Category Archives: Gender Issues

November 26, 2011 · 10:42 am

Meet Felicity Pulman …

I have been featuring fantastic female fantasy authors (see disclaimer) but this has morphed into interesting people in the speculative fiction world. Today I’ve invited the talented Felicity Pulman to drop by.

Watch out for the give-away question at the end of the interview.

Something’s gone wrong with my blog’s ability to embed videos. Here’s the link to Felciity’s great new promo for the Janna Mystery Series.

 

Q: We ran into each other at SheKilda, the women’s crime writers conference, but you write across a number of genres and ages. Your first novel (to appear under your own name) Ghost Boy was set in two timelines, the present and the past set, in part, around the small pox outbreak in 1881 when travellers were quarantined on arriving in Australia. There is a special Ghost Boy tour for school children at the Quarantine Station. It must be a real thrill to make a connection with children and bring the past to life like this. Have you been on the Ghost Boy tour and do you get a lot of emails from school children?

A: Yes and yes to both questions.  I found it very moving to watch my novel come to life up at the Quarantine Station. It’s a wonderful place to visit, very atmospheric.  It gives students a real feel for what life was like back in those times and of course they’re always sure they’re going to see a ghost!  (The guides themselves are quite sure the place is haunted!)

Q: In your Shalott Trilogy, which was inspired by Tennyson’s The Lady of Shallot a group of five Australian teenagers try to rewrite the legend and save the Lady of Shalott. Have you always been fascinated by the King Arthur legends? Have you been to the UK to see Tintagel Castle?

A: I wrote the Shalott trilogy because I was being bugged by the questions: why was the lady trapped in the tower, why was there a curse on her, plus the questions that followed on from that: what if it’s possible to go back in time and change history (or a legend);  what if you’re also rewriting your destiny at the same time? I didn’t know much about anything at first so it was a HUGE learning curve. I began to acquire a library of Arthuriana old and new, plus books on magic, on life in medieval time, and so on. And I went on my first research trip, following the ‘Arthurian trail’ through England, Wales, Brittany and France.  Tintagel was only one of the marvellous places I visited; other sites included Merlin’s ‘cave’ and Merlin’s ‘tomb’, Glastonbury and the Isle of Avalon, the ‘home’ of the Lady of the Lake, plus South Cadbury Castle, Caerleon and Winchester, all of which have been variously named as Arthur’s seat of power, sometimes called Camelot.

Q: Your current series The Janna Mysteries are set in England in the 1140s during the King Stephen/Queen Matilda civil war. This series contains a number of mysteries which the main character, Janna, has to solve. I think I’m seeing a theme here. You have a BA in Communication and an MA in Children’s Literature. Were you ever tempted to do further study in the area of history? (See Felicity’s Tips on Writing Historical Fiction).

A: Actually I’m a late convert to history; I found it so boring when I was at school, probably because my teacher didn’t teach it as the continuing soap opera it really is!  Those who marry – or murder for a crown, those who drive themselves to acts of great courage or bastardry for the sake of love, rivalry, power or wealth. Those idealists who dream of a brave new world, sometimes at a price too terrible to bear … the history I study is the history that informs my books. If I wasn’t so busy writing I’d love to go back to uni and immerse myself in the middle ages – or ancient Greece – or Egypt – or …? So difficult to know where to start!

Q: You wrote two of the Guinevere Jones books, based on the hit TV series. Was it hard to immerse yourself in the series and the back-story, then write creatively about characters you didn’t invent?

A:  Sophie Masson and I wrote the four books based on the series, working from notes, scripts and recorded episodes that were sent to us.  Writing the GJ books was a very different experience from anything else I’ve written.  The books also had to be written very fast so there really wasn’t a great deal of time for angst over characters and back story, we pretty much had to work with what we were given. So there wasn’t a lot of scope for imaginative input; it was more a recording of other people’s lives.  One of the things I need to do is walk the place I’m writing about, but this wasn’t possible as GJ was filmed on set in Melbourne (I live in Sydney) so I found that a real challenge – where do the characters go and what do they do once they go ‘off screen’?

Q: In an interview on Need to Read This, when talking about your new  book you say: ‘Most recently, I went to Norfolk Island. Hearts in Chains is a time-slip romance going back to the mid-19th century and the time of the brutal second penal settlement. I visited the museums, the ruins of the gaol, the houses along Military Road (now called Quality Row) and also Government House (and I am deeply grateful to the administrator and his wife for allowing me free access and even finding for me a hidey-hole for Alice to hide her diary!)  I think it’s essential for me, as an author, to walk in my characters’ footsteps, to experience the landscape and identify what he/she might have seen – wildlife, trees, flowers, buildings (or their ruins), weather and the light, etc.’ (Felicity has a whole page dedicated to research on her web site. See here). I envy you the chance to do this. Where will you be going to next to research?

A:  I loved writing the Shalott trilogy so much, and became so immersed in Arthurian legend that I’m thinking of revisiting that time and place, with hopefully the chance to explore the Arthurian trail once more.

Q: You write books with a strong historical base. In the past females had many restrictions on what they could do from the inability to own property to the choice of who they married. Do you ever worry that young readers could have trouble identifying with a female character whose life choices are limited?

A: Society might change but human nature doesn’t, so my belief is that readers identify with and feel sympathy for Janna’s predicament, left alone in a hostile world with only her skills and her courage to save her; her life constantly under threat from everything from wolves and wild boar in the forest to an assassin on a mission to silence her – quite apart from having to find such basic necessities as food and shelter to keep herself alive. And then there are the three young men in her life – who will she choose?  Readers are certainly VERY interested in that question!

Q: I’ve been interviewing quite a few authors and discovered many of them combine similar genres, mystery, fantasy and history. Why do you think these genres blend so well?

A: Good question! It’s not something I’ve considered before, but I think in my case I enjoy reading and writing all these different genres, and if you can combine them, so much the better! I particularly enjoy time-slip stories, combining history with fantasy although of course they can also encompass the future (like my favourite author Connie Willis, for example.)  Plus a mystery to solve or some sort of quest to fulfil is usually at the heart of every story, especially a fantasy.

Q: You go by the nick-name Flick. Did you have an annoying older brother who teased you and the name stuck? How did this come about?

A: I actually had an annoying older sister who called me ‘Fwiz’, which became the family nickname, while I was Fuzz (pronounced Fooz) to everyone else.  My family still call me that but anyone else does so at their peril!  I became Flick when I went to uni (in my late teens) and was christened thus by a girl in my res who subsequently became my best friend and who had known a Felicity/Flick at school.  Infinitely better than Fwiz, so I don’t mind that the name has stuck. ‘Felicity’ is far too formal.

Q: I understand you are cooking up a new project to write about. Can you share it with us?

A: It’s still in the cooking stage but, as I said earlier, it will be centred on King Arthur and Camelot, exploring in more detail some of the issues I found so fascinating while writing the Shalott trilogy – but this novel will be for adults.

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

A: I don’t read ‘high fantasy’ at all, so this is not a question I can answer, except to say there do seem to be any number of wonderful women fantasy writers around so I’m surprised by your observation. Perhaps female fantasy writers need to establish a Sisters in Fantasy, the equivalent of the international Sisters in Crime movement?

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

A:  Perhaps subliminally, not consciously.  If I find an author I like I’ll keep going, in which case I know what to expect.  With a new writer, I’ll go with the blurb and whether it sounds like an interesting story rather than defining it by gender.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

 A: Fun??  That’s a very difficult question with so many people and places to choose from!  Backwards?  Forwards?  Decisions, decisions…and the temptation to try to change the course of history while you’re at it!  I might opt for Jerusalem at the time of Christ. I always wondered how I’d have reacted to the Messiah if I’d been around then. I’m sure it would be a very interesting time and place to visit.

Give-away Question:  Following on from the question above:  if you could meet anyone past or present, who would it be … and why?

Felicity’s Blog

Follow Felicity on Facebook

Network with Felicity on Linked-in

Catch up with Felicity on GoodReads

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Filed under Australian Writers, Book Giveaway, Children's Books, Collaboration, creativity, Fantasy books, Female Fantasy Authors, Gender Issues, Historical Books, Movies & TV Shows, Thrillers and Crime, Thrillers and Mysteries, Tips for Developing Writers

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November 19, 2011 · 11:46 am

Meet Yvonne Navarro …

As the next of my series featuring fantastic female fantasy authors (see disclaimer) I’ve invited the talented Yvonne Navarro to drop by.

Watch out for the give-away question at the end of the interview.

Q: You originally wanted to be an artist. I’ve done some surveys of writers and found four out of five are aural – they listen to music when writing, but the other one out of five are visually – they collect images and ideas spring from visual sources. Do you collect images that haunt you and trigger ideas? When you write a book do you collect a file of images that you associate with that book?

I did, although I currently consider myself as a “sort-of” artist now.  I’m lucky enough to be at a point in my life where I can go back and actively chase a dream that might have otherwise slipped away.  I’ve finally taken some painting classes and collected some output, and we’re perhaps a month away from me having a formal art studio in which to work.  I guess that answers your question in a roundabout way—I’m a very visual person.  As that applies to writing, you hit it on the proverbial head: I collect all kinds of images.  Sometimes the images inspire me, sometimes I seek them out to go with a work already in progress.  When I wrote Mirror Me, I had a notebook with photographs of the characters, neighbourhoods, even the kind of furniture in some of the characters’ homes.  Now that I think of it, going all the way back to my first novel, AfterAge , I did the same thing but for the city itself– I got up on Sunday mornings and went downtown in the dark so I could take photographs of a completely empty downtown and get the “feel” of what Chicago might be like if it was empty of people.

Q: You’ve written four books in the ‘Buffyverse’ and contributed to three anthologies. I know a couple of authors who write for Starwars, or Stargate, or the Buffyverse. It always strikes me as taking a lot of discipline. You must need to immerse yourself so thoroughly in the Buffyverse that writing those characters becomes instinctive. Do you do a lot of research before you start?

Actually, I’ve written seven when you include the Wicked Willow Trilogy.  It’s been awhile since I’ve written a Buffyverse book, but I can say that I did research as necessary when I was involved in the projects, specifically to make sure I kept all the details and interactions correct.  However, I was definitely immersed in the Buffy universe, in that completely geeky way that someone lives and breathes a series or movie that they absolutely adore.  (I was the same way with Babylon 5.)  I can still quote lines from Buffy shows (“Those are my chicken feet!”), just as I can from certain Aliens movies.  :o)

Q: You have an impressive list of awards and nominations to your credit. Several final-listings in the Bram Stoker Award, a win for the Women In Publishing Award and a win in the National Federation Press Women’s  Award in the Juvenile book category, to name a few. I guess the champagne corks have been popping in your house. Does it help to raise an author’s profile when they place or win in these awards?

Perhaps, although I haven’t really been aware of it.  Willow Files, Vol. 2 won the Bram Stoker Award in the category of Young Adult Fiction, and yet it was the last YA book I wrote until co‑writing a YA adventure with my husband, Weston Ochse.  I will say that it’s awfully nice to have all your hard work recognized publicly.  Hopefully there’s a certain ex out there somewhere who sees it and gets a silent moment of “She told me so.”  Oh, wait—was that my out loud voice?!

Q: You’ve also written for Species and Ultraviolet. Does this mean that you see the movie before it is released, or do you work from the script? What happens if scenes get left out on the cutting room floor?

How interesting that you chose Species and Ultraviolet, which were polar opposite experiences for me!  First off, all of the movie tie‑ins are written from the script, before the movie is released.  The object is generally to get the book out preferably before the movie is released, or at the very least, at the same time.  With Species, I worked very closely with Dennis Feldman, the scriptwriter, and we had the best time.  He actually read the manuscript and would call me directly and make comments; by the same token, I could call him anytime and ask questions.  One particularly telling question he asked me after reading the manuscript was, “What about the bus stop scene?”  To which I replied, “What bus stop scene?”  This, apparently, was something that had been added into an updated version of the script after I’d already written the first draft of the book.  That he and I were able to talk back and forth like that is a real rarity in the world of movie tie‑ins, and it really helped to make the book the best it could be.  Folks who read tie‑ins know that the best thing to do is to see the movie first, then read the book.  Invariably things are cut from the movie script because of time and money; if you read about them first and then see the movie, you’ll be disappointed that they aren’t included. If you see the movie, then read about them in the book, you’ll be delighted at the extra stuff in the book.  Which, by the way, isn’t just deleted scenes—authors often include past history, universe‑building, and detailed characterization.

Ultraviolet was interesting because I never received a single comment or change request on the manuscript.  I know I’m not a perfect writer, and that’s happened to me a couple of times (it also happened with Hellboy), but feedback is always a good thing, you know?

Q: In a review of your book Highborn, the reviewer said: ‘The term ‘Urban Fantasy’ can strike fear into the heart of many people, and not in a good way. Thankfully, this first novel in Yvonne Navarro’s Dark Redemption series (which is now followed by CONCRETE SAVIOR) is an example of the genre not only done well, but done damn near to perfection.’ They go on to say that the book is refreshing. Was it hard to come up with a fresh take on this genre?

I remember that review, and to say I feel flattered by those nice words would definitely be an understatement.  But I also have to admit that I wasn’t aiming to write an urban fantasy.  When I thought of the basis for HIGHBORN and then planned it out, it was just the book I wanted to write.  It wasn’t specifically geared to any genre, and it wasn’t until my agent sold it and the purchasing editor called it an urban fantasy that I even thought about where it might fit in terms of sales.

Q: You’ve written over a hundred short stories. It looks like you are most comfortable writing what is called Dark Fantasy now, but used to be known as horror. What’s led you down this path? Did you discover Poe when you were thirteen and have never been the same since?

My Mom and sister always liked scary stories.  I grew up watching Creature Features, reading Creepy and Eerie magazines, and looking for the spookiest fiction I could find in the library.  The first movie I remember watching was Alfred Hitchcock’s “The Birds” at the drive-in.  I like a good, scary story because it gets your blood running and your mind working, and you don’t always know there’s going to be a happy ending.

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

I think people write the way they want to, and if there’s any difference, it’s because the writer does it intentionally.  There are men writing romances under pseudonyms and women writing crime thrillers using their first and middle initials whose own readers don’t realize are female.   If a woman believes she shouldn’t write about certain things because she’s a woman, she’s imposed restrictions on herself… and she’s the only person who can break those chains.  I don’t write like a woman.  I don’t write like a man.  I write like a writer.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

No, but I know that it does for some people.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

Well, it’s tempting to say I’d go backward and fix a few of my bigger mistakes in life, but then I’d probably just make different ones, right?  I tend to look at that on more of a personal basis than you’re probably intending.  If I stick to the fun side of things, I think I’d like to go into the future a hundred years or so, just to see where technology has taken us.  Of course, a thousand years from now we might actually have space travel.  Hmmmm…

Give-away Question:

Who’s your favorite female movie star heroine, and from what movie?

Yvonne says: If I was to answer this, it would be a tie between Sigourney Weaver from Aliens and Kate Beckinsale from the Underworld movies.

Follow Yvonne on Twitter:  http://twitter.com/#!/YvonneNavarro

See Yvonne’s Blog and Website.

Catch up with Yvonne on Facebook.

Catch up with Yvonne on GoodReads.

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Filed under Awards, Book Giveaway, creativity, Dark Urban Fantasy, Fantasy books, Female Fantasy Authors, Fun Stuff, Gender Issues, Genre, Movies & TV Shows, Publishing Industry, Young Adult Books

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November 16, 2011 · 8:05 am

Meet Chuck Wendig …

I have been running a series of  interviews with female fantasy writers to redress a perception I came across – that fantasy was a bit of a boy’s club. It really isn’t like that here in Australia. We have many wonderful fantasy writers who just happen to be female.

Today I’m interviewing Chuck Wendig because of his amazing ability to come up with 25 things about all aspects of writing, (for instance 25 Things you should know about Self Publishing) and also I thought I’d ask him the same questions I’ve asked the female writers about fantasy writing and gender, to get his perspective as a male writer.

Q: Your ‘Vampire Zombieland’ novel, Double Dead will be released in November 2011. That makes it sound like it is being unleashed on the world and we had all better look out. Having supplied a cover quote, I can say it promises to be a rollercoaster of a read. Did you find that this style of story came naturally to you? As I read it felt like it just poured out of you.

It did come naturally to me. The vampire Coburn is damaged goods, and I find it terribly entertaining to write broken people. Plus, there exists a powerful and obscene joy in writing about vampires and zombies – especially any time you can bring something fresh to it. I’m glad it went down easy.

Q: You’ve signed a two book deal with Angry Robot for Blackbirds and Mockingbird. Are these books very different from Double Dead? What’s the premise?

My initial – and, as it turns out, incorrect – response is that they’re pretty different.

Miriam Black, the protagonist of BLACKBIRDS and MOCKINGBIRD is a girl whose fate and the fates those around her seem woefully carved in stone: she can touch others and see how and when they’re going to die, and by the start of the first novel any attempts to sway death and change the course of fate for these people has only earned her misery. So she subsists as something of a vulture: she steals from the dead.

Of course, then it clicks: in a way, I’m writing about a vampire. A human vampire, one who’s very much alive and with a singular power that differs from the cabinet of horrors most vampires possess, but even still – she is a creature of death, marked by it, and she feeds off of it.

And, in a way, both of these novels ask—for Coburn the vampire and for Miriam the psychic—can they change who they are? Or are they really just monsters all the way to the marrow?

Q: They used to say being good at playing Pool was a sign of a misspent youth. You’ve written RPG games and contributed to over 85 game books. You developed the entire Hunter:The Vigil game line for White Wolf Studios. Is this a sign of a misspent youth? (For an interview on Chuck’s work in the medium see here).

Gosh, I hope it wasn’t misspent, since game writing is how I’ve been making a living writing! And, I’ll add: I seriously believe that all writers would do well to play games. Not just video games or board games, but actual pen-and-paper polyhedral dice role-playing games. Really gets your head around storytelling for an audience.

Q: The Chuck Wendig persona who writes for the Terrible Minds blog is profane, in-your-face, sharply insightful and funny. You have a real flair for humour. Often comedians say their humour springs from a dark, dark place. Is there a dark, dark place deep inside Chuck Wendig?

Thank you! It’s worth noting that the persona is pretty much the reality, though perhaps with the volume knob turned up a bit. Ask my wife – who I am on the blog is the guy she gets every day. (And woe, woe for her.)

As for, is there a deep and dark place inside me? Dang, I dunno. I wouldn’t say any deeper or darker than you’d find in other people. Sure, I hollow out the corpses of government workers and use them as bob-sleds, and I get sexual pleasure from watching owls eat mice, but that’s normal. Right?

Q: Other than the fact that you live on the west coast are married and have a small son, there is very little information about your live available on the net. Is this a philosophical stance you have taken?

I live on the East Coast, actually! Pennsylvania.

As for information about my life – I don’t think it’s all that scarce. I’m pretty bold and forthright about my existence across social media. Twitter, Flickr, Facebook. I don’t keep much of it a secret. I talked at length about when my dog died, about my father, about the trials and tribulations of being a penmonkey parent. About how I got drunk that one time and was found in a New Jersey rest area with an Ambien-dosed llama.

I’m fairly open.

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

Oh, jeez. I don’t actually read much fantasy. Though I will say that one of my favorite fantasy writers is a woman: Robin Hobb. I don’t know that it has anything to do with her, ahem, femaleness, but her characterization (particularly across both the Fitz-Chivalry series) is deft and elegant.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

I don’t expect that it does. When I read ZOO CITY by Lauren Beukes I wasn’t expecting anything because of her being a woman.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

Nebulous answer: the future. Let’s go with 100 years. Just to see how it all ends up. The past is interesting but ultimately, it’s done – it is what it is and where we are now is a result of that. The future, though, that’s where it gets interesting.

 

Catch up with Chuck on Google+.

Follow Chuck on Twitter. @ChuckWendig

Chuck Wendig’s Blog.

For a complete list of Chuck’s work across the mediums, see here.

For Totally Free Shit from Chuck see here.

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Filed under creativity, Fantasy books, Fun Stuff, Gender Issues, Movies & TV Shows, Music and Writers, Publishing Industry, Tips for Developing Writers

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November 12, 2011 · 9:09 pm

Meet Tara Moss …

As the next of my series featuring fantastic female fantasy authors (see disclaimer) I’ve invited the talented Tara Moss  to drop by.

[youtube=http://www.youtube.com/watch?v=Y7TdApnhmGE&feature=player_embedded]


Q: It’s funny that you should be at the women crime writers conference, then write a post about gender bias in publishing(with a follow up post), because I’ve been running a series of interviews on this topic. Were you surprised by the intensity of the reaction to your post?

I was particularly surprised by the swift reaction of Mr. Woodhead – particularly as he identified himself as a reviewer for the Age and was very quick to dismiss the blog as ‘privileged whining’. Ironically, though I do write opinion pieces, that particular post contained very little opinion. It was a casual blog, reporting statistics relevant to gender bias, the creation of the Stella Prize and info about the SheKilda crime festival I had just returned from. Honestly, I did not imagine it would cause such controversy, though I do think the responses reveal something important about the current climate surrounding gender issues.

Q: The SheKilda conference was run by Sisters in Crime. Even though the Australian chapter has been established 20 years and the original US chapter was established 25 years ago, there still seems to be a need for an organisation specifically to celebrate crime written by women. I have seen comments by male readers to the effect that they simply wouldn’t read a book written by a woman. When you started out writing did you consider using a gender-neutral name like T Moss?

I have never considered presenting my work as gender neutral, either in name or in style, though I don’t begrudge those who have made that choice, or who have had that choice made for them by publishers. Many of the greats, PD James, JK Rowling have made that choice. In Brazil, my novels are published under T.Moss, though that happened without my involvement and I only found out later.

[youtube=http://www.youtube.com/watch?v=Ij60AS2DHVQ]

Q: So many of the authors I interview write across several genres and across age groups. You have your Makedde Vanderwall crime thrillers (five so far) and the first book of your Young Adult Pandora English series has been released. I believe you have a young daughter. Are you tempted to try your hand at children’s books?

I’m writing a sixth novel in my crime series at the moment, and my second paranormal book with Pandora English will be out in a matter of weeks, so my writing schedule has been pretty packed this year, but I have had a children’s book series on the back burner for years now. Now that I am reading to my daughter each night, I may be closer to making that series a reality. Let’s just say that if I do make it happen, it won’t be about kittens with mittens.

Q: You’ve certainly immersed yourself in your research: spent time in squad cars, morgues, prisons, taken a polygraph test, shot weapons, conducted surveillance, acquired your CMAS race driver licences, been set on fire by a Hollywood stunt company and been choked unconscious by a professional fighter, all in the name of authenticity. Is there anything left that you’d still like to gain first-hand experience with? A trip to the moon perhaps?

If you have a spare ticket to the moon, I’d love to go for the ride. Truthfully, I am always looking for new opportunities to experience the world as others do, and to face my fears and push my own personal boundaries.

Q: You are a UNICEF Goodwill Ambassador and an ambassador for the Royal Institute for the Deaf and Blind Children. What exactly does this entail and how did it come about?

I’ve been an ambassador for the Royal Institute for Deaf and Blind Children for over a decade now, and I am really impressed by what they do for children who are visual or hearing impaired, and their families. They help to close the learning gap and ensure a life enriched by literacy. I host their annual charity flight, which is their biggest fundraiser each year, and I lend my hand to other activities for them where I am able, whether it is visiting the schools at the institute or promoting their work.

My involvement with UNICEF began in 2007 when they appointed me a Goodwill Ambassador, and they recently gave me a larger role, appointing me UNICEF Patron for Breastfeeding for the Baby Friendly Health Initiative (BFHI) in Australia, which involves advocating for breastfeeding women in hospitals, the workforce and general community, promoting breastfeeding as the normal and healthy practice that it is, and hopefully combating some of the misinformation on the topic. BFHI is a program spearheaded by the World Health Organization and UNICEF to support mothers and babies, with the aim to hopefully raise the rate of breastfeeding in Australia to the world standard. (The exclusive breastfeeding rate here is about half the world average at the moment) I encourage expectant mothers to choose a BFHI accredited hospital if they can, or to ask for BFHI protocols in their birth plan.

(For more information see here)

Q: You lost your mother while in your teens (I can’t imagine the gap this would leave), and you now have a baby daughter. It wasn’t until I had children of my own that I began to appreciate the dedication it takes to rear a child. Do you feel closer to your mother, even though she is no longer with us, now that you have a child?

My mother, Janni, passed away 21 years ago, and I still think of her every day. The evening my daughter was born was emotional for me on a number of levels. It was a beautiful time, but also bitter sweet, as I felt the loss of my mother particularly keenly that day. But I felt her presence as well. Our mothers never really leave us.

Q: You host the true crime documentary series Tough Nuts – Australia’s Hardest Criminals for the Crime and Investigation Network, and you do a series of author interviews for 13th Street Universal Channel called: Tara Moss in Conversation. This must take up a lot of your time, what with the research and the actual filming. How do you get time to write? Do you have a routine that you stick to?

I’ve always been quite self-motivated as a person but in the past couple of years I’ve had to become good at time management, particularly since giving birth to my daughter. I abhor routine, however. I love what I do and I just dive in and do it as best I can. I have a personal motto of sorts, which is that life is too short to live the same day twice. Thankfully, life holds a lot of adventure for me – if not very much sleep. I love the contrast of television work, journalism and fiction writing. Each provides a different challenge.

[youtube=http://www.youtube.com/watch?v=hR1hGkwKWqE&feature=related]

Q: I believe there is a new Pandora English book due out soon, The Spider Goddess. Why spiders? Are you phobic about spiders?

I am intrigued by ancient mythology and folklore, and the fable of The Spider Goddess caught my eye. As with The Blood Countess, I took truth and legend and wove it into a modern tale, set in an alternate New York. I wasn’t arachnophobic to begin with, but…

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

Men and women don’t necessarily write fantasy differently because of gender, although more women tend to write female leads, and more men tend to write male leads. I love stories with great female characters, but I read everyone from HP Lovecraft and Neil Gaiman to Charlaine Harris and Marianne de Pierres.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

If it does, I think that change in perception is largely unconscious.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

My time machine would take me to Mary Wollstonecraft’s bedside in 1797, as she gave birth to Frankenstein creator Mary Shelley. I would keep the doctor away, or teach him about disinfecting his hands, so she would not die of puerperal fever, the ‘doctor’s plague’ that killed women and children for two centuries before germ theory was better understood. I often wonder what more Wollstonecraft, the author of Vindication of the Rights of Woman, would have achieved if she hadn’t been taken from us so young.

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Filed under Australian Writers, Conferences and Conventions, Covers, Dark Urban Fantasy, Female Fantasy Authors, Gender Issues, Paranormal_Crime, The World in all its Absurdity, The Writing Fraternity, Thrillers and Crime, Thrillers and Mysteries, Young Adult Books

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November 8, 2011 · 10:52 am

Meet Ian Irvine …

Today I’m interviewing Ian Irvine because someone where I work turned around this week and said, I don’t read much fantasy, but I love Ian Irvine’s books. I’m also asking Ian the same questions I’ve asked the female writers about fantasy writing and gender, to get his perspective as a male writer.

Look out for the give-away at the end of the post.

Q: You have a PhD in Marine Science (plus you’ve travelled a lot in your capacity as a marine scientist). The PhD must help when you’re writing your eco-thrillers (Human Rites series), but did the scientific mind get in the way when you are writing your Three Worlds Cycle, fantasies?

I’ve been interested (indeed, fascinated) by science since an early age, and decided I wanted to be a scientist around 13 or 14. And since graduating, I’ve worked in the field for the past 30 years, as an expert on contaminated sediments in the bottom of harbours (a world-wide problem). My background was of particular help in writing the Human Rites trilogy, which is set in a near-future world of catastrophic climate change, not least because I did a research project decades ago researching ice ages over the past 5 million years, and I’ve maintained an interest in climate change ever since. My scientific experience and knowledge proved useful in trying to predict what the world of these books would really be like, and how that would affect the lives of the characters.

Actually, my scientific mind proved particularly helpful in writing my Three Worlds fantasy novels, in world-building, for instance. Because I’d studied all the major scientific disciplines, I was well-equipped to design both plausible and realistic worlds for the series, and a variety of intelligent species to inhabit these worlds.

It was also invaluable because the life experience a writer has determines the kind of books he or she writes, what he writes about and how he sees the world. For instance, Tolkien was a philologist – he studied languages – and he created the languages of Middle Earth before he wrote the stories. A lot of fantasy writers (eg George RR Martin, Sara Douglass) have studied history, and this colours the stories they write. Other fantasy writers draw inspiration from myths, legends, fairy or folk tales, ancient literatures, and so on. But I’ve never wanted to draw on history, mythology or literature for my stories, and neither did I want to write in traditional settings. I wanted to tell my own stories in my own way, in worlds I’d created myself.

Two writers I particularly enjoy who have a strong scientific background are Laura Kinsale (romance – she was a geologist) and Diana Gabaldon (genre-crossing stories – Ph.D. in marine biology). Personally, I find that my scientific background gives me a unique perspective in writing fantasy, and that’s a good thing, because it makes my writing different to other authors. For instance, if I’m describing a common fantasy phenomenon such as a portal, I imagine what it would really be like – differences in temperature, humidity, air pressure etc between the two locations could lead to a gale howling through the gate as soon as it opens, or water vapour condensing in clouds of fog etc. This kinds of realistic details help to make the story more grounded and real.

Q: You’ve written 27 books including fantasy, eco-thrillers and children’s books. Do you find readers follow you from genre to genre? Do you think kids who read your children’s books will grow up to be readers of your fantasies and/or eco-thrillers?

Most readers don’t genre hop, unfortunately, and few of my readers who are fantasy fans will ever read my eco-thrillers. I know this because both fans and booksellers have told me. For this reason, publishers don’t like their authors (especially the big name authors) writing in other genres, because they know most of their readers won’t follow. Raymond Feist once said that it took years before his publishers would agree to let him write Faerie Tale, because it was so different to his other work.

Having said that, children are less fixed in their reading tastes than adults. And all twelve of my kids’ books have been fantasy in one form or another, so I’m hopeful that many of those readers will read my epic fantasy stories when they’re older.

Q: Your office looks absolutely wonderful! Such a peaceful place to write. But you didn’t always have a fancy office. In an interview on Tristan Bancks‘ blog you say: ‘I wrote the whole first draft of one of my big fantasy novels, The Way Between the Worlds, in my spare time on a consulting assignment in Fiji. I’ve also written in a sweltering mine site donga on Horn Island in Torres Strait, at the top of a mountain in Papua-New Guinea, in Mauritius, Indonesia and the Philippines, and on long jobs for the World Bank in Korea.’ Would you say if the story is compelling enough a writer can write anywhere?

I am blessed in my office; it’s where I’ve done almost all my writing for the past 20 years. Though it didn’t start out a writing office and, when it was built I couldn’t have justified the expense (being unpublished then) as a place to write. It was built as my consulting office, and it’s where I went to work every day as a marine scientist until I became a ‘full-time’ writer in 2000 (I still do quite a bit of consulting; I have 1.5 full-time jobs).

I wouldn’t say that if the story is compelling enough a writer can write anywhere. Rather, that if the urge and need to write is desperate enough, a writer can write anywhere. In those days, working as a marine scientist, I had to make use of every free second to do my writing otherwise I would never have got it done.

 

Q: You children’s series Grim and Grimmer sounds like a heap of fun. During an interview on DG Yarns you say:  “After about twenty-four hours of hard labour I came up with a great title, Grim and Grimmer, and every time I mentioned it, people smiled. See, you’re doing it now.

So I sat down, invented the silliest and most extravagant characters I could think of, then sketched out a fiendishly complicated plot where they only got out of one desperate trouble to plunge immediately into a worse one. And every time I thought, no one should ever suffer like this, I went har, har, yes they should, and thought of a hundred and three more ways to torment them, working on the principle that if the characters are having a good time, my readers aren’t.’

After your serious eco-thrillers, do you have to do anything to get into the right frame of mind to write your Grim and Grimmer books?

Not really – pain and torment does it for me every time (author sniggers at the thought). Seriously, I was overcome by the opportunity to write a kind of book I’d never written before – humorous adventure fantasy for children – and when the chance came up, I grabbed it. The only problem was that I was frantic with other deadlines and it was difficult to set aside the uninterrupted time to write and edit each book. But when I got the time, and planned the books in detail, they flowed quickly. They were the most fun I’ve ever had writing and I’m sorry the series is finished.

Q: In your Runcible Jones stories you follow the plot device of having an ordinary boy go through to another world. Were you a big fan of the Narnia books growing up?

Oddly, though I was a voracious reader from an early age, I didn’t read fantasy as a child – neither The Hobbit, the Narnia books nor any other fantasy I can remember. I don’t know why, because I loved fairy tales and mythological tales. I can only assume that those books weren’t in the school library (I went to a couple of one-teacher primary schools as a kid, where the books came in book boxes and the choice was quite limited).

I loved SF when I was at school but only discovered fantasy at uni – Tolkien, Ursula le Guin’s Earthsea series, etc. As for the Narnia books, which I also started at uni, I absolutely loathed them – perhaps one has to read them in childhood. I found them sanctimonious, moralising, sexist and thoroughly disagreeable. I think my view of characters travelling through gates or portals came from SF rather than fantasy – I guess, in particular, CJ Cherryh’s Morgaine trilogy (Gate of Ivrel, Well of Shiuan, Fires of Azeroth) which I read in the late 70s.

 

Q: I like your premise for the Sorcerer’s Tower series. Your main character is ‘the only kid in the world who can’t do magic’. It immediately turns the trope of ‘the chosen one’ on its head. Do you like to play with the genre tropes?

Not deliberately. To be honest, I’m not sure I understand what a trope is. Having Tamly being the only kid who couldn’t do magic just ‘seemed like a good idea at the time’. But I hate writing stereotypical or archetypal characters – princess, magician, warrior etc. I avoid them if I can, or if I can’t, I like to twist or invert them. Hey, maybe I am playing with the genre tropes without knowing it.

Q: You’re working on a new fantasy series, the Tainted Realm, with the first book, Vengeance, due out in November 2011. Do I detect a hint of world under threat by natural disasters? Do you find your world-view as a marine scientist creeping into your writing of fantasy?

To your first question, yes. To the second, no, I don’t think so. My first degree is in geology and I think it has more to do with my fascination with geological disasters.

Earth’s history is peppered with life threatening catastrophes, whether due to earthquakes, super-volcanoes, abrupt climate change, enormous tsunamis, droughts that lasted for hundreds or thousands of years, catastrophic floods the like of which we’ve never seen, comet and meteor impacts like the one at Tunguska, Siberia, in 1908. Human civilisation has grown up in an extraordinary benign period over the last few thousand years and we assume that this is the norm. But it’s not, and disasters that could wipe out civilisation are actually extremely common in Earth’s history.

Such a disaster would make a great story setting, and that’s where the interest lies for me – telling stories in settings no one has used before.

For those who are interested in this topic I can recommend Professor Bill McGuire’s terrific little book, A Guide to the End of the World. The Armageddon Online site is also full of inspirational joy.

 

Q: Ian, you’ve been very generous in sharing your expertise. You did a great post on the ROR blog about your Adventures on Facebook and you have a whole page dedicated to Writing Tips on your blog. Do you get approached by aspiring authors at events?

It’s hard to succeed at writing and I like to help people where I can. Over the next few months I’ll be expanding the Writing section on my site to several hundred pages.

I’m approached by authors at cons and events from time to time, though I’ve invariably found them to be polite and interested rather than pushy. But the problem I have (and many other authors are the same) is that I have to say no to people who ask me to read their work, because if I said yes I wouldn’t get any of my own writing done.

Q: I see you have a competition running to Win an iPad. (Tell you what, I’d love an iPad). Do you find that running competitions like this help you reach out to readers?

I’m not sure that competitions help me to reach out to readers, but I’m convinced that social media do. The main reason I’m running the competition is to attract my existing readers to my Facebook author page. I was rather late in coming to Facebook but I’m totally converted – it’s a fantastic way to communicate with my readers, to hear what they’re interested in and create a genuine community of like-minded souls. It’s much better than email or blogging. And if I have a question, I often get dozens of great answers.

I’m also running the comps to attract new readers, of course.

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

I’m not aware of that perception (about a boys’ club), but I haven’t been to the US for decades, and to the UK only once in the past 30  years. And I’m not an active member of the fantasy professional community so I don’t know what people are currently talking about. Having said that, I certainly formed the view, when I was starting out in writing in the 80s, that fantasy was a boys’ club, since a majority of the big name writers were male.  I think that’s changed a lot over the past 15 years, and definitely in Australia where most of the bestselling writers (eg Sara Douglass, Kate Forsyth, Juliet Marillier, Cecilia Dart-Thornton, Fiona McIntosh, Trudi Canavan, Karen Miller, Kylie Chan, Marianne de Pierres) are women. Perhaps less so overseas.

I have five sisters, and my wife has three, and I have two daughters. Perhaps that’s part of the reason why I never wanted to write macho fantasy shackled by historical stereotypes, where the blokes had all the adventures while the women did traditional women’s stuff. It’s fantasy, for God’s sake! The author can create any kind of society he or she wishes.

Back in the 70’s and 80s, when there was a fair bit of feminist fantasy around, I used to think there was a big difference between fantasy written by males and females. But now I’m not so sure. There are plenty of women writers who are writing more violent and less emotional fantasy than I do.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

Not for me. I love Robin Hobb’s writing, and JK Rowling’s, and Lois McMaster Bujold’s (her fantasy eg The Curse of Chalion, not her SF), among many other female writers.

The only thing that changes my expectations is the author’s ‘brand’, ie the associations of what kind of a read I can expect based on the author’s name.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

Probably to the lottery office or the stock market. Definitely NOT to the races – I’m particular about who I hang out with.

Or to the great library at Alexandria to pick up some originals before it was burned.

Failing that, to the core of the galaxy to touch up my pallid complexion in the light of a million suns. Or back to the time of the Cambrian Explosion where there was a fantastic and never since equalled burgeoning of life of all kinds – though I’d probably be eaten by a trilobite. It would also be interesting to be on site a few minutes before the Big Bang – though I expect I’d (briefly) regret it, lol.

 

To win an advance copy of Vengeance, Book 1 of Ian’s new epic fantasy trilogy The Tainted Realm:

Giveaway Question:  Name the most irritating character in a fantasy novel. What cruelly ironic fate would you like him/her/it to suffer?

 

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November 2, 2011 · 8:31 am

Meet Alan Baxter …

I have been running a series of  interviews with female fantasy writers to redress a perception I came across – that fantasy was a bit of a boy’s club. It really isn’t like that here in Australia. We have many wonderful fantasy writers who just happen to be female.

Today I’m interviewing dark fantasy author, Alan Baxter. I thought I’d ask him the same questions I’ve asked the female writers about fantasy writing and gender, to get his perspective as a male writer.

Look out for the give-away at the end of the post.

Q: I see you live on the South Coast of NSW. Does that mean south of Sydney? This area there, in fact the whole coast, is very beautiful. Do you find that, as a creative person, you’re influenced by your surroundings?

Yes, south of Sydney by about an hour and a half. It’s dairy country, wide open, rolling hills. We’re in a valley with the escarpment at our backs and a five minute drive to the beach. Best of all worlds and absolutely beautiful.

I am very much influenced by my surroundings, but I still tend to write a lot of urban-based stuff. The city is an incredible muse for me, a living entity with everything that goes along with that. But living in the country gives me the headspace and peace conducive to writing. I lived in the city for years and loved it, but I’m a country boy at heart. Even if the city does still inform a lot of my work.

Q: You write Dark Fantasy books , what used to be called horror. RealmShift and MageSign look like they follow the one character. Is this an ongoing series like Jim Butcher and Simon R Green’s work?

I question the distinction you made there. I write horror too, but dark fantasy and horror are different things. A lot of what’s generally referred to as horror is better classified as dark fantasy in my mind. Other examples would be a lot of Stephen King’s work (Dark Tower, for example), a lot of Clive Barker’s stuff (like Weaveworld). While these people are often thought of as horror writers, and they are, they also work in dark fantasy. There’s a difference between two for me. My publisher actually refers to my novels as dark fantasy thrillers, which is the best description in my opinion.

RealmShift and MageSign follow the main character of Isiah and are a duology. While each can be read alone, MageSign follows directly from the events in RealmShift. But I don’t know if there will ever be more Isiah books. A couple of Isiah short stories have been published here and there, but I’d need a really solid idea to write another Isiah novel. Never say never, but it’s not happening any time soon.

In the meantime, I’m working on a new series, a trilogy in the same world as the Isiah books, with entirely new characters. But Isiah does make a brief cameo in the first one.

Q: There’s a particularly British sensibility about Simon R Green’s Nightside books. You are British-Australian. Would you say your book reflected this hybrid sensibility?

Definitely. I’m pretty well travelled and will get away to walk the Earth at the drop of a hat. It’s only money that prevents me from living a life constantly on the road. With RealmShift I was very deliberate about not identifying the opening city. The book moves on and the characters go to places like Guatemala, but the initial part of the book is in “the city”. It could be Sydney, London, New York – I wanted it to be everyone’s city.

MageSign is different. It’s very much an international book, but Sydney and the NSW outback play a major part and the whole book heads to those places. But it starts in Britain and I draw a lot on my experience of different countries to flesh out my stories as much as possible. I’m very keen on a sense of place being prevalent in my work, whether that place is actually identifiable or not.

Q: As well as books you are also a short story writer. I notice you have a story in Keith Stevenson’s new anthology Anywhere but Earth. I take it this is a science fiction story. Are you an SF fan from way back? Did you grow up in a house filled with books or did you discover Asimov (for instance) in a second-hand book shop?

I’ve been a fan of everything fantasy and science fiction since I was a kid. But I didn’t grow up with it – my parents were keen readers, but definitely not genre fiction. They always encouraged reading, pushed me to improve, and I fell in love with it instantly, but I found genre fiction myself somehow. From a very young age I devoured things like Lord Of The Rings and Earthsea. I graduated to sci fi and horror and never looked back.

Q: You have also written a serialised story about bounty hunter called Ghost, Ghost of the Black: A ‘Verse full of Scum’. What prompted you to follow in the footsteps of the greats like Charles Dickens and write a serial? Was it hard to keep up the pace?

I wanted to generate some more interest in my website and promote my other work, so I used the old marketing ploy: Give some stuff away and hope people come back to buy more. I really liked the idea of writing a serial and posting a new episode every week. Apart from the increased site traffic, it appealed to my love of the old series like Flash Gordon and Rocketman that I loved as a kid.

But I cheated. Ghost Of The Black is a roughly 30,000 word novella, which I serialised, but I wrote it all in advance. So keeping the pace wasn’t an issue. I had the whole thing ready to go and started posting a new ep every week throughout 2008. I would tweak and edit a bit each week, but it was largely a done deal. I’m not sure I’ll do it again though!

I’d like to write more stuff with Ghost and his exploits. Hopefully I’ll get around to that some day, but I won’t serialise it again. Maybe I’ll self-publish his further exploits as ebooks to accompany the existing ebook I released once the serial was finished.

Q: I see you work as a martial arts instructor and personal trainer – you disprove the sedentary writer stereotype. Your martial art is Kung Fu. I’d studied each of these martial arts for five years: Tae Kwon Do, Aikido and Iaido, the art of the Samurai sword. Plus I dabbled in Ju Jitsu. What drew you to Kung Fu?

Monkey and Hong Kong Phooey. If you don’t know those things, you must check them out. I started in Judo as a kid of about 11 or so. Then I tried Karate when my Judo teacher moved away, but I didn’t like it. What I did like was Monkey fighting off demons with his magic staff, and Hong Kong Phooey with his Hong Kong Book Of Kung Fu. So I went out seeking a Kung Fu school and found my physical and spiritual home. I’ve done it ever since.

I’ve studied a variety of Kung Fu styles to one extent or another, but for the last 15 years or so I’ve studied and taught Choy Lee Fut Kung Fu.

Q. You recently presented at the Emerging Writers Festival in Brisbane, a crowdfunded event. How did that come about and what was your part in it?

The EWF is a great initiative putting on events all over the country for writers. It’s obstensibly for emerging writers, but it’s really of great value to all writers. The Brisbane event was all about digital writing – writing for online markets, promoting yourself and your work online and all the opportunities and pitfalls around those activities. I was invited up to present as part of the panel on using the online environment to promote your work, to get work and to work for you. I blogged about it quite extensively here.

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

Yes and no. Some people write in a very gender specific style, and I know I’ll cop some shit for saying that, but it’s true. Some female writers, for example, have a style that’s extremely feminine and targeted mainly at female writers. Some males have the same things going on for the men. Of course, that doesn’t mean the other gender can’t read and enjoy those things, but there is a definite difference.

But other writers are completely gender-neutral in their style, to my mind. Whether they’re male or female is irrelevant to their writing and their readers and they’re just telling good stories. The vast majority of writers fall into this category, I think.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

Not in the least. If the book appeals – the blurb grabbed me, the cover interests me, friends have recommended it or whatever – then gender is irrelevant. And if it’s a style of book I don’t enjoy it’s rarely, if ever, a gender-based decision. Some things work for people and some don’t – no writer can appeal to everyone all the time.

Some of my favourite writers working in genre fiction at the moment are female, in fact, and I agree with you that whatever the perception globally about SF being a boys’ club, that’s definitely not the case here in Australia. We have a plethora of talented female writers. A look at recent publications in SF in Australia would probably lean heavily to a female predominance, in fact.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

This is a tough one. So many possibilities. The answer that sprang immediately to mind is that I would go far into the future where time machines are ubiquitous, buy one and carry on exploring. But that’s like wishing for more wishes.

If I had just one time jump, much as it would be fantastic to go back and see ancient civilizations and all that, I would have to go forward. Jump a thousand years into the future, maybe, just to see what humanity has done with itself.

The dark fiction writer in me sees my arrival in a barren, wasted landscape, destroyed by the folly of man, where I would instantly die, poisoned by the toxic atmosphere of a world we’ve destroyed. But the optimist in me sees vast cities, interstellar craft exploring the galaxy and wonders of science that would seem like magic to us now. That’s something I would love to see. Still, I suppose I can just wait instead.

Giveaway Question: 

A copy of RealmShift to whoever can best capture the difference between horror and dark fantasy in a single sentence!

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October 29, 2011 · 9:39 am

Meet Kim Wilkins …

As the next of my series featuring fantastic female fantasy authors (see disclaimer) I’ve invited the talented Kim Wilkins to drop by.

Watch out for the give-away question at the end of the interview.

Q: I once heard you describe yourself as a girl from an average family in Redcliffe (a bayside suburb of Brisbane). For someone who won the University of Queensland Medal for Academic Achievement and went on to do a PHD, this is a long way from the long hot summers of your childhood. If you could go back to that little girl and give her one piece of advice, what would it be?

Chillax, little girl. I grew up with an alcoholic dad, we never had money, I was unpopular at school, so all I ever did was fantasise about escape. I was drawn to books because I could disappear into them, and found the disappearing act was a billion times more brilliant if I was writing the story instead of reading it. I was so desperate to get away from that horrid life, and I worked so hard to be free of it. I still have a tiger on my tail, and still wish I could chillax even as a grown-up.

Q: Your first book The Infernal won the 1997 horror and fantasy awards. In an interview on Tablua Rassa you said: ‘I’m still waiting for someone to describe my work as Stephen King collaborating with the Brontë sisters. There’s such a strong feminine element, and often a strong historical element, and horror as a term isn’t elastic enough to cope with those extra elements.’ I love the description f Stephen King collaborating with the Bronte sisters. With your love of history and literature were you ever tempted to take the Bronte sisters and give them a more exciting life? (I’m thinking what you did in Angel of Ruin with the Great Fire of London and Milton’s daughters).

I was tempted, yes, but then somebody did a similar story (something about Charlotte being a murderer?) and I’ve never been all that interested in writing about the 19th century. I’d already written Grimoire, which was partly set in that period, and that had scratched the itch sufficiently. I tend not to go back to a historical period twice without a compelling reason. That would be like going to the same place over and over on holidays.

[youtube=http://www.youtube.com/watch?v=8GubOhvDxvE]

 

Q: You wrote 7 dark fantasy books in 8 years. Since Rosa and The Veil of Gold came out you haven’t written another adult dark fantasy. Have you been letting the ground like fallow so that when you come back to the genre you’ll feel refreshed?

I started writing another, but every time I sat down to work out how it might end, or what kinds of events might structure it, I kept repeating myself. I found this utterly dismaying and lost my confidence and hid in my bed for a while. Then I came out and said to my agent that I wanted to do something else for a while. That’s when I started writing the Kimberley Freeman books, which are epic romances, I guess, or adventure books for women. The problem (if it can be called that) was that Kimberley Freeman has done very well, so I was signed up for more of those. But I have recently finished a novel, a straight-up historical fantasy (nothing dark or urban). I published a novella that is kind of a prequel in 2010’s “Legends of Australian Fantasy”. I would like to write at least one more book set in that world. I still think I might come back to my original dark fantasy idea, but we’ll see where life takes me.

One thing that does annoy me is when people say, “you ought to write a book with angels in it” or the like. I have to say, “I already did.”

Q: You write for both Children and Young Adults. Your stand alone YA book The Pearl Hunters is set in 1799. I know have a deep love of history. In your YA series The Sunken Kingdom there are castles and ships and children in peril. Does having a good grounding in history help you produce well rounded fantasy worlds?

I’m just too lazy to create fantasy worlds from nothing. Seriously. The thought makes me feel completely drained. So I find a historical period and add magic. I find historical research easy and stimulating, and it makes me great at Trivial Pursuit.

Q: The Gina Champion Mysteries were contemporary YA with a supernatural twist. ‘From witchcraft to ghosts, from curses to spirit possession, the Gina Champion books are smart, sassy, and very scary.’ There were five books in the series and the last one came out in 2006. Are you tempted to dip into Gina’s world again?

No. I’m too busy. Too busy. I work at UQ, I teach at QWC, I am two authors. I can’t write for children as well. I feel as though I have the brakes on when writing for children or young adults. I find it very stifling.

Q: You also write women’s fiction as Kimberley Freeman. That’s a big leap from horror and YA paranormal-crime. Do you feel like you have to think yourself into a different head-space to write the Kimberley Freeman books?

Yes and no. Wildflower Hill is just The Resurrectionists without ghosts. The stories are very similar, just some of the conventions are different. I love being Kimberley Freeman some days, and other days I want to kill her. But it’s still writing; it’s still that immense pleasure of making up stories that I have adored for as long as I can remember. There doesn’t always have to be dragons.

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

I couldn’t say with any confidence. I don’t think fantasy is a boys’ club by any stretch of the imagination. When I think of contemporary fantasy writers, the first 10 names that pop into my head are women.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

It’s nothing to do with the writer. It’s to do with whether the book has a female lead. I have to have a female lead. Women generally write better about women. So in a roundabout way, maybe the answer is yes.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

England, 8th century. But just for a few days.

Kim has a copy of Rosa and The Veil of Gold to give-away. The Give-away Question is: If you could meet one of the Bronte sisters,  Jane Austen or Mary Wollstonecraft Shelley, who would it be and why?

 

See Kim’s Blog

Catch up with Kim on Facebook.

 

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Filed under Australian Writers, Book Giveaway, Characterisation, Children's Books, creativity, Dark Urban Fantasy, Fantasy books, Female Fantasy Authors, Gender Issues, Genre, Historical Books, Publishing Industry, Readers

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October 22, 2011 · 8:44 pm

Meet Anita Bell …

As the next of my series featuring fantastic female fantasy authors (see disclaimer) I’ve invited the talented powerhouse Anita Bell  to drop by.

Watch out for the give-away question at the end of the interview.

Q: First of all, major congratulations on Diamond Eyes winning the 2011 Hemming Award for Excellence in Science Fiction and Fantasy Themes. Since this is award is not necessarily awarded every year, winning must have come as a wonderful and welcome surprise. Did you consciously set out to explore the themes of race, gender, sexuality, class and disability in the book?

Actually, Diamond Eyes is a story about freedom and independence. But since my main character is a young woman who is blind, sexually inexperienced, and misdiagnosed by nursing staff who all treat her as crazy as well as handicapped, all those other themes grew organically in a way that also resonated strongly and unanimously with the judging panel.

Sad but true; while working for ten years in a mental health facility, I saw young men and women routinely castrated or medicated to suppress their sexual development, often without their knowledge or consent (due to the fact they’d been declared unfit to make such decisions on their own). So this part of Mira’s story is inspired by a young handicapped couple I met, who’d both been disabled through a contagious disease, but eventually regained their independence through modern medications and therapies – and when it came time that they’d recovered enough to have healthy children, it was too late. They’d both been “cared for” in their best interests.

[youtube=http://www.youtube.com/watch?v=LkbKh4hGmSU]

Q: Following on from that, we were part of the QUT Cohort doing a Masters while writing a book. You produced Diamond Eyes. What was the research question you were exploring with this book?

Funny story: It started out as;

How can I crack the big markets overseas and for movies?

But since that was too big a question for a masters and required too many non-existent definitions about degrees of cracking, and how big is big etc, my lecturer dis-engorged the “choke” from my throat and encouraged me to narrow my focus to the more definitive;

How can a novel manuscript be ‘re-visioned’ to create a more satisfying draft.

(Where satisfying is defined by a self-assessed improvement that results in a commercial reward that had previously been unattainable.)

So the dissertation I wrote is called: Revisioning a “Novel Concept”: Beyond vision and revision to advanced editing strategies.

But since a lot of the research is drawn from the film industry, and from mega-best-selling works from overseas, and since a lot of the advanced editing strategies are topics that are never normally discussed in most writing workshops, it might as well be called;

Tips on how to crack the big markets overseas and for movies.

Sound familiar? Hehe.

David Meshow the theme for Diamond Eyes.

[youtube=http://www.youtube.com/watch?v=qERvjhq7tCg&feature=player_embedded]

Q: You have a wonderful book trailer (LOL, my husband did it). The music is by David Meshow. Recently, we were on a panel together where you walked us through the process of finding the musician, approaching him and what has happened since. I’m sure people would find this fascinating, as it’s an example of cross-pollination between creative people.

Wow, yes! We’ve chalked up more views than a lot of big budget Hollywood movies and over 300 Youtube Awards in 17 countries, including;

#1 Most Discussed, worldwide in Feb & March

#2 Top Favourited, worldwide in Feb & March

#2 Top Rated, worldwide in Feb and March

Normally, I thrive in silence while I’m writing and editing, but at all moments in between I refill my creative energies by filling my home, my car – even my saddlebags with music.

Three of my characters love music, and play instruments, so I spent a lot of time on youtube looking for talented amateurs with the same kind of interests. People who could not only play, but play so well, they make it look easy by playing with a relaxed sense of humour. I also looked for people who could play with their eyes closed and invent their own tunes on a wide range of instruments, and that’s how I came across David Meshow – who can do all of that, and resembles Mira’s bodyguard in looks and personality. Best of all, he taught me out how to play electrical instruments outside, around a campfire – so I could make a scene work properly in the sequel Hindsight.

Then after being inspired for so long by David’s music, and his advice during my research stages, I wrote to ask permission to use one of his original instrumental pieces for the book trailer during the launch, because that piece has brilliant moments of violin and xylophone along with all the other instruments that gave it a unique offbeat quality which also dramatically suits the chase scenes at the end of Diamond Eyes, the novel.

But when I mentioned the novel and what it was about, he was so inspired by the unique concept behind Mira’s eyes that he offered to write a piece to suit her specifically.

And that’s what the Original Theme to Diamond Eyes is. Close your eyes, and you can image yourself blind. Open them again and imagine the world around you isn’t today. It looks how things did a century ago, even though you can still feel all the invisible *real* things around you – so if the three story building you’re in wasn’t there back then, well, now you’re standing in mid-air, looking down on the world. Living in two worlds at once. That’s the core idea, and David’s really nailed it with the official theme song. He’s got millions of fans now, but they all seem to agree. Diamond Eyes is the best yet, and I have to agree. But then, I’m biased! Hehe.

Q: I understand there are two more books in the Diamond Eyes series, Leopard Dreaming and Hindsight.  When is the last book of the trilogy due out? And what will you do after this?

Interesting question, because it’s not a traditional trilogy. Diamond Eyes is a stand-alone story set in an asylum, Serenity, which is on a sub-tropical island in Queensland.

Then the duet of sequels; Hindsight (just launched) and Leopard Dreaming (June 2012), are both set on the mainland, during a brand new stage of her life. They’re also much faster paced than Diamond Eyes.

If you liken them to movies in the film industry, then Diamond Eyes would be the pilot, and the next two would be the mini series. So you don’t necessarily need to read Diamond Eyes to enjoy Hindsight, but you’ll definitely need to read Hindsight before taking on Leopard Dreaming in the new year.

 

Q: In a post on the ROR site you say … ‘SF is not dead – from my perspective it’s morphing/maturing beyond the “pure” genre of science fiction into speculative fiction (the new meaning for SF[1][1]), in a way which offers room for a natural blend of genres which must also complement each other uniquely for each story. Effectively, this permits a wider scope for wider technologies and invites more possibilities and opportunities to cross-dress our genres.’ You go on to say …’ In our own fast-changing world, which is already rife with “fantastic” opportunities and “tomorrow technologies” is it any wonder that such elements are so readily accepted in the environment of a wider story – often even expected – by a market that can still shy away from health food if we label it health food? To many people, it seems that science fiction sounds more like “homework” while fantasy sounds like a “holiday”, and yet how many wouldn’t go anywhere on holiday without their mobile phone, ipod or laptop?’  I love this quote. How near future is the Diamond Eyes series? Would people feel at home in this world?

It’s tomorrow fiction, akin to James Bond, but nowadays, most genres need to be tomorrow fiction to some degree during the writing stages anyway, or else the technology can date the story too quickly and make it seem old fashioned too soon.

e.g.

So I’m constantly inventing new technologies based on my best guesses from existing products and research, and very often those “fantastic” new gizmos are hitting the market by the time the book is.

Off the top of my head, technologies that I invented for my stories in the last ten years, only to have them invented for real by the time the books launched, include;

  • Electronic pens, which convert any sketches into a text file or digital image.
  • Night Owls, a form of high tech night vision goggles which can also see through buildings using sound waves akin to mobile phone transmissions. Now also used in airports for full body scans.
  • NOR:STAN, the National Orbital Reconnaissance: See Through Anything Network. Same principle as nights owls, but also incorporating technology from the mining industry as a larger scale satellite system to help find lost bushwalkers, people trapped in burning buildings, and even terrorists in underground bunkers.

Even Mira’s Hue-dunnits – her electronic sunglasses which can change colour – are now in development as a fashion accessory to suit any wardrobe.

[youtube=http://www.youtube.com/watch?v=eAXBTXnVHns]

Q: You write in many genres under a number of pen-names, including a set of best-selling non-fiction titles, award winning adventures for children and even wickedly funny romance for women. You’ve always been a writer of exciting stories. What was the first thing you wrote seriously to submit?

A cosy crime story, called Budgie Soup, which was published in 5 countries, including the USA’s prestigious Murderous Intent Mystery Magazine, and won the Penguin Award, as part of the Scarlet Stiletto Awards, way back last millennium, in 1999.

Q: You say if you hadn’t been a writer you’d be …’ A cartoonist, vet or research scientist. And as it turns out, writing allows me to do bits of each!’ I can relate to research scientist. I think writers have to have enquiring minds. But cartoonist and vet? Why these two? Are you good at drawing and can you ‘talk to animals’?

Hehe… something like that.

To be a vet, we need to be astute at understanding body language – which works for characters as much as for animals. Pets can’t tell us where they’re hurting, and often characters can’t either. How we treat animals also helps to define us, not only as individuals, but also as a society.

Same goes with cartooning. It’s a social science that’s heavily dependent on observation of the human condition, as individuals, and in society, and how we perceive ourselves through the lens of humour also helps to define us.

To be a vet, we need great compassion, but humour is more often a dark art that can throw masks over fury, injustice and tragedy.

Q: You seem very comfortable writing a fast paced action thriller and moving across genres. A good book is a good book, no matter what the genre. Do you have any advice for writers to help them improve the pacing of their books?

Short sentences. Listen to men speaking, and compare to women on the same subject. Guys rarely use more than 8 words in a sentence at a time unless they’re explaining something, while women rarely use more than 12.

In action scenes, guys tend to get serious with only 2 to 6 words at a time, while women often clip down to 8 or less.

If you think that’s an exaggeration, watch all your favourite movies with the sound muted and subtitles on – and take notice how clipped conversations can get as the images speed up. Or take a ride on a train or bus with your ipod switched off so you’re listening to other people around you.

Q: You had a friend who attempted suicide when you were younger. You said …  ‘From the time we were both 10, we both had to ‘be mum,’ looking after our other brothers and sisters before and after school, and I had to manage my parents’ farm as well when they went away on business. On top of this we went to a high school where extreme pressure existed to be the best we could be. Students came from all over the world because of their high standards and we had to compete against them, too. My friend passed the breaking point.’ Are you tempted to write something that would reach out to teens who feel overwhelmed?

Yes, but not for a while. I can’t write really dark material unless I’m detached from tragedy myself and that’s definitely not this year. Otherwise, writing dark material only tends to take me down further, and once those chemicals in the brain start triggering the downward spiral, it’s a hard cycle to break free from again. And I’d never write that sort of thing without an uplifting ending, because it was soul-destroying misery-lit with downers for endings that drove my friend over the edge all those years ago. Don’t get me wrong, I love a good book that leaves me weepy, but if they’re not tears of hope, love or joy – if they leave me feeling empty and emotionally wretched – I’d never go anywhere near it. If I want to be depressed, I’ll read a newspaper.

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

Historically yes. Absolutely. But I’d like to think the last 10 years has become a bit more like this:

 

There’s been plenty of times when I’ve been told by readers that I must have had some of my stories written by my husband. Apparently, I’m not supposed to know how to field strip a Styr or Glock and put it back together again without it blowing up in my face. Or how to turn a gum tree into a signal tower, use scorpions and black light to navigate an underground tunnel, or the horns of the moon to tell north from south in either hemisphere.

At the other end of the scale, I know a subset of male writers who can really get inside a woman’s head well enough to write convincing female characters – but a lot more who can’t.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

Depends on the name they choose to put on the front cover, especially if it’s very feminine or hyper-masculine.

e.g.  Stephan King was always going to rule the page once he nailed his genre, and Karen Slaughter was never going to write little kiddies faerie tales.

Then there’s androgynous names, like AA Bell, Sonny Whitelaw, JR Ward etc, where the writing style is far more likely to appeal to both genres. Or at least try to, more often than not.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

Ah, but if I told you, I’d create a paradox and a full set of alternative futures in another dimension. Just thinking about it is enough to split the future in two; one in which I do, and one in which I don’t.

Cool timing; there’s a new scientific theory (evolved from string theory, which in turn evolved from studies of nuclear explosions) that our present and past have already been shaped by our future in all its permutations in all dimensions. And that many things about Fate seem inevitable, because they’ve already been tampered with by those who’ve already travelled.

So assuming I’m one of them, and have already made the trip – or “will have going to have made it” at some time in the future (or alternate time line) – you can rest assured that all my friends will have nice things happen to them, while all those who’ve been nasty should be grateful I don’t hold grudges… much.

<insert evil laughter>

Give-away Question:

It’s said that everyone has something they’re naturally or uncannily good at – so good, you might call it a super power. Mira’s gift is seeing the past, her stalker can hear the future, while my own superpowers are merely green lights in heavy traffic and finding the perfect parking space when I most need it. (touch wood!)

So what’s your super power?

 

Catch up with Anita on Facebook

on GoodReads: www.goodreads.com/aabell

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Filed under Australian Writers, Awards, Book Giveaway, Book trailers, Children's Books, Collaboration, creativity, Dark Urban Fantasy, Fantasy books, Female Fantasy Authors, Gender Issues, Genre, Inspiring Art, Music and Writers, Nourish the Writer, Paranormal_Crime, Promoting Friend's Books, Script Writing, Thrillers and Crime, Thrillers and Mysteries, Tips for Developing Writers, Writers Working Across Mediums, Writing craft, Young Adult Books

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October 15, 2011 · 1:00 pm

Meet Kim Falconer …

As the next of my series featuring fantastic female fantasy authors (see disclaimer) I’ve invited the talented Kim Falconer to drop by.

Watch out for the give-away question at the end of the interview.

Thank you, Rowena, for inviting me here to chat. What a wonderful idea, fantastic female fantasy authors!

Q: In a post on Nicole Murphy’s blog, you talk about having a dream and realising your potential. Your dream was to be published. You list a series of questions starting with – Why do I want to be published? That culminated in the realisation that you wanted to ‘be of value’. This was a dream exercise from Jeanette Maw, the @goodvibecoach. Do you use exercises like this in your everyday life to understand what is motivating you?

Absolutely! I live by the old Delphi motto, (recently cited by the Oracle in The Matrix) Know Thyself. These are the two magic words for living an authentic life.

We always have a choice to either live by our ‘default’ – the cultural conditioning, expectations and assumptions – or to take time to really know our genuine core values (which may be wildly different than our cultures). Like writing a character in a book, when we know the motivation, we know what’s driving the action and when we know what’s driving the action, we know the destiny. At that point we can ask, is this what I want? If not, we can change course. We all have the power to be who we are and it begins always with know thyself.

Q: Your first trilogy, Quantum Enchantment, you splice DNA and travel between parallel worlds. It seems to be a mix of SF and fantasy. And your second trilogy, Quantum Encryption, picks up the threads again. With such complex story lines and time lines do you have a huge flow chart to keep track of everyone?

Much of my creation process takes place in my head but I do keep a little booklet for each series with pertinent data like my character’s sun signs and other relevant astrology, their histories (which may not appear in the book itself) and places, familiars, memories, dreams, appearance, and, most importantly, time lines. When you write time unfolding in both directions, it pays to keep a close watch on it or things can get away!

I ran into a bit of trouble in Arrows of Time, book #2 in the Quantum Enchantment series. For starters I found the English language lacked the words to express the meaning of symmetrical time (time flowing in both directions simultaneously). In a way Arrows was my answer to the hard problem of time at the ‘quantum’ level. It does go both ways and this books shows us what that might be like to live out.

You could say there was a flow chart for Arrows. For twelve months a whole sliding glass door next to my study was covered in it. Wild!

Q: In an interview on The Fringe you say: ‘People don’t realise writing is as challenging and complex as brain surgery. You have to work on the cadavers first, learn all the anatomy and physiology and bio-chem of prose and storytelling before you cut a live one! It takes practice. I mean, nonfiction is objective, intellectual but fiction asks for more. It asks for your whole heart.’ Writing from the heart, do you find yourself exploring similar themes in your books?

The themes in my books are multilayered. There is an adventure component which simply invites the reader to immerse and come along for the ride. There is also an intention to expand my readers’ consciousness through the experiences and conflicts they encounter. Some of the philosophies are heady, I am told. But the true essence of the books is the heart. Everything from the heart. I came from a nonfiction and academic publishing background and the whole enchantment for me in writing novels is to get out of my head and into my heart!

Q: You have your own astrology page, Falcon Astrology. You say astrology has always been a part of your life as your father used to ‘use horoscopes in conjunction with financial adventure and business management’. Your interest in astrology has taken a different path. You say you are interested in ‘ancient wisdom, mythology with mystical traditions, art and poetry’ and are ‘ever seeking the hidden worlds of the inner self’. I read somewhere that the constant connection to the internet (people in offices dipping into social networks on and off all day, people constantly using their phones to keep up with social networks), has led people away from connecting with their inner-selves. They live on the surface, never delving deep. This person recommended turning off all electrical devices for a weekend, every now and then, just to take the time to be in the present. Do you do this?

This is a good question. I don’t think superficiality and the internet are synonymous. I’m actually doing the Deepak Chopra Centre’s 21 day meditation challenge, and that of course, is online. It’s amazing. The meditations are wonderful and just knowing you are participating with hundreds of thousands of other mediators makes is quite a powerful collective exercise.

People will be connected or disconnected regardless of whether they have the internet or not. It’s a tool. It only matters how we use it.

For me, I’ve researched and written 7 books in four years and that’s pretty much an everyday dedication – me, a quiet room, my word processor, the internet. I do take time out daily to meditate, run on the beach, walk in nature, work on my rooftop garden  and be with friends, familiars and family. It’s all about creating balance, at least in my case (I can be a real workaholic!)

Q: In an interview on Beauty and Lace, while talking about growing up in the 60s and 70s you said: ‘I had to outgrow my cultural conditioning and adopt less biased beliefs to feel fully empowered. Having my son at age 29 was a huge turning point. When you have the creative force of Mother Earth flowing through you, it’s hard to feel like an underdog. Seriously enlightening transformation!

Currently being female brings to mind the Strength card in the deck of Tarot. Do you know the one? A woman is depicted with a lion, Ishtar’s beast. It’s an image of power and seduction, wisdom and instinct. I think that sums things up nicely.

Being a woman has also given me quite an edge writing these last six books. There are issues of gender that ring all the more true because they are written from direct experience.’ I notice you have strong female characters in ‘Journey by Night’. Was this something you set out to explore or did it just evolve as you wrote the book?

Journey by Night is the sixth and final book in the series and tells the story of Kreshkali and Nell, characters introduced in the very first book. Because of the incredible fortitude and strength of these two women already established, telling their story involved showing how they go that way, how they became the people readers know them to be. Already I have reports of a lot of tears and ah ha moments as some of those reasons behind their quirks, strengths, fears and magical inclinations are revealed. Very satisfying to read and write.

Did I plan them to be strong from the beginning? You bet!

I don’t know many women who really enjoy reading about victims that never find the wherewithal to beat their odds, at least, I don’t! My women are heroic, both vulnerable and hardened, smart and streetwise, loving and imaginative. . . you know. Women!

Q: The list of all the things you’ve studied is fascinating. ‘Alternative health, Jungian Psychology, art history, quantum physics theory, metaphysical philosophy, self-sufficiency farming, marine biology, veterinary nursing, dressage, animal husbandry, SCUBA diving, and nursing mothers counseling. I hold diplomas in herbal medicine, nutrition, vet nursing, farrier science, literature and am a board certified lactation consultant. I’ve also studied yoga, music (banjo, mandolin, guitar), mythology, tarot and of course, astrology’. You’ve been studying Iaido for seven years. I did five years Iaido. I loved it for the beauty of the movements and the philosophy behind it. Have you done other martial arts? (I also love yoga!).

I love that you found Iaido relaxing. I can see how, once the incredible awkwardness of the samurai sword is a little under control, it can be that way. But I had true warrior woman sensei and she was anything but relaxing! Having said that, my worlds, she was good and what I learned went well beyond the mechanics of the practice. Like you said, the philosophy and the heart of the sword –  so empowering and beautiful. I’ve done Aikido, Hop Kido, yoga, chi kung and archery. All very beautiful and centring disciplines. It’s the sword work that has supported my writing the most. I took it up so I could write authentic fight scenes!

Q: That’s a cool ‘time portal’ on the front page of your web page. Do you have a background in graphic design? (Reading on I discovered your son is an artist).

KimFalconer.com is a collaboration with my son. He’s the animator and graphic artist. I am the coder. I learned all the html/CSS in a  socio-technology degree through Open University Australia (another point for the internet – the course was offered at Curtin University on the other side of the continent!) I love web design. Having such a fabulous artist is a wonderful bonus!

John Waterhouse - The Siren

Q: John Waterhouse Painting, The Siren inspired your new trilogy Amassia.  It’s co-written with your cover artist/animator son, Aaron Briggs. (I love the Pre-Raphaelite artists and Waterhouse’s The Lady of Shalott is one of my all time favourites). I’ve discovered there are visual writers and aural writers. Aural writers like to play specific music while they write to get into the right frame of mind for each book. I’m guessing you are a visual writer?

Visual yes, but it’s more than that.

I’m really transcribing. The story plays out in front of my eyes. It’s like watching a film only I am fully immersed in all five senses. My only hope is that I can type fast enough to keep up with the action and the dialog!

I like silence and quietude. The more isolated I am, the more the inner world comes alive!

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

 

I would probably have to read a few thousand more books to answer that with any authority but with my experience, I can give you a firm, yes and no. Yes when we think of stories with first person protagonists like Charlaine Harris’ Sookie Stakchouse. A guy could write her (think of the men writing romance under pen names) but Charlaine’s perspective is very much a product of her society and very biased female. Just the way sookie stops to put on makeup (between vampire and were attacks), shave her legs and think about her sex life rings ‘female’. I don’t see Jim Butcher writing a woman that way. His Dresden, on the other hand, is American male. We see inside a man’s head, and it’s brilliant. (Same with China Mieville) In the case of these authors, you can feel the female vs. male style in the writing.

Then there are authors like David Eddings and Fiona McIntosh. They have both written fabulous fantasy tales and though there is a strong feeling of gender in the characters, you could swap author names and not know the difference in terms of being written by male or female.

As in any genre, the author brings themselves to the work and that means every book will be different, a unique expression which adds to the whole of the field.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

Ah, not until I begin to read. As I said above, sometimes the gender of the author seems relevant and sometimes not so much so. It depend a lot on the tense it’s written (first person and male by a male author gives us some hints right ways – we are in a guy’s head!). Stories that are more epic where the politics of the worlds drive the plot, the focus is off the characters, to some degree, and more on the stakes. With new authors, and familiar, I like to leave my expectations behind and let them surprise me.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

That’s easy. I would go back to 575 BCE to ancient Mesopotamia and stand in front of the Ishtar Gate of Babylon. To walk into that city under the Ishtar Lions and visit the hanging gardens would be a trip of a thousand life times!

 Give-away Question:

If you were a young witch (male or female) training at Treeon Temple and about to meet your familiar – a creature you would be bonded with for life, in constant communion with and able at times to ‘trade places’ with, what would that creature be?

 

Follow Kim on Twitter:  @KimFalconer

Catch up with Kim on Facebook.

See Kim’s Daily Astro Flash here.

Subscribe to Kim’s New Moon News Letter.

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Filed under Australian Writers, Book Giveaway, Characterisation, creativity, Fantasy books, Female Fantasy Authors, Gender Issues, Inspiring Art, Nourish the Writer, SF Books, Writing craft

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October 6, 2011 · 7:26 pm

Meet Jo Anderton …

As the next of my series featuring fantastic female fantasy authors (see disclaimer) I’ve invited the talented debut novelist Jo Anderton to drop by.

Watch out for the give-away question at the end of the interview.

Q: You entered the 2008 Orbit/QWC Manuscript Development competition and your book was among the 10 selected for further development. This must have been a wonderful opportunity. Can you tell us a little about the experience?

The Orbit/QWC Manuscript Development program was absolutely amazing. The opportunity to meet a publisher from Orbit and get face-to-face feedback on my book was invaluable. We also got to spend a week in beautiful sunny Queensland, doing nothing but working on those novels, under the mentorship of the generous and wise Marianne de Pierres. The ten other writers were a great bunch, and we’ve kept in touch since. They’re like a support group and a cheering squad all in one! We even gave ourselves a name, we are the Orbiteers!

Even though I had the flu at the time and couldn’t quite make it to all the activities (sadly I did some lying in bed feeling sorry for myself while my fellow Orbiteers were learning and networking and being generally fabulous) it was still a defining experience for me. The book I took to the program didn’t end up selling, but the experience I gained, the things I learned and the people I met truly helped Debris get to where it is today.

Q: You have since gone on to sell this book, Debris, plus the sequel, Suited, to Angry Robot. Congratulations! Editor Marc Gascione says: ‘With the ever-increasing popularity of Japanese and Korean anime, manga and computer games, it’s been surprising that there hasn’t been more SF and fantasy showing its influence. Debris’s mix of SF and fantasy themes, exotic future-medieval settings, Dune-esque warring factions, and a fabulous kick-ass heroine is exactly the sort of on-trend science fiction Angry Robot was set up to publish. We’re damned pleased to have Jo on board.’ Are you a manga fan? Did you realise you were writing cutting edge SF?

Thank you! It’s still very exciting! And sometimes I find it hard to believe it’s real.

I’m a big fan of manga and anime, as well as video games. All three are definitely influences on Debris. Manga like Fullmetal Alchemist, anime like Planets, and pretty much every Japanese RPG I’ve ever played! I particularly love the mix of magic and technology in games like the Final Fantasy series.

I certainly didn’t set out to write cutting edge anything. I mean, I wanted to write something that felt different, but fun was always more important than different! I also wanted to play with that combination of magic and technology, and create a world where the lines between them are blurred.

 Q: Your debut novel Debris is described as ‘far future, where science is indistinguishable from magic’ and also as your ‘own unique vision of steampunk’. (For sample chapters see here).  Have you finished the second book and, if so, what project are you working on next?

It’s been really interesting seeing how other people describe the world in Debris. While it’s definitely got some steampunk elements, it’s also kind of futuristic and a little dystopian. As I was writing it I was quite firmly convinced it was fantasy, just a different kind of fantasy. I guess I’m seeing now that it’s a little bit of everything.

Yes indeed, the second book is finished. At the moment I’m working on something completely different! I call it a ‘post-apocalyptic romantic comedy, set in Sydney of the not too distant future, with ghosts’. It’s a world of fun!

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy?

In the way they write? Not that I’ve noticed. A lot of blokes have influenced my addiction to genre. My Dad read Tolkien to me, I loved his old E.E. Doc Smith and Theodore Sturgeon, and I’ll never forget the day I found my first David Eddings book in the local library. But so did Julian May, and Marion Zimmer Bradley, and Katharine Kerr, and then Sara Douglass and Jennifer Fallon, and more! I’m still finding new addictions.

As I type this I’m trying to think what the differences might be? I wouldn’t say one is more bloodthirsty than the other. I don’t think one gender does more romance, or better romance. Or more politics, or better politics. Isn’t it interesting that those are the first ‘differences’ that occurred to me? Bloodthirstyness, romance, and politics.

But is there a difference in the way their books are marketed? And discussed? And awarded? I reckon that’s where the important differences lie.

It's a thrill the first time you see your book out there in the real world sitting on a bookshop shelf.

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

Ah no. I’d say my expectations are based more on the blurb on the back, the publisher (yes, I actually notice publishers and imprints! But that could be due to my day job), the endorsement quotes, recommendations from friends, stuff I’ve read on the internet… Cover image (I’m a sucker for a good cover, I can’t help it). The usual!

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

Into the future, definitely. I’d like it to be a Gene Roddenberry type future, with space travel, and exploration. I’m not so sure it would be. But I want to know how future generations will look back on us, what we did, what we could have done, and the kind of planet we bequeathed them.

Give-away Question:

One of the things I love about those Japanese RPGs is there’s always a bigger baddie. The evil-doers you think are the baddies aren’t the real deal, there’s always an ultimate enemy you don’t know about, usually hiding in plain sight. So, for the giveaway prize, who is your favourite ultimate baddie?

 

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