the research necessary to write in that subgenre;
  • the Snowflake Method* of writing;
  • writing for themed anthologies;
  • responding to editors who request story changes;
  • co-editing 20,000 Leagues Remembered
  • the depiction of submarines in books and movies; and
  • my current Work in Progress, and beyond.

* During the interview, I mispronounced Dr. Randy Ingermanson’s last name. My apologies to him. He’s the inventor of the Snowflake Method for writing novels. I use an abbreviated form of that method to write short stories.

Many thanks to Scott Edelman. Being interviewed by him for ‘Eating the Fantastic’ was a distinct honor for—

Poseidon’s Scribe

May 29, 2022Permalink

Author Interview — Corrie Garrett

The anthology 20,000 Leagues Remembered contains great stories by sixteen fine authors, and you’ll get to meet another one of them today. She’s Corrie Garrett, author of “A Concurrent Process.”

Corrie Garrett is an indie author of more than ten science fiction and romance novels. She went to school in the Piney Woods of East Texas, earning a degree in Political Science with a minor in Computer Science, since she mistook her love of dystopian novels for a career path. Corrie’s favorite authors include Asimov, Niven, and Wells, and she enjoys writing science fiction with an old-school feel. Her Alien Cadet series is in this vein, following the choices of a group of young adults coming of age under the (arguably benevolent) despotism of an alien race. Corrie lives in Los Angeles with her husband, four kids, and a surprising number of coyotes.

And now, the interview:

Poseidon’s Scribe: I suspect many would-be writers out there, who happen to be moms, are wondering this: how you find time to write stories while raising—and homeschooling—four children? Is there a time warp in your home that gives you more hours in each day?

Corrie Garrett: I wish! The answer falls somewhere between shirking laundry and pulling the occasional all-nighter. What I wouldn’t give for J.K. Rowling’s time-turner! But the real trick, I believe, is making writing—the process itself, not the result—the thing I look forward to. If I start thinking of writing as work, it’s difficult to get it done. When I consistently channel my thoughts toward how I get to relax and write at the end of the day, then I look forward to it, and it is easier to carve out the time.

P.S.: Did the National Novel Writing Month (NaNoWriMo) really spark your interest in writing? How often have you participated? With its emphasis on quantity, rather than quality, has it taken a lot of effort to convert a NaNo rough draft into a publishable novel?

C.G.: Yes, I love Nano! I’ve participated nine times and “finished” (in November) four times. Writing was a far-off dream until I realized that I could do it for one month, once a year, and produce a novel. That was all I did for the first four years: only wrote in November (and often December) then took a break and edited for… the rest of the year. That editing was often like bloodletting; the manuscripts were messy, and I hated rewriting so much! Now, ten novels in, I write more carefully the first time, cycling back whenever I need to fix something, with the goal to need only light editing at the end. Writing carefully, I can usually finish a novel in three to four months.

P.S.: Who are some of your influences? What are a few of your favorite books by other authors?

C.G.: It wouldn’t be fair not to mention Dean Wesley Smith first, both as an influence and an author whose work I admire! I would’ve stopped years ago if not for following his advice about cycling and killing the myths of writing.

As far as favorite books, I love classics like Jane Eyre and Pride and Prejudice, and sci-fi series like Dune, Asimov’s Foundation, Anne McCaffrey’s Dragonriders, and John Scalzi’s Old Man’s War.

P.S.: Where do you get the ideas for your stories?

C.G.: It’s usually a kernel of another story that I explore in a new way. Pride and Prejudice in the time of Trump, the story of Esther with aliens, or… Captain Nemo and time travel! My latest novella started with my sister’s idea of placing Shakespeare’s The Tempest on Mars.

P.S.: Is there a common attribute that ties your fiction together (genre, character types, settings, themes)?

C.G.: My fiction is pretty diverse by genre, but I think the underlying theme is that while evil is real, good is also real. Empathy, self-control, and self-sacrifice are usually the traits that save my heroes.

P.S.: You write both romance and science fiction. At your website, you state you’d like to settle on one genre, but can’t. Did you feel pressure to choose one of them? Now that you’ve picked both, do you see that as a problem?

C.G.: Well, my mom will read everything I write, but not many other people will! There’s not much overlap between my Austen Ensemble readers and Alien Cadet readers, for instance. I have no issue with that, but publishing “wisdom” generally says to pick a genre and develop some momentum with your readers. I was afraid by splitting my time, I’d never develop consistent readers in either genre. But I decided that was short term thinking! I like both, I want to write both… it’s a slower path, but I’m going to give it a try.

P.S.: Your story “A Concurrent Process” in 20,000 Leagues Remembered is a fun and thoughtful time-travel tale. (I’ll bet even Verne scholars won’t notice your meaningful choice of character names on the first read-through.) What prompted you to write that story?

C.G.: In the original, the wonder of the deep ocean, unknown creatures, and unexplored wonders was a large part of the magic! I wanted to capture a little of that feeling, and the future is definitely one of the great unknowns. Plus, I always like time travel stories where a genius in one era becomes a genius in another—if he has time to assimilate the science!

P.S.: What are the easiest, and the most difficult, aspects of writing for you?

C.G.: For me, nothing is better than a blank page. Starting a story is glorious and nothing is more fun than writing into the dark and discovering the character, mystery, and chaos that emerge. That’s the easy part. The worst is when I’m 3/5ths of the way through a story and I realize… no one is coming to finish this book! I’ve either got to finish riding the rollercoaster or fall off the unfinished scaffolding. Endings are crazy difficult for me, even when I’ve plotted out the climax and I know where I’m going.

P.S.: Tell us about your Austen Ensemble series (A Lively Companion, A True Likeness, and A Gentle Touch). All three books are getting very nice reviews. Are you planning to write more?

C.G.: Thanks! Austen Ensemble explores a slight variation in the Pride and Prejudice story (and beyond) and each book follows one of the women from the original: Elizabeth Bennet, Georgiana Darcy, and Anne de Bourgh. That trilogy is definitely done, but I’m already working on another Pride and Prejudice story that crosses over with Emma. It’s a fun sub-genre!

P.S.: Your Alien Cadets series (Manipulate, Captivate, Eradicate, and Evaluate) looks fascinating and is earning fine reviews. Please describe the universe of these books. What ties them together? Do you plan to continue the series?

C.G.: The Alien Cadet series is basically a space opera; you’ve got alien assassins, sentient trees, ancient religions, and a bit of romance (not surprising for me, right?). A group of aliens comes to Earth after a huge catastrophe and takes over—not necessarily to be tyrants, but not terribly keen on being friends, either. (A little like David Brin’s Uplift series.)  They not-so-gently draw humanity into the wider galactic scene, where it is common to have mentoring programs that reach cross-species. The first group of human kids are forcibly taken to join one of these programs, and each book follows a core group as they navigate coming home, finding their identity, and defending their planet from nefarious schemes.

P.S.: You’ve traveled through time and met yourself at a point when you were first thinking of being a writer. What one thing do you tell this younger version of you?

C.G.: Stop writing and invest in masks! Just kidding, that is a really good question. I think I’d tell myself not to rewrite those first novels for months and sometimes years at a time. One author compared it to making a cake. You can mess with one recipe for years and make one (im)perfect cake…but you won’t be a cook at the end of that time. The only way to learn is try multiple recipes, eat the food, and move on.

Poseidon’s Scribe: What advice can you offer aspiring writers?

Corrie Garrett: Don’t let the doom and gloom you hear about discoverability and the difficulty of publishing deter you. There are a lot of indie books being published every day, and there are a lot of readers. Seriously, more than you think. If you keep writing, keep learning craft as you go, and publish enjoyable, gripping stories, you can find readers. It’s a long-term thing, no short cuts, but there’s nobody to stop you except yourself!

Thank you, Corrie.

Readers can stay up to speed with Corrie’s writing successes at her website and on Facebook.

Poseidon’s Scribe

November 16, 2020Permalink

Author Interview — Maya Chhabra

Having just launched the new anthology 20,000 Leagues Remembered, I took the opportunity to interview one of the ‘crewmembers.’ Please welcome author Maya Chhabra aboard our literary Nautilus. Readers will enjoy her story, “The Maelstrom,” and will want to find out more about her and read her other works.

Maya Chhabra is the author of the middle grade historical novel Stranger on the Home Front (Jolly Fish Press), dealing with Indian immigration and the Indian independence movement. Her short fiction and poetry have appeared or are forthcoming in Daily Science Fiction, Cast of Wonders, and Strange Horizons. Visit her online at Maya Reads Books, or on Twitter as @mayachhabra.

Here’s the interview:

Poseidon’s Scribe: How did you get started writing? What prompted you? 

Maya Chhabra: I don’t actually know! I’ve been writing since I was a little kid, probably because I liked books so much. I got started with poetry because my aunt is a poet, but I don’t know how I got started with prose.

P.S.: Who are some of your influences? What are a few of your favorite books? 

M.C.: My influences for poetry include Sonya Taaffe, another author of mythological poetry. Prose influences depend on the project I’m working on. For example, for Stranger on the Home Front, I was influenced by Laurence Yep’s middle grade stories about growing up Chinese in different parts of US history, particularly his book The Traitor. I wanted to do a similar sort of story about early Punjabi immigrants. The cross-cultural friendship in The Traitor also influenced my portrayal of Margaret and her best friend Betty.

P.S.: You’ve had a great number of poems published. Do you find your skill as a poet complements your prose writing? Do you find yourself thinking in poetic imagery, rhythms, and word sounds before converting to prose?

M.C.: For me, they’re very different, because a poem is so compact and closed. It has to hit its theme very quickly and hard, rather than a novel where you have time to explore the theme. However, I do try to make my prose aesthetically pleasing and use metaphorical language.

P.S.: Many of your poems touch on classical or mythological references. Why is that?

M.C.: I grew up with D’Aulaire’s Book of Greek Myths and it made a big impression on me.

P.S.: Is there a common attribute that ties your fiction together (genre, character types, settings, themes) or are you a more eclectic author?

M.C.: I think I’m definitely pretty eclectic, but my favorite genres to work in are fantasy, historical, and SF. I don’t really write contemporary, not since I was a teenager just starting out. I like the setting of my work to be removed from everyday life.

Clicking image will bring up Amazon page

P.S.: You’ve written a novel, Stranger on the Home Front, to be published in 2021. Please tell us a little about the book’s protagonist, Margaret Singh, and the conflicts she faces.

M.C.: Margaret is a mixed-race girl growing up in WWI-era San Francisco. Her father is an immigrant from India who’s involved with a radical pro-independence group based out of the US, and when the group goes on trial, he’s implicated, leading to difficulties for his family. This is based on the Hindu Conspiracy Trial, at the time the most expensive trial in US history, which exposed a link between the Central Powers and an Indian independence movement to sabotage the British Empire. Part of the conflict has to do with the perception of disloyalty, and that was influenced by my having been about Margaret’s age during the lead-up to the Iraq War. Reading about WWI, I saw many similarities in the “if you’re not with us, you’re against us” mindset. The friendship and conflict between German-American Betty, who wants nothing more than to prove her patriotism despite the suspicion others have of her heritage, and Margaret, whose radical family is out of step with the nationalistic mood of the country, is really the heart of the novel.

P.S.: Where do you get the ideas for your stories?

M.C.: Often I start with a pre-existing story, like a myth or fairy tale, or a bit of history. I like to show an angle on things that people might not have thought of before, even if they’re familiar with the history or story.

P.S.: Your story, “The Maelstrom” appears in 20,000 Leagues Remembered. Jules Verne would have called it a pourquoi, or origin, story. It tells a version of the backstory of Captain Nemo, (originally Prince Dakkar). How did you come up with the idea for this story?

M.C.: I love 20,000 Leagues Under the Sea, and I’d been fascinated by Prince Dakkar’s story since finding out about it from The Mysterious Island, especially because I basically grew up on the story of the Indian independence movement. Prince Dakkar is obviously fictional and belongs to a generation before the independence movement really took off—he’s royalty, whereas that movement was led by lawyers and other middle-class people. But his feelings toward colonialism as described by Jules Verne definitely resonated. I’d always wanted to explore his story and this anthology was the perfect opportunity. I also appreciated that Jules Verne, despite not really being ahead of his time on racial and ethnic issues, was able to portray the resentment towards imperialism with such feeling, to the point where the original English translator had to tone it down and make the narration more condescending to make it palatable to a British audience.

P.S.: “The Maelstrom” depicts Prince Dakkar’s wife as a strong and determined woman, a very admirable character. How do you see her as different from, or similar to, Margaret Singh of Stranger on the Home Front? 

M.C.: Margaret is a shy girl who knows, as a mixed-race kid in a predominantly white environment, that she’s outnumbered and only conditionally accepted. She learns over the course of the story to stand up for herself, and also to realize that other people are also going through similar conflicts between social acceptance and integrity. The princess, Prince Dakkar’s wife, is far from being shy. She’s been raised in a life of privilege, but also stands out as unusual for a woman of her time. I thought she made a good partner for a strong personality like that of Captain Nemo, explaining his longstanding grief for her.

Poseidon’s Scribe: What advice can you offer aspiring writers, particularly things you wish you had known when starting out?

Maya Chhabra: I’d still consider myself an aspiring writer, as I’m trying to get an agent for my YA fantasy novel Thorns. But my advice would be: send stuff out. Don’t let rejection get you down, and even if it does, keep putting yourself out there. Don’t be shy about approaching editors for opportunities, but do your research first.

Thank you, Maya.

Readers can find out more about Maya at her website, on Twitter, on Facebook, and on Goodreads.

Poseidon’s Scribe

June 23, 2020Permalink

Author Interview (Updated) — Todd Sullivan

Readers with long memories will recall I interviewed Todd Sullivan once before. I decided to interview him again because a lot has happened in his writing career. He’s got two novellas being published soon.

Author Todd Sullivan

Todd Sullivan teaches English as a Second Language, and English Literature & Writing in Asia. He has had numerous short stories, novelettes, and novellas published across several countries, including Thailand, the U.K., Australia, the U.S., and Canada. He is a practitioner of the sword-fighting martial arts, kumdo/kendo, and has trained in fencing (foil), Muay Thai, Capoeira, Wing Chun, and JKD. He graduated from Queens College with a Master of Fine Arts in Creative Writing, and received a Bachelor of Arts in English from Georgia State University. He attended the Bread Loaf Writers’ Conference and the National Book Foundation Summer Writing Camps. He currently lives in Taipei, Taiwan, and looks forward to studying Mandarin.

Here’s the interview:

Poseidon’s Scribe: Since I last interviewed you in September 2017, what have you been writing?

Todd Sullivan: Funny enough, I’ve still been writing from the same narrative universe that that 2017 story, “Wheels and Deals,” published in the Dark Luminous Wings anthology, took place in. My current novella, Butchers, is a vampire story that takes place in South Korea. But the actual storyline, along with several other short stories that were published between 2016 and 2018, all exist in the same nightmarish reality.

P.S.: What are the titles of the other stories?

T.S.: “Gwi’shin,” published in Eastlit Journal; “Transubstantiation,” published in Aurealis Science Fiction & Fantasy. “Chingu,” published in Tincture Journal. “The Ascent Made Him Plunge,” published in The Big Book of Bootleg Horror 2. They’re all connected.

P.S.: You’ve been busy, and successful in getting your stories published. Congratulations on the publication of Butchers. The book cover is eye-catching. If you had to describe this novella in three words, what would they be?

T.S.: To coin Public Enemy, “Fight the power.”

P.S.: The story is set in Seoul, South Korea. Why did you choose that setting?

T.S.: I lived in South Korea for ten years, three of which were spent in Seoul. The very first incarnation of this story took place on a small island at the southern-most tip of the country called Jeju. Jeju will still play a pivotal role in how the ongoing narrative unfolds. If one can imagine the narrative universe as a typhoon, Jeju is the center of the maelstrom.

P.S.: So many horror stories deal with vampires working alone. In Butchers, there’s an entire vampire organization with initiation rites, rules, a mission, and rogue members. What can you tell us about this group?

T.S.: The Gwanlyo is, in many ways, the tyrannical employer. Mindlessly cruel, and diabolical, with arcane regulations that seem to serve only one purpose: to torture their employees.

P.S.: The novella’s protagonist, Sey-Mi, sounds fascinating. Please tell us what she’s like at the beginning of the book.

T.S.: Kim Sey-Mi is a graduating high school senior who, like Alice, tumbles down the rabbit hole. She meets strange and terrible figures, and the question is will she become one of them: a strange, terrible person.

P.S.: You describe this as a novella of extreme horror. Why will this book appeal to horror and vampire fans?

T.S.: As a vampire fan myself, I have to admit that it doesn’t take much to make me fall in love with a vampire story. I think a lot of vampire fans share a similar sentiment. I think, though, that Butchers is a unique take on the mythology. It combines Korean culture with Western horror to create an exciting fusion of ideas. I think even a vampire fan really appreciates a new take on the undying genre.

P.S.: Is the launching of this book coming soon? How can eager readers find out more, and buy it?

T.S.: Butchers is available to purchase now in ebook and book form. The official launch date is December 5th, and there will be a Facebook event from 10am to 12am EST where I’ll answer questions, and where an attendee can win a free copy of the novella.

P.S.: I understand this will be the first of a series. What can you tell us about the second book?

T.S.: The Gray Man of Smoke and Shadows is a stellar tale that focuses on a character introduced in Butchers: Hyeri. I had a lot of fun writing Hyeri, and I knew that the next book in the series would be about her. There’s no point in wasting a character this good.

P.S.: You’ve also got another novella soon to be published, called Hollow Men. I love its cover image as well. Please give us three words to describe this book.

T.S.: Death comes easy.

P.S.: Please describe the setting of this work of epic fantasy. Where and when are you taking your readers this time? What makes this setting different from most other works in this genre?

T.S.: So, Hollow Men takes place in a fantasy version of medieval South Korea. The story revolves around men who go on quests to become heroes. The story also deals with the politics of being a foreigner in a homogeneous society. And it’s different because it fuses the east and west in a tale of swords & sorcery. It’s a D&D campaign that takes place in the Hermit Kingdom.

P.S.: What are the fantasy elements in the story? I understand there’s a heroic quest, a magic sword, and a knight. What else will readers encounter?

T.S.: I guess the narrative touches upon the ideas of globalism. We can say that we are all just the human race, but do we really believe it? Actions speak louder than words, and if one were to look at the actions of the world’s people, can one really say that we truly believe we are all of the human race? So imagine this quandary using the metaphor of the fantastical, and that’s Hollow Men.

P.S.: Please paint a word picture of Ha Jun, your protagonist.

T.S.: Ha Jun is a young man who increasingly realizes that the world is trying to kill him. And he’s simply trying to figure out how to stay alive.

P.S.: When and where can readers get this book?

T.S.: Hollow Men’s expected release date is December 9th, 2019. It would make a great Christmas gift for teen readers.

P.S.: It certainly would. You also intend this novella to be the beginning of a series. Can you give us a glimpse of the second book, and what connects the two?

T.S.: Life is a constant struggle. That’s actually the general theme of this fantasy series. One keeps fighting, and either one dies, or one survives to fight again. There is no peace. There is only the hustle, the struggle to survive.

Poseidon’s Scribe: Where can readers go to find out more about you?

Todd Sullivan: Facebook, Twitter, or Instagram.

Thanks, Todd, and best of luck with both novellas and both resulting series.

December 1, 2019Permalink

Author Interview – M. W. Kelly

You’ll enjoy reading my interview with an author whose debut novel just got published. A mutual friend and former submariner introduced me to my guest today, M. W. Kelly, a writer who also spent a lot of time beneath the waves.

M. W. Kelly became hooked on science after Neil Armstrong took an epic stroll one Sunday morning in July 1969. He later served as a submarine officer based in Scotland and New England. He is a graduate of the U.S. Naval Academy, Bryant University, and Swinburne University. After leaving the Navy, he spent two decades teaching college physics and astronomy. A member of Rocky Mountain Fiction Writers (RMFW) and the Hawai’i Writers Guild, Kelly loves reading and writing mind-bending literature. As a flight instructor, he has also published a column on flying among the Hawaiian Islands. He lives with his wife, Patty, in Colorado, and they spend their summers in Hawai’i.

Let’s dive into the interview…

Poseidon’s Scribe: How did you get started writing? What prompted you? 

M. W. Kelly: My father was a writer and instilled the importance of writing every day. I started with short stories just for fun. The short form is a great way to force yourself to craft a story that’s both concise and intriguing. I think the skills you practice writing short stories apply equally well to novels.

P.S.: Who are some of your influences? What are a few of your favorite books? 

M.W.K.: I grew up reading the classics by A.C. Clarke, Isaac Asimov, and Philip K. Dick. I really enjoyed hard science fiction best. The engineer in me craved cool technology, and the science geek in me demanded realism. After reading PKD’s books, I fell in love with speculative fiction having a strong character arc. This probably influenced my writing more than anything else. I just finished Ian McEwan’s latest book, Machines Like Me. It’s a wonderfully written example of character-driven science fiction. Fans of PKD’s Do Androids Dream of Electric Sheep? (aka. Blade Runner) will love it. It’s thought provoking and raises questions about the limits of machine logic and moral decision-making.

P.S.: Give us the elevator pitch about your new novel, Mauna Kea Rising (Lost in the Multiverse).  

M.W.K.: My readers tell me that Mauna Kea Rising is science fiction for people who hate science fiction. In the tradition of Ursula Le Guin and Margaret Atwood, character comes first, and science only adds spice to the hero’s journey. It’s set in a parallel world where the British Hawaiian Islands sit between rival superpowers, Japan and the UK. A single mother takes her son on a sailing voyage to Hawai’i, hoping to recapture the bond they once shared. Isolated at sea, the boat’s crew is unaware of a catastrophic solar flare. Throughout the Pacific, power grids fail. Cities plunge into darkness.

P.S.: Where did you get the idea for this novel, and the eventual series?

M.W.K.: The story’s premise came to me from years of teaching college astronomy, covering strange apocalyptic possibilities such as supernovae, asteroid strikes, and solar flares. One of my students joked that a better name for my course would be “Death by Astronomy.” But seriously, as we come to depend more on technology in everyday life, many solar astronomers warn us that a powerful solar storm could wreak widespread damage to our modern power grids. It only takes a temporary blackout to remind us how much we depend upon a continuous and reliable source for electricity. Think back to the last time your power went out, then imagine living like that for a year or longer. The people of Puerto Rico have had to endure this hardship for over twenty months. How did they do it? They adapted to simpler lifestyles and relied on each other for community support, but it’s a difficult struggle and over three thousand people perished.

The story’s setting came from my annual trips to Hawai’i. I fell in love with the aloha spirit and grew a deep respect for their self-sustaining way of life. The state is a leading developer of wind, solar, and geothermal power technology. Three years ago, the governor signed a bill directing the state’s power utilities to generate all their electricity from renewable energy resources by 2045.

P.S.: How is the parallel universe of your novel different from our own?

M.W.K.: The parallel world found in the novel differs in social-economic ways. America with only 48 states is akin to Switzerland, preferring to stay out of foreign affairs. Russia and China have lost world prominence after the Second Sino-Japanese War. Hitler never rose to power, and the Second World War never came about. Japan and the United Kingdom are superpowers where Britain rules the seas, and Japan explores the solar system.  Hawaii-50 is now the British Hawaiian Islands, a member of the (UK) Commonwealth of Nations.

P.S.: Was there a point of divergence from our universe, and if so, what was it?

M.W.K.: The setting for my series grew out of the Many-Worlds Interpretation of quantum mechanics.  The American physicist Hugh Everett first proposed every possibility embodied in Schrödinger’s probability waves is realized in one of a vast landscape of an infinite number of universes. The quantum multiverse creates a new universe when a diversion in events occurs, known as a “branch-point.” Whenever we decide upon some action, we create a branch-point in our timeline. Say you flip a coin. While it’s in the air, it has two possible future states: heads and tails. When you observe the outcome, you might see heads, but tails also exists—unobserved in a parallel world. In this way, a different universe branches from the previous one, creating a new world timeline. One copy of us sees heads, and another copy sees tails. Without giving too much away, each of the main characters in each book creates a branch-point where Earth’s world-timeline diverges. The Earth on which we live continues on, but now we have parallel, slightly different copies of our world.

P.S.: The cover image for Mauna Kea Rising is striking, very eye catching. Can you tell us about the image and how it relates to the novel?

M.W.K.: Thank you. I think the book cover turned out well because of the help many people gave me. After searching for months, I found a graphic artist in Germany whose covers jelled with my vision. She created a cover design that touched on two of the book’s major aspects: the solar storm and a strong female protagonist. After a few designs, I tested sample covers with about a dozen readers. Some were the book’s beta readers, others were science fiction fans. For those who hadn’t read an earlier draft, I provided a blurb or synopsis, so they knew the book’s premise. After getting their impressions, I finalized the book design.

P.S.: Your story involves the immediate aftermath of a civilization-destroying event. In what ways does your book differ from other post-apocalyptic novels?

M.W.K.: Unlike many apocalyptic thrillers, the book is an adventure story where an eclectic band of friends (a Celtic engineer, Polynesian navigator, and Hawaiian Buddhist) rebuild their lives after an epic solar storm hits Earth. Fans of Emily St. John Mandel’s Station Eleven will appreciate this approach. Like I mentioned earlier, the story centers on a community working together to adjust to life without the power grid. Sorry, no zombies here.

P.S.: It seems you’ve incorporated several aspects of your life into the novel (being a former submariner, teaching physics and astronomy, being a flight instructor, traveling between Colorado and Hawai’i). How did you strike the balance between getting the details right and getting too technical?

M.W.K.: That was hard to do. I imagine your own experience as a submariner reflects this. Back on the boat, it seemed we laced our every utterance with buzz-words. And oh, those acronyms! I think the problem facing guys like us is we are too close to the technology. We may be unaware of what our readers don’t know. That’s where beta readers are invaluable. I carefully chose my reader pool, looking for people from different backgrounds, races, and genders.

P.S.: Yes, it’s a challenge for me, too. What are the easiest, and the most difficult, aspects of writing for you?

M.W.K.: The easiest part of writing a novel is researching and outlining. I guess it’s because these steps come naturally to me after having spent my life in academic research and problem solving. Outlining is also the most fun. Starting with a clean slate is exciting. Everything is possible. The most difficult part is editing, and that’s where I spend most of my time. I work with a dense checklist that would make Admiral Rickover smile. Hopefully, by the fourth draft I’m done and ready to send off to my copy-editor.

P.S.: What is your current work in progress? Would you mind telling us a little about it?

M.W.K.: The second book in the series is a blend of magical realism and hard science fiction. Elle: The Naked Singularity follows the adventures of a main character in Mauna Kea Rising in an adaptation of The Wizard of Oz. Twenty-year-old Elle Akamu slips from 21st century Earth through spacetime into a parallel universe where she suffers cultural shock in the 1970s British Hawaiian Islands. Lost in the multiverse, she finds life is about confronting her past, finding love, and accepting a new home. A stranger in a strange land, this next book wrestles with our oldest questions—what is the nature of the universe? Are there hidden dimensions around us? What does it mean to be human?

P.S.: Can you give us any hints about what readers can expect as your Multiverse series continues?

M.W.K.: Sure. In keeping with the non-linear concept of time, you can read the other books in any order. I know that sounds a little crazy, but you’ll just have to read them to see for yourself. You might also get new insights by rereading them last-to-first after they all come out. Elle explores aspects of the multiverse and why time travel doesn’t necessarily violate the Grandfather Paradox. The third book, Yesterday’s Destiny, speculates on the point of deviation from our own universe that created the world in the Lost in the Multiverse series.

Poseidon’s Scribe: What advice can you offer aspiring writers?

M.W. Kelly: Write and keep writing every day. Don’t read every how-to book on writing—it’ll make your head spin with all the contradictory advice out there. Join a writing group or critique circle. Your writing will improve just by reviewing material other than your own. And that brings me to another activity—reading. Read good material outside of your own genre. You’ll develop a unique voice and story ideas will spring organically if you explore literary styles beyond your own category. A great place to start is Reading Like a Writer by Francine Prose.

Thank you, Mark.

Interested readers can find out more about M.W. Kelly at his website, his Facebook author page, on Twitter, Amazon, and Goodreads.

Poseidon’s Scribe

September 14, 2019Permalink

Author Interview — Tonia Kalouria

It’s not every week that I interview a poet, especially one with Hollywood connections. Let me introduce Tonia Kalouria, who has a poem in the anthology Quoth the Raven.

Tonia Kalouria is a former actress, recently returned from L.A. to “The North Coast” (i.e., Toledo), and considers herself a Midwest Gal at heart. Writing poetry helps her maintain her sanity in this topsy-turvy world, and she is a strong advocate for rhyming poetry. Her poetry has appeared in numerous publications, including The 5/2 Crime Poetry Weekly, Common Threads, The Senior Years, The Litchfield Review, Planet Green, and her own book, Aerobic Poetry.

Onward, to the interview:

Poseidon’s Scribe: When and why did you begin writing poetry?

Tonia Kalouria: I began writing about 2005 …  It all started with an  idea to do an “update” to favorite childhood nursery rhymes like “Jack and Jill”; “Mary Had a Little Lamb,” etc. as a children’s book. It culminated in my book, Aerobic Poetry, which actually has a “purpose” beyond the rhyming and emotional reactions to the words per se.

 

P.S.: Who are some of your poetic influences?

T.K.: I love the humor of Twain, light verse of Dorothy Parker, and Ogden Nash. I admire endings with a twist, a la O’Henry. Great titles are a must, replete with double meanings when possible. I relish the challenge of writing very poignant pieces in addition to my fondness for humor. Three such examples were published on “The 5/2 Crime Poetry Weekly Blog” (now in yearly ebooks.)

 

P.S.: You’re a former actress, with credits including the drama film Out of the Shadows and the TV series Passions. Please tell us about the Passions experience.

T.K.: I was in awe of James Reilly, Creator and Head Writer of NBC’s soap opera Passions, among his many other credits. He was able to produce material to fill five one-hour episodes per week in which he consistently shocked and amused, while concomitantly hooking us in with standard soap fare like great romances and dramatic strife. The show was replete with witches and a “live” doll/boy, aka Little Timmy, as well as great beautiful/handsome couples and evil villains. “Harmony” was anything but and clearly needed a psychiatrist.

Enter Dr. Wilson, played by me. And thus, you see how I get to defend my position in certain “discussions” by paraphrasing the old commercial: “Well, I’m not a doctor, but I play(ed) one on TV.”

 

P.S.: Is there a common attribute that ties your poetry together?

T.K.: Every poem I have written is unabashedly rhythmic and rhyming.

Except for one. And I am truly loathe to admit: It has been my biggest success, having not only been accepted by a “literary” magazine, but it was the winner of a Valentine’s Day Contest for radio listeners of the classic music station WCLV in Cleveland, OH: A “Romantic Weekend for Two” at the Ritz Carleton, as it were. Now, of course, I am equally excited to be included in our Poe anthology.

 

P.S.: What is it about rhyming poetry that attracts you, and causes you to oppose the more modern free verse style?

T.K.: Notwithstanding the contest poem, my goal is to write rhyming works that are understandable! Unlike, for example, the meandering Free Verse offerings in the New Yorker! But let me be clear: Most T. Kalouria poems can be enjoyed on many levels, with some folks “getting” all of my word plays, ironies, satirical aspects or other allusions, and other people, not so much. But everyone can at least follow along and enjoy the flow of the language and the story line, along with an appreciation of the “moral” or theme presented.

 

P.S.: Your poem in Quoth the Raven, “Advice is for the Birds,” is a funny twist on Poe’s Raven poem while commenting on the modern trend toward long, free verse poems. What prompted you to write it?

T.K.: My poem is a metaphor for– actually against–the Master of Fine Arts educational edict of “No Rhymers Need Apply!”

The Black Bird’s declaring that nothing mattered save Word Count is tantamount to said Ed’s Submission Admonishment that “If It Rhymes, Don’t Waste Your Time!”

Since Poe also wrote Satire and humor, I thought this might be a way to get my point across, and concomitantly, to be an homage to Poe’s “Raven” masterpiece.

(Two birds, one stone, so to speak.)

 

P.S.: What are the easiest for you, and the most difficult, aspects of writing poetry?

T.K.: The best – and worst – aspect of writing for me is the tweaking. I never, ever stop. Many times when I think, “Now, I got it; finally, I’m done!” I will then revisit it, perhaps days, weeks months or years later, and see it in a whole new way. I see things I had written subconsciously and decide to expand on those ideas, for example.

 

P.S.: Your book, Aerobic Poetry, is getting excellent reviews on Amazon. Please tell us about this book.

T.K.: The book is meant to be read aloud to help build-up breathing, especially after surgeries, or for those with chronic compromised lung or heart conditions. Even the fit person walking the treadmill can read it aloud as an extra challenge. And the guffaws provided by Kim Kalouria’s irreverent illustrations are a workout in themselves!

 

P.S.: What is your current work in progress?

T.K.: I just finished (?) my first Short Story called “Blind Justice.” Almost daily, I add to a running mixed prose and rhyme list of Epigram-type pronouncements which I call: “Dry Quips from Chapped Lips.” One example in keeping with my “Advice” theme is: “Advice, like Neuroses, is best in small doses.” (AKA: “Don’t ask, don’t tell.”)

 

Poseidon’s Scribe: What advice can you offer aspiring poets?

Tonia Kalouria: “To thine own self be true.” Write to please yourself above all so that you can get lost in that effort and feel clever and productive and creative when it seems “just right.” Confidence begets Confidence; Writing maintains Sanity.

 

Thank you, Tonia.

Interested readers can find out more about Tonia Kalouria on Facebook.

Poseidon’s Scribe

October 22, 2018Permalink

Author Interview — Ken Goldman

Just when you thought I’d interviewed all the fascinating authors out there, I found more! Meet Ken Goldman, another writer with a short story in Quoth the Raven.

Ken Goldman, former Philadelphia teacher of English and Film Studies, is an affiliate member of the Horror Writers Association. He has homes on the Main Line in Pennsylvania and at the Jersey shore. His stories have appeared in over 885 independent press publications in the U.S., Canada, the UK, and Australia with over thirty due for publication in 2018. Since 1993, Ken’s tales have received seven honorable mentions in The Year’s Best Fantasy & Horror. He has written five books: three anthologies of short stories, You Had Me at Arrgh!! (Sam’s Dot Publishers), Donny Doesn’t Live Here Anymore (A/A Productions) and Star-Crossed (Vampires 2); and a novella, Desiree, (Damnation Books). His first novel Of a Feather (Horrific Tales Publishing) was released in January 2014. Sinkhole, his second novel, was published by Bloodshot Books August 2017.

And here’s the interview:

Poseidon’s Scribe: When and why did you begin writing fiction?

Ken Goldman: I began writing before I learned to write. Prior to entering kindergarten, I was already drawing pictures to tell stories. I had a cartoon strip from elementary school through Freshman year of college – Sharky the Blimp. The strip turned risque as I got older because someone told me Sharky resembled a flying phallus. But my serious writing began in 1992 when I came in second place in the Second Annual Rod Serling Memorial Foundation’s Writing Contest with a story I’d written as a homework assignment. I figured, hey, someone may pay me money for this stuff. And the rest, as they say, is history. Fiction, but history.

 

P.S.: Who are some of your influences? What are a few of your favorite books?

K.G.: I always loved Ray Bradbury’s stories, and as a teacher, I always included him in my curriculum. As mentioned above, I was a huge Rod Serling/Twilight Zone fan; I was awed by the sheer imagination of the guy. As a film buff (and also a Film Studies teacher) I used to study every frame of Alfred Hitchcock’s films, and Psycho sealed the deal for me as a horror writer. I wanted to have that same effect on readers, and I try to add some sort of Hitchcock-type twist to every story I write. I also loved the old EC Horror comics (Tales from the Crypt stuff) for the macabre humor. For humor, I loved to read Woody Allen’s books, and I still read Dave Barry. Bios too, of anyone I find interesting. I incorporate occasional absurd humor even in my horror tales. (A rabbi and a werewolf walk into a bar…)

 

P.S.: How did you come to love the horror genre and why do you write horror?

K.G.: Why do people pay good money to ride the roller coaster only to get the hell scared out of them? It’s fun! As a kid at the amusement piers, I used to stand outside the haunted house ride just to hear the screams and laughter of the people inside. And as a teacher I taught film courses on Horror, never failing to get asses filling those seats every day — and sometimes jumping out of those seats too! Writing horror just comes easy to me. I’m sure a therapist would score several Bermuda vacations with me as a patient.

 

P.S.: Your story “Get the Door for Me, Will You, Edgar?” appears in Quoth the Raven. Please describe the real-life incident that prompted this scary story.

K.G.: I thought you’d never ask. I always taught a unit of Poe’s tales practically every year of my career, so Poe and I have a pretty good history. During one class (and during a heavy thunder storm, as in my story) I mentioned to my class how cool it would be if, by our discussing Poe’s works so thoroughly, we could somehow channel him — that is, make him appear in my classroom. I directed everyone to look at the door and picture Poe opening it and coming through. Of course, nothing happened. Not right at that moment, that is. Because when I returned to the lesson, maybe five minutes later, the door swung open — on its own! The windows were closed, so it wasn’t the wind. What was it? Or who was it? You got me.

 

P.S.: Aside from the “Edgar” story about an inner-city school English teacher, how has your background as an English and Film Studies teacher in Philadelphia influenced your writing?

K.G.: How much time have you got? Literature from the ‘greats’ has taught me some incredible writing tricks, and it’s amazing how much you learn about writing from teaching literature. I loved authors’ use of thematic symbolism (think Hawthorne’s Scarlet Letter, Fitzgerald’s The Great Gatsby, and Bradbury’s Fahrenheit 451 — and so many others.) Short stories? Poe, of course, Shirley Jackson, O. Henry. Characterization? Don’t hate me for this, but Shakespeare is up there. Also Steinbeck (Of Mice and Men), J.D. Salinger (Catcher in the Rye), and William Golding (Lord of the Flies). And, yes, I’ve even brought Stephen King’s work into the classroom just for the sheer fun of his brand of horror. I’ll shut up before this comes off as an English lesson.

 

P.S.: What are the easiest, and the most difficult, aspects of writing for you?

K.G.: Getting the idea for a new story is tricky because it seems practically any idea a writer may have has already been taken. So I observe just about everything for material that may inspire me to take an idea in a slightly different direction. The easiest aspect of writing? The first draft! I just let the words spill out, and I do damage control later. Once I’m on a roll most stories almost write themselves.

 

P.S.: Reading the comments on your second novel Sinkhole, I was struck by the words “gripping” and “intense.” Why do you think readers use those adjectives with this novel?

K.G.: I like to think that Sinkhole really is gripping and intense. I take a lot of time to merit those descriptions. Writing to me is rewriting, and I do a lot of that, sometimes tossing out great chunks of the first draft to tighten the plot—or sometimes even to change the direction of the story itself if I get better ideas. I’m my own worst critic. (Three stars *** for this answer)

 

P.S.: After noting your book makes several pop culture references, one reviewer said your book “feels like a genre that hasn’t been invented yet. Until now.” Do you think that’s true? Why or why not?

K.G.: I think that’s because I tend to genre-blend, if there is such a word. Sinkhole has horror, but there’s also some sci-fi elements, as well as: a Western sub-plot, slug-like monsters as well as murder-driven soul deprived humans, time travel, back stories, sex and love and cheating spouses, some porn (gasp!), good characters who do bad things/bad characters who do good things, macabre humor and dark horror with several twists at the end that I hope you won’t see coming. So, yeah, I guess that’s maybe like a genre that hasn’t been invented yet.  But I’ve got the copyright now!

 

P.S.: You’ve made no secret about admiring Stephen King’s works. In what ways are your stories similar to his, and in what ways different?

K.G.: I don’t purposely set out to copy Stephen King because there already is a Stephen King. But I read most of his novels so the influences are there, especially his characterizations. I like the way he creates tight camaraderies among his characters in life or death situations, even when they’re complete strangers. On the other hand, I try to select plots that in no way resemble his, although sometimes a King-like plot will sneak in. (Note to King: Feel free to admire my work.)

 

P.S.: Your first novel, Of a Feather, has garnered some excellent reviews on Amazon. Please help us understand the book’s protagonist, Socrates Singer.

K.G.: Socrates Singer is your basic teenage outcast. His few close relationships mean everything to him, so when one goes bad and death claims another, he has difficulty coping. As a result, his ability to control hundreds of birds gets out of his control. He doesn’t set out to create mayhem, but his emotions do get the best of him.

 

P.S.: What is your current work in progress? Would you mind telling us about it?

K.G.: This is a little sad, but okay. I recently lost my pet parrot that I’d had for over 35 years. ‘Baby’ was like a muse, always at my side when I wrote, and I do miss that. I just completed a short story called (get your handkerchiefs handy)  “Baby, Come Back”:  A young woman loses her pet parrot and discovers a place that will clone the bird for her. That’s all I’m going to tell you!

 

Poseidon’s Scribe: Sorry to hear about your parrot, but even in death, it serves as your muse. What advice can you offer aspiring writers?

Ken Goldman: Read. Write. Then read some more. Then write some more. Reread, and rewrite. Lather, rinse, repeat. The end.

 

Thanks, Ken. My readers can find out more about Ken Goldman on Facebook, on Linkedin, on his Amazon Author Page, on Goodreads, and on Google+.

Poseidon’s Scribe

October 20, 2018Permalink

Author Interview — Susan McCauley

How do I manage to finagle interviews with the world’s most interesting writers? That may remain among the universe’s most puzzling mysteries. In any case, I’ve done it again. I have the privilege of interviewing another author with a story in the new anthology Quoth the Raven. Let me introduce Susan McCauley.

Susan McCauley is a writer / director / producer / actress who fell in love with writing, theater, and film when she was eight-years-old. That passion inspired her to receive a B.A. in Radio-Television with a minor in Theater from the University of Houston, a M.F.A. in Professional Writing from the University of Southern California, and a M.A. in Text & Performance from the Royal Academy of Dramatic Art (RADA) and King’s College in London. Susan also studied acting at Playhouse West with Robert Carnegie and Jeff Goldblum (Jurassic Park, Independence Day) in Los Angeles.

While living in Los Angeles, Susan wrote the story for and produced a short film, which later won awards at the Houston International Film Festival and the Seabrook Film Festival. In 2002, Susan moved to London to further explore professional theater. While in London, her stage adaptation of Nikolai Gogol’s “The Nose” was performed at the Royal Academy of Dramatic Art’s George Bernard Shaw Theatre; and, scenes from her play The Prisoner: Princess Elizabeth were performed at HMS Tower of London. She returned home to the U.S. in 2005. In 2007, she was the line producer of the Emmy Award nominated Civil War short film Now & Forever Yours: Letters to an Old Soldier.

Susan has three short stories published, one of which, “The Cask,” was made into an award winning short film. Susan is currently working on her fifth novel and has two feature length screenplays and one short film in development.

Here’s the interview:

Poseidon’s Scribe: When and why did you begin writing fiction?

Susan McCauley: I dabbled a bit with fiction in graduate school. (I received an MFA in writing from the University of Southern California, but my thesis was in screenwriting.) It wasn’t until I was living in London and began re-reading middle grade and young adult fiction as part of a teaching program I was in that I decided to start really writing fiction. I was inspired to write a short story, “The Lost Children of York,” based on a Yorkshire legend I’d heard on a ghost tour. Then, when I saw The Woman in Black on stage in London, I thought, I need to flesh out my story and do something more with it. I evolved “The Lost Children of York” into a play, which was my thesis at the Royal Academy of Dramatic Art and King’s College (I received an MA there in Text & Performance). Fast forward many years, I adapted the play into a screenplay that is now in development.

After writing that first short story, “The Lost Children of York,” which was never published, I decided I liked the freedom of writing fiction. Screenwriting is a very visual medium, which I love, but I think you have more control over your creation as a fiction writer. I like that aspect of it. It’s taken years and a lot of work to feel like I’m beginning to get my fiction where I want it to be. . . and, obviously, I hope I’ll continue to grow as a fiction writer and screenwriter for the rest of my life.

 

P.S.: Who are some of your influences? What are a few of your favorite books?

S.M.: This question is always hard for me to answer. I think there are many books from my childhood that shaped me. However, I’ll tell you who I think inspired me as a young reader. . . and as a reader today. As a child, I was totally inspired by Madeleine L’Engle’s A Wrinkle in Time and C.S. Lewis’s The Lion the Witch and the Wardrobe series. Laura Ingles Wilder’s accounts of life on the prairie also fascinated me. As an adult, some of my major influences have been William Shakespeare, Shirley Jackson, Johnathan Stroud, and Mary Downing Hahn. Some recent favorite books have been Took by Mary Downing Hanh and the Lockwood & Co. series by Johnathan Stroud.

 

P.S.: Did your training in acting help prepare you to write fiction?

S.M.: Absolutely. There is no doubt that acting training has been extremely helpful informing character creation and dialogue.

 

P.S.: On your Facebook page, you post “Forgotten Friday” photographs of abandoned sites. Do these inspire settings for your stories?

S.M.: None of these specific photographs have inspired any stories yet. . . but I find something sad and haunting about abandoned places. Some are beautiful. Some are devastating. They all have their own forgotten pasts. So, those images make me wonder: what stories have been lost in the past of those places?

 

P.S.: Your contribution to the anthology Quoth the Raven is “The Cask,” inspired by Poe’s Amontillado story. I love that your story was made into a film, now available on YouTube. This is a dream held by many writers. How did the story-to-film transition happen for “The Cask?”

S.M.: I was teaching an online course for Margie Lawson’s Writer’s Academy about adapting fiction for film, and as I was pulling together material for the course, I adapted my short story, “The Cask,” into a short screenplay to use as an example. When I finished the script, I thought, “this would make a good short film.” So, with my background in film, I started reaching out to some friends in L.A. to help me make it happen. At the time, nothing came out of Los Angeles, but I was led to some filmmakers in Houston, where I live, who really loved the script and wanted to help me make it. In hindsight, I wish I would have directed “The Cask” since Hollywood really wants to see more women directors and it’s something I’m getting more interested in – but at the time, I was solely focused on getting the script produced. Long story short, I was the executive producer on the project. There isn’t money in short films so it wasn’t something I could go and seek out investors for. So, about half of the budget was my money, and the rest came from an Indiegogo campaign. I wish we’d had a bit more money since a couple pages were cut from my script. . . but we did the best we could with what we had (which is typical of filmmaking – especially indie filmmaking.)

For those who are interested, here is “The Cask” on YouTube. (It did win an award for best film adaptation and played at several festivals around the United States.)

 

P.S.: Congratulations on that film award! Next question: suppose you’ve traveled through time and met yourself at a point when you were first thinking of being a writer. What one thing do you tell this younger version of you?

S.M.: I’d tell myself to start focusing on writing earlier. The acting training was great, but I wish I would have gone into college as an undergrad knowing I wanted to be a writer. I knew I liked writing back then – I’ve known it since I was about eight years old – I just wish I would have been a lot more focused on it sooner.

 

P.S.: Is there a common attribute that ties your fiction together (genre, character types, settings, themes) or are you a more eclectic author?

S.M.: I find myself writing dark things. Supernatural. Horror. Dark fantasy. (The only exception with my fiction is my 9/11 story, “The Butcher’s Boy,” which is a psychological horror and thriller.) I’m beginning to see some common themes emerging in my writing: overcoming loss, revenge, redemption, fighting for something (or someone) you love/believe in. My screenplays and short stories to date have been for adults and young adults, but my novels (all of which are still works-in-progress) are strictly middle grade and young adult books – so far.

 

P.S.: What are the easiest, and the most difficult, aspects of writing for you?

S.M.: Sometimes I don’t feel like any of it is easy. LOL. I suppose the actual sentence construction and play with word choice are two of the easier things for me. The most difficult aspect for me in fiction is finding the voice of my book. Voice is such an elusive thing. James Scott Bell’s book Voice: The Secret Power of Great Writing is probably the best thing I’ve read that describes what it is and how to capture it.

 

P.S.: Your story “The Snow Woman” appears in the anthology Snowpocalypse: Tales of the End of the World. Please tell us about that story, its protagonist, and what inspired the tale.

S.M.: With an interest in history and myths, I often try to blend those into the fantasy and supernatural that I most often write. For “The Snow Woman,” I landed on the Japanese myth of Yuki-onna and my interest was immediately piqued. As for the mummification aspect of the story, I combined two practices from different regions – self-mummification of the Sokushinbutsu, a sect of Japanese Buddhist monks, and the shrunken head practices of the Jivaroan tribes of South America. I remember seeing the shrunken heads of a dark-haired woman and a mustached man in the natural history museum when I was a child. They terrified me. The Jivaroan tribes believed they could trap the spirit of an enemy by removing their head, shrinking it, and sewing the lips closed. This story was the perfect opportunity for me to use something that scared me for years.

 

P.S.: It’s been just over seventeen years since the 9/11 terrorist attacks. You wrote “The Butcher’s Boy,” available here, a short and gripping tale about a young man and his father experiencing the disaster near the Twin Towers. What would you like readers to know about this story?

S.M.: The terrorist attacks made me look at the world differently. They were horrific, but they also made me realize I was willing to fight for my country. I have a gap in my writing career – a time when I didn’t write creatively – and worked for a bit for the United States government. I was trying to make a difference. As for the story, I don’t want younger generations to forget what happened on 9/11. I want them to remember the people who died, the rescuers who sacrificed their safety (and lives), and the people who survived. I want younger generations to remain vigilant. And I want them to know that they can make a difference.

 

P.S.: What is your current work in progress? Would you mind telling us a little about it?

S.M.: I have a novel I recently “finished,” which is on submission. It’s a young adult story called The Devil’s Tree, which is actually an expanded version of my short story of the same name on WattPad. It’s a ghost story about a teenager overcoming her life-situation and learning to accept herself.

I also have two feature films in development. One is a psychological horror, The Murdering Kind, which is being directed by my amazing friend Academy Award winner Barney Burman. The other is The Lost Children of York, which is an adaptation of the play I wrote when I lived in London. The lovely and talented Edmund Kingsley is working with me on The Lost Children of York as a co-producer and actor.

 

Poseidon’s Scribe: What advice can you offer aspiring writers?

Susan McCauley: Read as much as you can. Write as often as you can. Revise. Revise. Revise. And, no matter what, keep working. Find other writers – good writers – to inspire and encourage you. The whole process can be an emotional roller coaster, and in such an isolated profession we all need people who can give us guidance and encouragement through the ups and downs of the process.

 

Thanks, Susan.

Readers, I know you’ll want to find out more about Susan McCauley. You can keep up with her at her website, on Instagram, on Facebook, on Twitter, and on her Amazon author page.

                                                Poseidon’s Scribe

October 7, 2018Permalink