Baroque
The Calling of St. Matthew was painted from 1599 to 1600 by an artist known as Caravaggio, and was the piece that won him lasting fame. I chose this work because the dramatic lighting and easily identifiable emotions on the subjects’ faces are common qualities of the Baroque style. It highlights several new techniques and ideas of the times, and endures as an impressive work, even today. The figure of Christ is placed on the edge of the painting, only his head and upraised arm visible, emerging from deep shadows. This positioning is directly contrary to the Renaissance practice of placing the most important figure in the center of a work. A robed man stands next to Christ, possibly a disciple or apostle. A group of well-dressed money-lenders sit at a table counting coins and poring over ledgers, two of which fail to see Christ’s arrival. St. Matthew is one of these, his head bowed as his hands greedily separate gold coins. One of the lenders points to himself wonderingly, mistaking Christ’s pointed finger as intended for him. A dynamism to the figures’ arrangement and form speaks of the tension of the event, with the lenders looking on in confusion at the solemn face of Christ. Warm light spills from a high window, casting complicated shadows from limbs and folds of clothing. The palette is narrow, mostly earthy browns and yellows, but saturated reds and even greens can be seen.
While difficult to assign a specific set of characteristics to, the Baroque period certainly saw painters emphasizing realistic depictions of un-realistic subjects in everyday situations. For example, Caravaggio took this well-known scene from the Bible and placed the fantastic event (Christ calling a sinner from his greed to join Him in his ministry) into a very human and naturalistic setting. His subjects are relatable, not idealized, shown in believable positions, not contrived postures. The pronounced chiaroscuro (called tenebrism) of the lighting and darkened background, painstakingly rendered through real-world observation in his studio, was a stylistic breakthrough and influenced many artists of the Baroque period and later. It brought a new level of three-dimensionality and a theatrical quality to art.
This scene is more than just a depiction of a biblical story. It also serves as an allegorical warning. By placing the figures in contemporary clothing (of the time), Caravaggio gives the viewer pause, perhaps in an attempt to spark a thoughtful and emotional reaction in them. The meaning is clear: we are all sinners and slaves to greed. Only Christ can save us, if we but listen to his call.
The Calling of St. Matthew brought a new standard to painting, challenging artists to observe and recreate the reality of the natural world. Its subjects, blemishes and all, brought art closer to the common people, inviting everyone to benefit from its message, not just the aristocracy. This humanization of biblical figures was no doubt an instrumental influence on the later works of Realists, beginning a tradition that eventually led to the Impressionist movement and the popularity of candid photography.
Neo-Classic
Parnassus was painted in 1761, a work by Anton Raphael Mengs. I chose this piece because of its solid embodiment of the Neo-Classical ideals of simplicity, harmony, and order. The clothing stays firmly within the expected Neo-Classical palette of primary colors, and the figures within the careful framing pose with decorum, formed with severe idealism. The clear connection to the tenants of the Neo-Classical movement is thorough and plain.
The scene depicts Apollo (the god of music, intellectual inquiry, and poetry) surrounded by muses. He stands as a vitruvian nude, save for a drape across his shoulders. A wreath of laurels crown his head and another is clutched in his formally upraised hand, perhaps intended as a gift. A lyre rests on his hip, calling to mind his role of dominion over music. The muses surrounding him are arrayed in colorful clothing from antiquity, dancing, composing music (or poetry), and posing with elements of the theatre. Aspects of Classical architecture are evident in the fluting of the small corinthian column and Apollo’s sandals. The collection of figures calls to mind a sculptural frieze, with little attempt at creating a sense of depth or three-dimensionality. Little to no ornamentation shows the Neo-Classic reaction to the gaudiness of the Rococo, and the calm, almost sedated expressions of the subjects defy the emotionalism of the Baroque.
The laurel leaves symbolize accomplishment, and combined with the elements of dance, performance, and music, is meant to convey worldly achievements in the arts. The message is nearly didactic in its overt depiction of excellence, championing the merits of the Classical era and adherence to tradition (the use of Classical orders and ornamentation in art and architecture), suggesting that the viewer also, should claim such virtues as honor and restraint.
Paintings such as Parnassus contributed much to the growth of Neo-Classicism, influencing later works that in turn brought a renewed interest in the ideals, or virtues, of the classical past. With its noble air and simple execution, Parnassus helped bring about the development of many new styles, some complimentary, others in direct opposition to Neo-Classicism.
Romanticism
Romanticism was a direct reaction to the values of Neo-Classicism, replacing didactic pieces featuring reason, primary colors, and statuesque figures with the strange and fanciful, portraying feeling and imagination. Johann Henry Füseli embraced this rebellion when he painted The Nightmare in 1781. The subject of this painting is that of dreams, specifically nightmares. It gives an fantastical portrayal, going so far as to show the dreamer within the composition, side-by-side the ghouls she dreams of. A young woman lays draped upon a bed, her upper torso and arms falling over the side, long tresses of wavy hair cascading toward the ground. She is dressed in clothing reminiscent of the Classical past: a simple but well-made garment of filmy white material. The contours of her body show through sensuously, revealing an idealized form not unlike those within Neo-Classical pieces. A nightstand plays host to several jars and perfume bottles, while the carved wood and gold-trimmed tassels speak of wealth. Her face might be that of a former lover from Füseli’s own life.
Upon the dreamer’s stomach perches a sinister incubus, caught in the motion of turning to face the viewer, his bulging, darkened eyes piercing through the surface of the painting. Thick limbs and stocky legs give it a sense of immense weight, as do the shadows cast across the majority of its body, pinning the woman to her bed. This could well be a reference to the sensation many report feeling while experiencing nightmares: being unable to move despite the clawing desperation of fear. It is said that the incubus’s grim face bears a resemblance to Füseli himself, a fact that if true, casts the portrayal of a former lover as the dreamer in a new, disturbing light. In the background, the night mare pushes its head through the thick red drapes, nostrils flared, teeth jutting, and eyes rolling wildly.
The prominent shadows, reminiscent of tenebrism, dictate the use of copious blacks, highlighted dramatically by light source from beyond the frame that makes the pure white of the dreamer’s gown glow. Deep red drapes and blankets add color, as do the browns of the incubus’s corrupted skin. Paint is applied with less attention to detail than previous works; the lack of defined outlines representing rather than describing details.
The fantasy with which this supernatural piece is painted, along with the dark elements of fear and the indiscernible madness of the horse draw the viewer in, eliciting an emotional response, a primary goal of Romantic art. The beauty of the dreamer’s form and the grotesque features of the incubus are shoved side-by-side, displaying a juxtaposition that was thought to lead to the Sublime, a state of great admiration and awe.
Romanticism isn’t one particular style, or even collection of styles. It is an approach that attempts to find truth in intense emotions and experiences, be they exquisite or ghastly. The Nightmare contains elements of both, though the painting as a whole leans to the disturbing. The meaning of the work is ambiguous, though some conclusions can be drawn: the inclusion of recognizable features from the artist’s own life can be interpreted as a venting of negative feelings after being shunned. Even so, the meaning of the piece remains subjective rather than reasonable and easily interpreted, another tenant of Romanticism.
Impressionism
Claude Monet’s Impression: Soleil Levant (Sunrise) was the first true Impressionistic painting, created in 1873. It was painted as one of many works intended for exhibit outside of the accepted Salon system in order to rebel against the Académie. Thirty oft-rejected artists sought to engage the art viewing public directly, bypassing the critics. The reviews of the resulting works were generally positive, but one man named Louis Leroy, dubbed Monet’s contribution scathingly as impressionistic because of its obvious brushstrokes and unfinished look, not knowing that the term would stick, and eventually come to represent an entire art movement (Stokstad et al 984). It was this rebellion against the Salon system that brought about the modern art age. Monet uses colors exclusively to represent the scene. A small boat drifts in a harbor, the two men inside mere silhouettes against the rising sun. In the background to the right a group of masted ships ride at anchor, their bulk barely visible as a collection of vertical and diagonal lines of color. To the other side we see the tall smoke stacks of industry, plumes of smoke hovering in the air, partially obscuring the sun. This scene would have been absolutely common in his time, making this a modern-life painting.
Monet uses pure pigments in this work, with little mixing of paints, instead relying on the science of optics and color theory to create the proper hues. Blues, purples, oranges, and yellows are all applied with care and purpose. The palette lacks any blacks, whites, or grays, utilizing varying saturation of pigments to represent light and shadow. Brushstrokes themselves also play a role in the forming of shapes, using differently sized swathes of color to create a “feeling” of the objects, as opposed to plainly describing them.
One of the main components of Impressionism is realism, in that objects and people are represented as they are, true to life. Many artists, such as Monet, employed the practice of plein-aire painting (open air paintings, where the subject is directly observed). Because of this, casual subjects such as the harbor in Impression: Sunrise became popular, in part from the growing popularity of photography, a relatively candid art form. The realist ideas of the Impressionism movement eliminated symbolism and iconography within paintings, instead focusing on communication of moments-in-time to a viewer. The depiction of casual events led to the idea of “art for art’s sake”, the thought that making art is its own motivation, without any extrinsic need for symbols or religious meaning. Impression: Sunrise wasn’t the first work to feature objects suggested with paint (not explicitly depicted), and it wasn’t the last. However, it does hold a place in history as the painting that sparked a new era of art, leading into modern day. Monet’s work directly influenced the styles of Modern painters like Henri Matisse with their focus on color and shape, not line. Impression: Sunrise is still greatly admired for its simplicity of detail and complexity of artistic composition.
Mannerism
The Triumph of Death is a work by Pieter Bruegal the Elder, completed in 1562. I chose it because of its clear separation from the naturalism and idealism of the High Renaissance. Unnatural color tints, elongated proportions, and a high emotional content all make this piece a prime subject for study as a Northern Mannerist piece. The Triumph of Death was an unusual painting in its time, and can still illicit a fair amount of unease from viewers today.
Death is the focus of this scene, both allegorically and literally. The terror of sickness and plague was not far from anyone’s thoughts in this era, and brought such devastation that towns and cities were wiped out in less than a year. This fear and despair is depicted here with gruesome detail. Hundreds of figures fill the frame, some mortals, others the harbingers of death. Skeletons, withered corpses, and grotesques cavort in black delight as they wantonly slaughter men and women alike for sport. The carnage is complete and nearly pornographic in the amount of delight it takes from itself.
Everywhere horrors abound: gaping wounds pour blood, naked men are netted like fish and herded into the depths of hell, and bodies are spitted by spikes. Men are tossed into a pool with millstones tied to their necks while the grim parody of a fanfare is played by the bodies of the dead dressed in the robes of the church. All around lies the sickly green of plague upon the ground, poisoning the very air, mixing with the smoke of bodies burned alive. In the lower-middle foreground, a bound man’s throat is slit by a robed ghoul, and on the far right a skeleton gropes a woman dressed in fine clothes from behind, and toward the bottom edge a skeletal dog eats the face from a baby. A kingly figure in the robes of office and expensive armor lies dying upon the ground, oblivious to the figure of death propping him up, his own short life dwindling within an hourglass clutched by spidery fingers.
The Christian symbol of the Crucifix stand impotently as the host of the dead march over the land. This speaks clearly of the terror so many useless prayers would have brought. Two figures ring a large bell, announcing the coming of death, possibly even an advance on the viewer’s life. The visceral quality of the victims’ faces (screams, disbelief, and weeping), are direct connections to the emotional centers of the viewer, bypassing the intellectual from the start. Mannerist form is also observed: long-limbed skeletons and twisted corpses exist within irrational spacial relationships, putting the viewer on edge.
The color palette is comprised of browns, burnt reds, deep blacks, infectious yellows, and malignant greens. While incorporating many different hues, the general range of color stays relatively narrow, as Bruegal uses secondary colors in place of the typical Renaissance primaries. The resulting effect is an overall feeling of dread and distaste, once again bringing the viewer’s emotions into play.
It is works such as this that began the movement toward the macabre, filtering down the centuries. It also openly addressed the fears of the people of its time, assisting in the development of self-awareness that society required. Without The Triumph of Death and others like it, art might have shied away from such subjects as death and horror. The Mannerist practice of irrationality vs rationality was instrumental to the breadth of styles and art forms we enjoy today.
Non-Fiction: Princess Eudocia Ivanovna Galitzine as Flora
Vigee le Brun (1755-1842). Painted in 1799, this 53 1/2 x 38 inch oil-on-canvas depicts the Russian “Princess de Minuit” in the likeness of the goddess Flora from classical myth (South 34). The painting is one of many le Brun produced during her twelve-year exile from France during the French Revolution and was originally shown at the Exhibition of Russian Portraits at the Taurida Palace in St. Petersburg (Nickerson 7). The painting is not recorded among le Brun’s lists or memoirs, despite the obvious inspiration and fantasy with which it was painted (Nikolenko “Russian Portraits”). This work was gifted to its current home by Mr. Val A. Browning (South 34).
I first viewed this piece amid many other 18th Century European paintings and sculptures at an exhibition of the Utah Museum of Fine Arts on November 26, 2011. I had intended to write about another of Elisabeth le Brun’s paintings, but it was not on exhibit and I went searching for another piece. I was pleasantly surprised to come across the portrait of Princess Galitzine while wandering the display hall, and found myself admiring it more than my first choice. I already admired le Brun’s representation of female faces (particularly the eyes), and recognized her style at once. I ultimately chose this painting as the subject of my research because its mix of bright primary colors and the soft luminosity of light revealing the subject’s features was unique within the exhibit hall. It immediately stood out among the dark Baroque and early Renaissance pieces nearby, one of which was a rather grim depiction of the Deposition of Christ. A definite femininity was present, a quality I often find lacking in paintings of women from the Renaissance to the Rococo era. I have since learned this femininity is a hallmark of le Brun’s portraiture style, and is characteristic of her many paintings (Auricchio, “Women Painters”).
In the painting, a young woman stands in the foreground, dominating the distant landscape with her presence. A woven basket of pink roses sits atop her darkly curled hair, balanced easily by a casual hand. In her other hand she clutches a branch of fruit-bearing leaves. Her clothing is sophisticated, simple in cut, and colorful: saturated blues and reds contrast nicely with a white undergarment banded with gold. The filmy fabrics and plentiful folds of her drape give volumetric presence, while an unseen sun creates a soft glow upon her skin.
A delicate system of shading serves as a tool for creating three dimensionality, granting weight and realism to the young woman’s limbs and face. Her striking eyes are dark brown, with catch lights emphasizing the clarity of the irises. She bears a small smile, exuding peace and happiness, as if greeting a close acquaintance or friend.
Beyond the subject, soft green hills and a brown road are visible behind and below, slowly making way for cold blue mountains along the horizon. The corner of a classically-inspired building peeks into the frame, instantly recognizable by its pediment and surrounding portico of columns. Trees and bushes accent its outline, partially hiding a distant body of water painted in silver-blue.
Elisabeth le Brun’s use of atmospheric perspective heightens the sense of realism and creates a sharp illusion of depth, firmly placing the subject in the forefront. The light shading and yellow coloring of the clouds gives the piece a further sense of distance, as the viewer imagines them extending out from the painting to hang over their own head.
A wide variety of colors form the palette, ranging from the saturated blues of her dress to the pale yellows of the sunset-lit sky behind her. With red accents and shawl, le Brun breaks the potential monotony of the palette by complimenting the soft greens, flesh tones, and blues, making the figure leap from the surface (Nickerson 7).
Despite the natural posture of the Princess, this painting is not simply a depiction of a single, or candid moment in time. The details are arranged and represented with deliberate care. The subject’s pose is purposefully positioned, with her crooked arm subtly pointing behind her, moving the viewer’s eye to the background details, including the Greek Temple. Her state of dress indicates wealth and station, instantly identifying her as a member of the aristocracy (Nickerson 7). The roses in the basket on her head symbolize beauty, the worship of mythical goddesses, and are considered to be the flower of Venus. The olive branch in her hand represents peace and love, and the fruit it bears suggests fertility.
The portrait is a stunning example of how Elisabeth Vigee le Brun successfully blended the Neo-Classical and Romantic styles in her portraiture. More than anything, Le Brun favored a Romantic portrait style “aimed at seizing the subject in an intimate, unselfconscious and introspective moment of reflection” (May 136). Katheryn Gallitz suggests that the emotion and imagination of Romanticism came in response to disillusionment with the reason and order of the Enlightenment in the aftermath of the French Revolution. She goes on to state that, “This interest in the individual and subjective—at odds with eighteenth-century rationalism—is mirrored in the Romantic approach to portraiture. Traditionally records of individual likeness, portraits became vehicles for expressing a range of psychological and emotional states in the hands of Romantic painters” (Gallitz “Romanticism”).
The portrait is Neo-Classical in design, with elements of Romanticism in its execution. This romanticism is evidenced in the relaxed position of the subject, the peaceful cast of her eyes, the dramatic beauty of the landscape, and the billowing folds of her drape (South 34). The beauty of these elements complement the bright, classical clothing and Greek temple that embody the Neo-Classical ideals of simplicity and proportion.
This portrait bears a marked resemblance to Julie le Brun as Flora, a portrait le Brun painted of her own daughter, also in 1799. Both sitters are portrayed as the goddess Flora in similar poses and clothing. Both bear a basket of roses atop their heads and leafy branches in their hands. In her daughter’s portrait, however, le Brun arranges the leaves in a heart-shaped wreath, symbolizing love and peace. The Italian landscape in her daughter's portrait is also altered, and her daughter’s clothes are composed and colored differently than Princess Galitzine's. The portrait of Princess Galitzine is rendered with more attention to the visual representation of detail, and shows the subject in a more natural pose and relaxed manner (Nikolenko, “Russian Portraits”).
Princess Eudocia Ivanovna Galitzine as Flora was finished two years after the Russian princess’s sister, Elizabeth Vladmirovna, commissioned her own portrait by le Brun (South 34). The resulting works are very similar, and a marked family resemblance is present. In fact, most of le Brun’s female portraits share physical similarities: soft skin, a delicately shaped mouth, large eyes, and delicate limbs. This style is especially noticeable in the the many portraits of Queen Marie Antoinette, who greatly favored le Brun (“Elizabeth Vigee-le Brun: Oxford Dictionary of Art”).
Several influences from earlier artists’ works are evident. The red shawl reflects le Brun’s admiration of Rafael’s Madonnas, which she often emulated in her portraits of female subjects. She also draws stylistic techniques from Peter Paul Rubens, giving her female subjects “supple flesh tones” and a soft luminosity achieved with the use of several layers of glaze (South 34).
Marie Louise Elisabeth Vigee le Brun was quite famous in her own time, and was a welcome dignitary in many court circles. Because of this, her style and works enjoyed a relatively wide viewership outside of France, and she amassed a not un-large personal fortune (South 34).
However, Elisabeth Vigee le Brun was more than just a talented portraitist. She embodied a stark change in the way the world thought of men's and women's roles in art and society at large. Brun was accepted into the Académie Royale de Peinture et de Sculpture on May 31, 1783, a particularly impressive distinction considering the protests of some of its members because of her gender. She also regularly exhibited in the biennial Salons (Auricchio, “Women Painters”).
Her style was so distinctive that, “the simultaneous admission of [fellow female painter] Labille-Guiard and Vigée Le Brun [to the Académie Royale] caused a stir in the art world and beyond, and the press immediately cast them as rivals, pitting Vigée Le Brun's ‘feminine’ style (loose brushstrokes, high-toned color, and flattering renderings of her sitters against the ‘masculine’ characteristics (crisp handling, muted tones, and truth to nature) of Labille-Guiard's paintings” (Auricchio, “Women Painters”).
Elisabeth Vigee le Brun has done much to change the art world, from developing unique blends of Neo-Classical and Romantic styles, to displaying a distinctly feminine touch while painting women, and finally, by becoming (at the time) one of the few female members of the Académie Royale.
Though she enjoyed great status and powerful friends, she still fought against the ideas of her time. During her lifetime, none of her portraits were displayed in France, the land she called home. It wasn’t until after her death that her work was widely shown in France, when her niece donated two inherited pieces to the Louvre. This was only the first step, and soon, her art would spread, even crossing the ocean to America. “Overcoming all odds, Vigée Le Brun has finally had the last word and gained her passport to immortality, for her paintings now hang in all the leading art museums of the world” (May 203).
Princess Eudocia Ivanovna Galitzine as Flora was only one of many portraits and paintings produced by le Brun, and while her characteristic style and manner of presenting women is remarkable in and of itself, it is her overall work that begs our attention. One can only imagine the breadth and scope of the very real impact Marie Louise Elisabeth Vigee le Brun has had on the world. She, and women like her, have done society an undeniable service by fighting archaic views of gender roles. Without such ambition and perseverance, the current art, political, and professional worlds would be very different places.
Auricchio,
Luara. "Eighteenth-Century Women Painters in France.”
Heilbrunn Timeline of Art History. New York: The Metropolitan
Museum of Art, 2000. Web. 3 December 2011.
"Elisabeth
Vigee-le Brun: The Oxford Dictionary of Art." ENotes -
Literature Study Guides, Lesson Plans, and More. Web. 3 December
2011.
Gallitz,
Katheryn. "Romanticism.” Heilbrunn Timeline of Art History.
New York: The Metropolitan Museum of Art, 2000. Web. 3 December 2011.
Nickerson,
Melissa. Princess Eudocia Ivanovna Galitzine as Flora Lesson.
Women Artists Lesson Plan for Educators. University of Utah
Printing Services (28 October 1998): 7. Print.
Nikolenko,
Lada. “The Russian Portraits of Madame Vigee le Brun.” Reprinted
from the Gazette des Beaux Arts. Web. 3 December 2011.
May,
Gita. Elisabeth Vigee le Brun : The Odyssey of an Artist in an Age
of Revolution. Yale University Press (2005): 136-202. Print.
South,
Will. The Val. A Browning Memorial Collection of 500 Years of
European Masterworks. University of Utah Printing Services
(1995): 34. Print.
I'm still alive, I promise!
Working on a lot of things right now, glad to have too much to do, rather than too little. But I thought I'd drop by and give you all an update on what's going on. First off, this next month's interviewee will also be my second published author! (You can check out the first one here.) Bryce Moore (@bmoorebooks) has agreed to have a few questions thrown at him, which is great, cause he's a really amazing writer. His book Vodnik will be out soon, and I'm excited for all of you to read it. I've already had the pleasure of reading it pre-release, and it's amazing! More on that later though.
On a related note, my monthly Aspiring Writer Interview series will no longer be called such. I will be dropping the "aspiring" bit, because if a person writes, they're a writer. Period. There are good writers and there are bad writers, but that's another issue.
Right now I'm deep in developing plot within the second version of my own book, even as I write. It's kind of counter intuitive, but that's how I roll. I just passed the 52k word mark, which if my expectations are correct, means I'm just now over the halfway point. Woot! I know I have a lot of revision to do, but that's something I've come to terms with. I'm a messy first draft-er.
One last thing, if you haven't already, feel free to follow me on Twitter, as I've become a little more active there lately (@SometimesSword).
On a related note, my monthly Aspiring Writer Interview series will no longer be called such. I will be dropping the "aspiring" bit, because if a person writes, they're a writer. Period. There are good writers and there are bad writers, but that's another issue.
Right now I'm deep in developing plot within the second version of my own book, even as I write. It's kind of counter intuitive, but that's how I roll. I just passed the 52k word mark, which if my expectations are correct, means I'm just now over the halfway point. Woot! I know I have a lot of revision to do, but that's something I've come to terms with. I'm a messy first draft-er.
One last thing, if you haven't already, feel free to follow me on Twitter, as I've become a little more active there lately (@SometimesSword).
Saladin Ahmed's THRONE OF THE CRESCENT MOON.
Saladin Ahmed's first published novel just came out on February 7th of this year, and I have to say that I was very excited for it. Saladin had been featured on the Writing Excuses podcast sometime last year, so I was somewhat familiar with what he hoped to accomplish with this book, and have been following him on Twitter ever since. Quite some time later, I heard that the novel was finally close to coming out, and began looking into it further. I read several pre-release reviews and a synopsis, and found myself eager to dive in. I even somehow managed to mistake the release date for the last day of January, and found myself disappointed once I rushed over to the Apple Bookstore. After waiting a whole week, I was finally able to purchase and download the ebook. Here's what I thought:
This is the sort of book that stands out from a crowd. When you first see the cover, it strikes you with the back of it's hand and tells you to pay attention. The image is thick with color and the clean lines of a comic book, its subjects captured in an explosion of motion, Marvel Comics style. Unconventional clothing and weapon styles instantly tell you that this is no European-style fantasy, something that really excited me. Don't get me wrong, I love the traditional sword and sorcery stuff that's been coming out for decades, but just like eating too much ice-cream, it can sometimes leave you feeling unsatisfied.
Saladin's book smacks of many different cultures, from Egyptian to the classical Arabic turban-and-camel-riding nomadic tribes we see in movies. I'm no expert, and I probably just offended someone there, but Saladin pulls everything together in a truly unique world that I've never seen in Fantasy. He doesn't just dress the traditional S&S in a turban and hand it a scimitar, he works his way up from a solid foundation of unique culture, infusing every aspect of the book with the traditions of his world. The food they eat, the tea they drink, even their curse words and oaths are steeped in their culture. The characters themselves have their very personalities and self-identities shaped by the specific views on religion and family present in this blend of pseudo-Arabic cultures (once again, if I'm using the wrong terms, please forgive me). Also, I want to use the word "culture" one more time. Culture.
Beyond the unusual setting, Saladin brings some other great aspects into play. Unlike many books of the same genre, Throne's main protagonist is a 60 year-old man named Adoulla, a ghul hunter who just wants to retire and get married. (The point of view is shared by several people over the course of the book.) It's pretty amusing to be inside this semi-crusty old man's head as he watches youth wasted on the young, even forgetting the author himself isn't exactly what you would call old. If I had my way, more time would be spent on The Doctor's point of view, he's really a great character.
The story is easily followed, with plot points popping out to say "hi", not trying particularly hard to stay hidden. In my mind, this was a good thing. Most of the events take place in a huge, shining city, forgoing the normal hero-on-a-quest format. The action is short and to the point, with a few gruesome bits thrown in for good measure, which I like. The book features some pretty cool magic, and a seriously bad-ass bad guy. Creepy stuff.
Finally, I have two complaints about this book, and they are small:
First off, it's short. For an adult fantasy novel, it tops out at an unusual 288 pages, leaving me wanting more. Before you get all up in arms, let me clarify: I don't believe that every fantasy needs to be a 240k word behemoth, nor do I think Saladin was lacking in proper story-telling technique. Everything wraps up satisfactorily, and his descriptions are more than adequate. The experience was simply over too soon. I wanted to keep reading, because this unique world and characters felt like they had more to give me. Hopefully there are more books to come.
Next, and this is my only major issue, I felt like two of the younger characters were underdeveloped, not individually, but in relation to each other. SPOILER ALERT! I think it comes as no surprise that there is a "B" story in this book, centered around the budding romance (if it can be called that) between a young zealot and a teenage tribeswoman. By the end of the book, the word "love" is used, and I honestly didn't see the proper build up to it. It almost seemed like they fell in love because they were supposed to. Did it ruin the story? No. Is it the reason I gave the book four stars instead of five? Yes. Combined with the fact that I only give five stars to books that totally blow my mind away (which is hard to do). That being said, four stars is stellar, and I highly, highly recommend this book to anyone looking for a good fantasy adventure. Go buy it here!
 |
| My unofficial rating. |
Saladin's book smacks of many different cultures, from Egyptian to the classical Arabic turban-and-camel-riding nomadic tribes we see in movies. I'm no expert, and I probably just offended someone there, but Saladin pulls everything together in a truly unique world that I've never seen in Fantasy. He doesn't just dress the traditional S&S in a turban and hand it a scimitar, he works his way up from a solid foundation of unique culture, infusing every aspect of the book with the traditions of his world. The food they eat, the tea they drink, even their curse words and oaths are steeped in their culture. The characters themselves have their very personalities and self-identities shaped by the specific views on religion and family present in this blend of pseudo-Arabic cultures (once again, if I'm using the wrong terms, please forgive me). Also, I want to use the word "culture" one more time. Culture.
Beyond the unusual setting, Saladin brings some other great aspects into play. Unlike many books of the same genre, Throne's main protagonist is a 60 year-old man named Adoulla, a ghul hunter who just wants to retire and get married. (The point of view is shared by several people over the course of the book.) It's pretty amusing to be inside this semi-crusty old man's head as he watches youth wasted on the young, even forgetting the author himself isn't exactly what you would call old. If I had my way, more time would be spent on The Doctor's point of view, he's really a great character.
The story is easily followed, with plot points popping out to say "hi", not trying particularly hard to stay hidden. In my mind, this was a good thing. Most of the events take place in a huge, shining city, forgoing the normal hero-on-a-quest format. The action is short and to the point, with a few gruesome bits thrown in for good measure, which I like. The book features some pretty cool magic, and a seriously bad-ass bad guy. Creepy stuff.
Finally, I have two complaints about this book, and they are small:
First off, it's short. For an adult fantasy novel, it tops out at an unusual 288 pages, leaving me wanting more. Before you get all up in arms, let me clarify: I don't believe that every fantasy needs to be a 240k word behemoth, nor do I think Saladin was lacking in proper story-telling technique. Everything wraps up satisfactorily, and his descriptions are more than adequate. The experience was simply over too soon. I wanted to keep reading, because this unique world and characters felt like they had more to give me. Hopefully there are more books to come.
Next, and this is my only major issue, I felt like two of the younger characters were underdeveloped, not individually, but in relation to each other. SPOILER ALERT! I think it comes as no surprise that there is a "B" story in this book, centered around the budding romance (if it can be called that) between a young zealot and a teenage tribeswoman. By the end of the book, the word "love" is used, and I honestly didn't see the proper build up to it. It almost seemed like they fell in love because they were supposed to. Did it ruin the story? No. Is it the reason I gave the book four stars instead of five? Yes. Combined with the fact that I only give five stars to books that totally blow my mind away (which is hard to do). That being said, four stars is stellar, and I highly, highly recommend this book to anyone looking for a good fantasy adventure. Go buy it here!
I've been interviewed! Also a bit about why I haven't posted in a while.
Hey all, it's been a lean couple of weeks post-wise, so sorry about that. I wanted to touch base real quick, and let you know that I'm still alive! First off, Leigh Covington interviewed me on her blog, which you can visit here. So click that link! It's worth it.
Also, the reason I haven't been doing much on the blog is because I've been writing. Yeah I know, right? I've actually been picking up the pace, and aside from the last three days (LTUE), I've been getting at least 1k words knocked out per day. On Wednesday I actually hit 3k in one day, so yeah, I figure I can forgive myself.
Hopefully I'll get a chance to get a good post up here soon!
Also, the reason I haven't been doing much on the blog is because I've been writing. Yeah I know, right? I've actually been picking up the pace, and aside from the last three days (LTUE), I've been getting at least 1k words knocked out per day. On Wednesday I actually hit 3k in one day, so yeah, I figure I can forgive myself.
Hopefully I'll get a chance to get a good post up here soon!
Local Writer Interview: Ali Cross
This month's interview is a little different, since Ali is not simply an aspiring writer, but also a self-published one. We met across the Internet machines through Melanie Fowler, another of my interviewees. Ali is very, VERY active in the writing community, and I'm excited to get to know her a little better. As you all know, I like to just jump right in, so here goes!
Do you have any special sales you'd like me to highlight?
There you go people, go check out her blog and all the goodies she has for you, and read her book Become dang it!
If it's not too much to ask, how old are you?
LOL, I’m in my 40’s. But I never really aged past 23. I’m eternally youthful. (Ha!)
Are you married? Kids?
Heck yeah! I have a rockin’ husband who’s a computer genius who slashes computer code and cuts hackers off at the knees. My two boys both eleven, are evil geniuses who take after their dad (thank goodness. One of them is a black belt and the other is close on his heels. At our house it’s all awesome, all the time.
Where in our lovely area do you live?
I live in West Jordan, Utah, but I’m not even an American. I’m a Canadian who’s followed her man (who followed a job) to the States and has been trying to get back home every since. (It’s been twenty years. I haven’t been too successful yet, obviously.)
How long ago did you start writing seriously?
I started writing seriously nine years ago. I know the precise date because my family and I were driving into the mountains for a weekend in the autumn leaves. On our way out popped from my mouth: “I want to write a book.” I swear I did not think those words before I said them, but as soon as I did, I knew it was true. My hubby and I chatted about the idea (I’d always wanted to write a story about my favorite Dungeons & Dragons character—hey, don’t laugh) and it wasn’t long before he admitted that he, too, would like to write a book.
We stopped at a Podunk gas station convenient store, happily discovered they stocked the basic materials with which to begin a book (notebooks, pens, index cards and tape!), brainstormed and outlined our books over our long weekend and … the rest is history! (And to follow-up, we both wrote our books, and finished them together, New Year’s Eve 2003!)
What project are you currently working on?
Right at this very second I’m finishing up the first draft of a middle grade fantasy called LAND MAGIC. Meanwhile, another MG fantasy THE SWIFT, is resting between revisions, and DESOLATION (book two of Desolation, my young adult urban fantasy series) is resting before revisions begin. Exciting stuff!
How long have you been working on Land Magic?
LAND MAGIC was conceived a couple years ago, but I didn’t have to work on it at that time. I did a quick and dirty outline and left it alone. I started drafting it during NaNo ’11, but couldn’t finish because of the release of BECOME (the first in the Desolation series). Time to finish this baby up!
Tell us a little about it.
Here’s my working blurb:
In a world where land magic has fallen into disuse and land comes together and breaks apart like clouds in the sky, one boy must rediscover the ways of the old magic in order to reunite his family and save mankind.
In a world where land magic has fallen into disuse and land comes together and breaks apart like clouds in the sky, one boy must rediscover the ways of the old magic in order to reunite his family and save mankind.
Wow, that sounds kinda lame. I promise it’s a lot more fun and awesome than it sounds. J
What are your goals for it?
I self-published BECOME, and I love, love, loved the experience. I’d like for LAND MAGIC to reach middle grade readers which (I believe) there’s no doubt traditional publishing methods are (so far) better suited for, but . . . I honestly can’t imagine publishing in the traditional sense.
Have you sent out any queries? How many have you gotten responses to?
Oh yeah. I queried BECOME to 103 agents. Twenty-eight agents read the full manuscript. One agent read three full versions of the novel, and still rejected it. Another agent made an offer, but ended up being a flake and left me hanging for four months before I finally got wise and moved on. Crazy, right?
Have you published anything previously?
Nope! BECOME was my maiden voyage!
Do you have any special sales you'd like me to highlight?
YES! Through February 4th (the day of NiNoCon, woot!) BECOME is on sale at Amazon here and Smashwords here for only $.99!
Anything else you'd like to tell us about works you've previously published/put on sale?
BECOME is an awesome, dark young adult novel—if you’re a Buffy fan, or a Lilith St. Crow fan, or a Melissa Marr fan . . . I think you’d like my book, too!
What is your favorite book or author? Why?
My favorite book(s) belong to THE FIONAVAR TAPESTRY by Guy Gavriel Kay. I’m not a fan of all of his books, but this trilogy is the one that inspired me to write (because I wanted to write something as amazing as those books—to reach people the way these books reached me). THE FIONAVAR TAPESTRY, is rich and beautiful, heartbreaking and fulfilling—it’s everything I think a truly great book should be. And I think it would nowadays fall into “new adult” fantasy, but back when I first read it it was just regular old fantasy. J
What has been the hardest part about writing your current work? About writing in general?
I’m not sure. I haven’t struggled with the craft in the same way that I know other people struggle. For me, the hardest part is believing in myself when no one else does.
What has been the best or most rewarding aspect of writing?
Without a doubt the most rewarding part are all the friendships I have formed through writing and blogging. Who knew that such a solitary art could give me such an amazing sense of belonging?
Do you have any "technical" suggestions for new writers?
A couple tools that have really helped me. Buy the book SAVE THE CAT by Blake Snyder. It’s funny, quick and easy to read. It’s a script-writing guide, but it absolutely relates to writing. I swear you will not regret it. Next to that, get thee a crit group! I think that should be in the writer’s ten commandments.
Do you have any sage advice for new writers?
LOL, no. Just, if you have a dream? Don’t let it stay in dreamland forever. Live your dream—because you CAN.
Is there anything else you'd like to tell our readers?
Come to NiNoCon this Saturday (February 4th!). It’s a free online writer’s conference taking place at www.ninjaswrite.com. It’ll be fun! There’ll be lots of great info! And PRIZES!!
Give us some links to any blogs, websites, or other online media you run.
You betcha! Thanks for letting me plug, Trevor!
ali cross (blog) www.alicross.com
the writer’s dojo www.ninjaswrite.com
the indelibles (a group of 25 self-or-indie-published authors) http://indeliblewriters.blogspot.com
There you go people, go check out her blog and all the goodies she has for you, and read her book Become dang it!
Save the Cat. A book I've never read, but I'll discuss it anyway.
This semester, I took a class called Intro to Film. It was basically just a filler credit to get my Fine Arts requirement, but I'm happy to say that it has become more than that. It seems that I fell into a wildly beneficial learning experience without even realizing it. How's that for good luck? I'm only three weeks in, but so far we've discussed a variety of subjects, each one either directly, or at least feasibly, relating to novel writing. The format of the class runs like this: we have an hour lecture, a two hour movie, and an hour discussion. I've already gone into this in a previous post, so I'll be brief. In the hour lecture, the professor teaches us something about narrative structure, themes and motifs, character development, set dressing, lighting, or music, etc. Some of it is amazingly helpful in my own writing, and even the other stuff, such as set dressing and lighting can still be taken for what its worth.
Let me explain. There is a term in the film business, mise en scene, which basically means the style of what you see. The Director and Production Designer of a movie try their best to keep this consistent, and it's what gives the film its "feel". It can include furniture, set design, color palette, lighting, makeup, costuming etc. Think of films like Moulin Rouge, 300, or any Tim Burton production. These have a very strong mise en scene. The same goes for an author writing a book. While reading a book isn't a strictly visual medium, the visuals are still important, if you know what I mean. The author acts as the Production Designer, creating a world through description, not images. A good, or shall we say, successful writer, can plant a literary mise en scene right in the reader's mind. By keeping descriptions of objects, clothing, and buildings consistent, a writer can maintain a distinct style that persists in the reader's mind throughout the story. Not only that, but the way in which a writer forms their sentences or uses pronouns and adverbs can give the actual words a recognizable style. Harry Potter, The Wheel of Time, and the Codex Alera books all accomplished this in my opinion.
So I guess what I'm saying is that I've come to appreciate movies as a learning experience for my own writing. This leads me to the subject of this post. In class last week, we discussed narrative structure. I've done a lot of my own self-learning about this, listening to podcasts, attending panels, etc., but I've always been a little hazy on how to properly structure my stories. My professor told us about an old Hollywood staple, taken from a book called Save the Cat! The Last Book on Screenwriting You'll Ever Need by Blake Snyder. It's intended to be a help for screenwriters, but it applies just as well to novelists. In it, the author outlines a series of "beats" that every successful story should touch on. It's not a formula per se, simply an outline of what will keep an audience/reader interested in the story. Since you can find it on the web in a million places or in any film class, I'll outline it really quick here:
Opening Image (where we see the character, and get a basic idea of who they are):
Theme Stated (the viewer/reader gets to see what the movie/story will eventually tell them):
Setup (Characters living life):
Catalyst (the big "thing" that happens):
Debate (where we see the characters trying to sort out their options, figure out what to do):
Break Into Act Two (this is where they take their first step toward and attempt to resolve the problem):
"B" Story (a different, but associated character's story, many times this is a romance):
Fun and Games (think training montages, newly dating couple having shenanigans, etc.):
Midpoint (disaster that commits character to their path, halfway through the story):
Bad Guys Close In (this is where stuff begins to escalate, become more serious):
All Is Lost (low point, everything bottoms out and the worst has happened):
Dark Night of the Soul (kinda self-explanatory, characters question everything, superhero hangs up his cape in despair, oh crap):
Break Into Act Three (Where things begin to turn around, characters begin to fight back in earnest):
Finale (the big finish, sword fight, dog fight, Luke cuts off Vader's hand, and the Emperor is thrown down the ventilation shaft):
Final Image (new life, we see the aftermath, people are reunited, usually a happy ending, but not always):
I may have misconstrued some of those points, and if I did, let me know. But the general idea is there. A successful screenplay hits all of these beats at some point, and so does a novel (in my opinion). Today I went through, and applied my own book to these beats. I was surprised to find that most everything was represented, though the order was a little out of whack. I'm not saying this will work for every novelist, or even every genre. As for me, it's been a big help. Take a look at it, try to assign your favorite movie or book to these beats. I guarantee you'll be able to. Then maybe try your own book. Story and character are the most important thing in any novel, so take some time and give them some love.
Let me explain. There is a term in the film business, mise en scene, which basically means the style of what you see. The Director and Production Designer of a movie try their best to keep this consistent, and it's what gives the film its "feel". It can include furniture, set design, color palette, lighting, makeup, costuming etc. Think of films like Moulin Rouge, 300, or any Tim Burton production. These have a very strong mise en scene. The same goes for an author writing a book. While reading a book isn't a strictly visual medium, the visuals are still important, if you know what I mean. The author acts as the Production Designer, creating a world through description, not images. A good, or shall we say, successful writer, can plant a literary mise en scene right in the reader's mind. By keeping descriptions of objects, clothing, and buildings consistent, a writer can maintain a distinct style that persists in the reader's mind throughout the story. Not only that, but the way in which a writer forms their sentences or uses pronouns and adverbs can give the actual words a recognizable style. Harry Potter, The Wheel of Time, and the Codex Alera books all accomplished this in my opinion.
So I guess what I'm saying is that I've come to appreciate movies as a learning experience for my own writing. This leads me to the subject of this post. In class last week, we discussed narrative structure. I've done a lot of my own self-learning about this, listening to podcasts, attending panels, etc., but I've always been a little hazy on how to properly structure my stories. My professor told us about an old Hollywood staple, taken from a book called Save the Cat! The Last Book on Screenwriting You'll Ever Need by Blake Snyder. It's intended to be a help for screenwriters, but it applies just as well to novelists. In it, the author outlines a series of "beats" that every successful story should touch on. It's not a formula per se, simply an outline of what will keep an audience/reader interested in the story. Since you can find it on the web in a million places or in any film class, I'll outline it really quick here:
Opening Image (where we see the character, and get a basic idea of who they are):
Theme Stated (the viewer/reader gets to see what the movie/story will eventually tell them):
Setup (Characters living life):
Catalyst (the big "thing" that happens):
Debate (where we see the characters trying to sort out their options, figure out what to do):
Break Into Act Two (this is where they take their first step toward and attempt to resolve the problem):
"B" Story (a different, but associated character's story, many times this is a romance):
Fun and Games (think training montages, newly dating couple having shenanigans, etc.):
Midpoint (disaster that commits character to their path, halfway through the story):
Bad Guys Close In (this is where stuff begins to escalate, become more serious):
All Is Lost (low point, everything bottoms out and the worst has happened):
Dark Night of the Soul (kinda self-explanatory, characters question everything, superhero hangs up his cape in despair, oh crap):
Break Into Act Three (Where things begin to turn around, characters begin to fight back in earnest):
Finale (the big finish, sword fight, dog fight, Luke cuts off Vader's hand, and the Emperor is thrown down the ventilation shaft):
Final Image (new life, we see the aftermath, people are reunited, usually a happy ending, but not always):
I may have misconstrued some of those points, and if I did, let me know. But the general idea is there. A successful screenplay hits all of these beats at some point, and so does a novel (in my opinion). Today I went through, and applied my own book to these beats. I was surprised to find that most everything was represented, though the order was a little out of whack. I'm not saying this will work for every novelist, or even every genre. As for me, it's been a big help. Take a look at it, try to assign your favorite movie or book to these beats. I guarantee you'll be able to. Then maybe try your own book. Story and character are the most important thing in any novel, so take some time and give them some love.
Connection to Characters.
Before I dive into the main subject of this post, I wanted to share a quote from the late Bob Ross. I feel like it applies to writing just as much as painting, so just insert the words "write" and "pen-and-paper" where ever you feel like:
"Talent is nothing more that a pursued interest. With this technique, it is not necessary to draw a straight line or any kind of line for that matter. We begin with paint and brush--the object is to capture the dream quickly, while it is still alive."
Today I want to talk about characters. Not so much what makes a good character, or techniques for developing them, but more about why we can feel such a deep connection to them. Many writers have different things that sparked their initial desire to write: the joy of world building, the challenge of writing great plot, or creating magic systems. For me, it was the friendships I developed with the characters from Redwall, Harry Potter, and Lord of the Rings that first made me want to write. The hares of the Long Patrol from Brian Jacques books made me feel like I was part of their strange and thoroughly British circle. Harry, Ron, and Hermione felt like real kids I was hanging out with, getting into scrapes and learning magic. Frodo's inner struggles against the greed and corruption of the ring, along with the feelings of loneliness that came with it, spoke to me when I felt down and helpless. These were personal relationships, not just a passing identification with superficial qualities.
I remember the first time I cried while reading a book. I was young, maybe nine or ten, just finishing the Chronicles of Narnia for the first time. I read the last sentence, closed the book, and stared at the cover. I couldn't understand the feelings bouncing around my head. I know now that I was dealing with a feeling of loss. The people I had known so well, that I had lived beside while I read, were gone. There was no more. I was devastated. Of course, as time went on I read more books and re-read Narnia. I came to accept that end-of-book feeling. I stopped crying after I finished a series and learned to cope with the end of a relationship with the characters. Then, when I read Lord of the Rings for the first time, I once more cried at the end. I still do, even when I watch the last scenes of the Return of the King. When the last book of The Wheel of Time comes out this year, I'll ball my head off. I may even take off work just so I can let myself wallow in sadness for a day.
This might all sound pathetic, but when you look closer, it begins to make more sense. One of the miracles of being a human is the ability to create. Some might say it's the one thing that carried over from the God that put us here (or space aliens, whatever). Not only can we build skyscrapers, make art, or write music, we can make new people. Think about that. Make new people. With a pen and paper, or keyboard I suppose, a writer can form a person so convincingly that his/her readers fall in love with them (romantically or otherwise). This is a fictional person that feels so real, and fills a hole in ourselves so thoroughly, that we actually grieve when the book ends. To me, this is the most wondrous thing I can think of. It speaks of our imagination, our mental reach, and our ability to dream.
It's incredible, and I completely fell for these author's creations. Isn't that the most amazing thing ever? If I could only do that for someone else, just once. Can you imagine? This is why I started to write. So far I haven't accomplished this goal, but I have managed to convince myself that Chale, Astrid, and Spigworth are real, at least in the very darkest, unused parts of my mind. I guess that's the first step.
What characters have you felt a bond with? Which books drew you in the most, and left you hollow inside when they ended?
"Talent is nothing more that a pursued interest. With this technique, it is not necessary to draw a straight line or any kind of line for that matter. We begin with paint and brush--the object is to capture the dream quickly, while it is still alive."
Today I want to talk about characters. Not so much what makes a good character, or techniques for developing them, but more about why we can feel such a deep connection to them. Many writers have different things that sparked their initial desire to write: the joy of world building, the challenge of writing great plot, or creating magic systems. For me, it was the friendships I developed with the characters from Redwall, Harry Potter, and Lord of the Rings that first made me want to write. The hares of the Long Patrol from Brian Jacques books made me feel like I was part of their strange and thoroughly British circle. Harry, Ron, and Hermione felt like real kids I was hanging out with, getting into scrapes and learning magic. Frodo's inner struggles against the greed and corruption of the ring, along with the feelings of loneliness that came with it, spoke to me when I felt down and helpless. These were personal relationships, not just a passing identification with superficial qualities.
I remember the first time I cried while reading a book. I was young, maybe nine or ten, just finishing the Chronicles of Narnia for the first time. I read the last sentence, closed the book, and stared at the cover. I couldn't understand the feelings bouncing around my head. I know now that I was dealing with a feeling of loss. The people I had known so well, that I had lived beside while I read, were gone. There was no more. I was devastated. Of course, as time went on I read more books and re-read Narnia. I came to accept that end-of-book feeling. I stopped crying after I finished a series and learned to cope with the end of a relationship with the characters. Then, when I read Lord of the Rings for the first time, I once more cried at the end. I still do, even when I watch the last scenes of the Return of the King. When the last book of The Wheel of Time comes out this year, I'll ball my head off. I may even take off work just so I can let myself wallow in sadness for a day.
This might all sound pathetic, but when you look closer, it begins to make more sense. One of the miracles of being a human is the ability to create. Some might say it's the one thing that carried over from the God that put us here (or space aliens, whatever). Not only can we build skyscrapers, make art, or write music, we can make new people. Think about that. Make new people. With a pen and paper, or keyboard I suppose, a writer can form a person so convincingly that his/her readers fall in love with them (romantically or otherwise). This is a fictional person that feels so real, and fills a hole in ourselves so thoroughly, that we actually grieve when the book ends. To me, this is the most wondrous thing I can think of. It speaks of our imagination, our mental reach, and our ability to dream.
It's incredible, and I completely fell for these author's creations. Isn't that the most amazing thing ever? If I could only do that for someone else, just once. Can you imagine? This is why I started to write. So far I haven't accomplished this goal, but I have managed to convince myself that Chale, Astrid, and Spigworth are real, at least in the very darkest, unused parts of my mind. I guess that's the first step.
What characters have you felt a bond with? Which books drew you in the most, and left you hollow inside when they ended?
Aspiring Writer Interview: Alison Ash
Alison was lucky. I asked her to do this a whole week in advance. I'd like to take the time to apologize to my previous interviewees for the stupidly short amount of time I gave them. (But they all rose to the challenge and helped me out, so thanks guys!) I met Ali last year, when I responded to an ad for a writing group looking for members. I was really nervous about talking to anyone about writing at that point (I was still in the "writing closet"), but she was extremely nice and when all was said and done, they accepted me into their group. As some of you may know, I refer to this as my "pretend writing group", because I've only made it to three meetings. Ever. But they are all great people, so they haven't kicked me out yet. Some day, I'll make it I promise! Anyway, Ali is the group leader, and has a book of her own, one that I have had the privilege to read (half way so far, and loving it). She's startlingly hilarious, and somehow manages to hit my funny bone at least once per page. I really hope to see her published someday, so I can say "I liked Alison Ash's stuff before it was cool" or something hipster-y like that. Alright, let's get to the questions.
 |
| Alison Ash |
How old are you?
I just turned the very unremarkable age of 31.
Are you married? Kids?
Are you married? Kids?
Single. Two spunky daughters age 10 and 6. It feels strange having a daughter who is a decade old.
Where do you live?
Where do you live?
Utah, west side!
How long ago did you start writing?
My first book was written when I was five. It was called The Duck Robbers and I made several copies. It was about a robber who stole baby animals from the forest. Looking back, the villain didn't have a very strong motivation. He just seemed to get his kicks off locking up woodland creatures under his stairs and then disappearing so the parents of those creatures (fully-equipped with opposable thumbs) could unlock the cage and free the babies. After this emancipation, the robber must have died or left for Hollywood because he never came back for a sequel. He also looked suspiciously like the Hamburgler.
Have you published anything?
Does 40+ rejection letters count? No? Oh.
What are you working on right now?
I will speak to the novel I finished in early 2011, tentatively titled The Lost Location of Sunday City. I am in the submission stage.
How long have you been working on The Lost Location of Sunday City?
How long have you been working on The Lost Location of Sunday City?
I began writing the book during a bad bout of the flu in January 2007, but fashioned the idea in my head while driving years earlier in 2002. At the time, someone I cared had been victim of a violent crime and had changed tremendously as a result. As I drove, I remembered how she used to be as a child, very bright and innocent, and probably the most beautiful girl I had seen in real life. After the crime she was changed. Her eyes were hollow, and she spiraled into a ghostly waif of a person. All the spark and life had been sucked out of her. As I passed a ruined building with a missing roof and only window wells left, I imagined her adult self standing on the inside and her child self on the outside. The adult was warning the child about what was to come, so it could be avoided and innocence preserved. I then wondered what I might warn myself about if I could could speak to my child self. I passed that building daily with this image in my head. Eventually I combined the idea with the phrase "Time Trees" (a cast-off from a novel I started but never completed) and dreamed up the idea of a grove of trees that were tied to time. The idea seemed very simple and I thought I could write a quick little book about a boy who warns his past self about misfortunes in the future. I made a primitive outline while high on cold medicine. I wrote diligently for six months and had a nice little first draft of the first act (which was looking less and less like my hasty little outline, but isn't that always the way?) when I decided to rebuild my computer. I won't get into the technical details, but suffice it to say, I thought I had backed up my novel only to find the file had been permanently deleted! To say I was devastated is an understatement. I cried for the first day, went through a deep depression for the following two weeks. I had difficulty eating and sleeping. Neighbors started knocking, asking if someone had died. Eventually I started again, only to have the same thing happen a few months later after a virus hit our server. Luckily I only lost a couple of chapters that time. I was so angry with myself I couldn't bring myself to rewrite those chapters. I decided to start on the second act and go back later when my emotions had settled.
Other strange things started happening surrounding the novel. When I would go to write, something would always prevent me (an illness, emergency, etc). I began to have dark dreams about it. Also, the overall quality of my life was lowering. Several disasters had strained me and my family. One day I realized the bad luck all started after that flu in January when I decided to write the book. I joked with myself that the novel must be cursed. It was at that moment that I realized my main character should be cursed! I rewrote those lost chapters with that element and it ended up dominating the entire novel.
I thought often about those lost efforts and realized something. The rewrite was much better and far stronger than the chapters I had lost. Had I never experienced the pain and depression of losing a combined eight months of work, I would have never come up with the key elements of the plot. The idea of good coming from suffering became the theme of the entire book and the lesson the main character learns.
(Incidentally, my friend who was the victim of the crime did eventually recover and is now a happy, productive adult)
Tell us a little about it.
Other strange things started happening surrounding the novel. When I would go to write, something would always prevent me (an illness, emergency, etc). I began to have dark dreams about it. Also, the overall quality of my life was lowering. Several disasters had strained me and my family. One day I realized the bad luck all started after that flu in January when I decided to write the book. I joked with myself that the novel must be cursed. It was at that moment that I realized my main character should be cursed! I rewrote those lost chapters with that element and it ended up dominating the entire novel.
I thought often about those lost efforts and realized something. The rewrite was much better and far stronger than the chapters I had lost. Had I never experienced the pain and depression of losing a combined eight months of work, I would have never come up with the key elements of the plot. The idea of good coming from suffering became the theme of the entire book and the lesson the main character learns.
(Incidentally, my friend who was the victim of the crime did eventually recover and is now a happy, productive adult)
Tell us a little about it.
The novel concerns Gabriel Gussie, who's got himself a Muxy—a family curse that causes terrible things happen on his birthday. Cow pie rain, flukes in gravity, trailer-park terrorizing tornadoes, each year the disasters get worse. The entire community is afraid of him, kids at school avoid him, and his parents are sure that someday they’re going to wake up dead. But when Gabriel starts seeing visions, warning him that his curse will cause the death of his baby brother on Gabriel’s thirteenth birthday, he knows he must find a cure quickly.
A mysterious family friend named Tuck shows up, promising just that. If Gabriel will come with him to Sunday City, a ghost town closed to outsiders for a century, he will find his cure.
But Gabriel is in for a surprise. Upon arrival, he learns that not only does everyone in Sunday City believe that Tuck died thirty years ago, but Gabriel is the heir to his vast hoard of gimcracks—antiques with magical properties. Tuck has plans for Gabriel and his Muxy. As Gabriel’s birthday looms closer, Tuck’s dark secrets reveal a plot to destroy Sunday City from beyond the grave. His weapon of choice: the Muxy.
With the clock running out, Gabriel must dodge possessed deer, thwart greedy gimcrack-grabbers, uncover the history of his Muxy, save his brother’s life, and rescue the city he has come to call home before his birthday curse blows out more than candles.
In The Lost Location of Sunday City you somehow manage to cram a massive amount of humor into every chapter, most of it of the crazy variety. How do you come up with the ideas for all the intensely strange things people say and think?
A lot of the humor are real-life failed jokes put in the correct context and given the right timing. That's the beauty of writing, you have time to decide if you've gone too far. In real life that luxury does not exist, so unfortunately, my friends and family do a lot of head scratching after they are done talking to me. But I am laughing in my mind, so that's what counts!
What are your goals for The Lost Location of Sunday City?
A mysterious family friend named Tuck shows up, promising just that. If Gabriel will come with him to Sunday City, a ghost town closed to outsiders for a century, he will find his cure.
But Gabriel is in for a surprise. Upon arrival, he learns that not only does everyone in Sunday City believe that Tuck died thirty years ago, but Gabriel is the heir to his vast hoard of gimcracks—antiques with magical properties. Tuck has plans for Gabriel and his Muxy. As Gabriel’s birthday looms closer, Tuck’s dark secrets reveal a plot to destroy Sunday City from beyond the grave. His weapon of choice: the Muxy.
With the clock running out, Gabriel must dodge possessed deer, thwart greedy gimcrack-grabbers, uncover the history of his Muxy, save his brother’s life, and rescue the city he has come to call home before his birthday curse blows out more than candles.
In The Lost Location of Sunday City you somehow manage to cram a massive amount of humor into every chapter, most of it of the crazy variety. How do you come up with the ideas for all the intensely strange things people say and think?
A lot of the humor are real-life failed jokes put in the correct context and given the right timing. That's the beauty of writing, you have time to decide if you've gone too far. In real life that luxury does not exist, so unfortunately, my friends and family do a lot of head scratching after they are done talking to me. But I am laughing in my mind, so that's what counts!
What are your goals for The Lost Location of Sunday City?
I grew up with a desire to be traditionally published. However, I have seen a lot of authors gain success in self-publishing. I don't believe we can predict where technology is going to eventually bring books, but I am excited to see that publication is no longer run by "gatekeepers." I have no plans to self publish but that may change.
What is your favorite book or author? Why?
What is your favorite book or author? Why?
Dr. Seuss was a prophet. I believe Oh, the Places You'll Go should be government issued to new parents. But I can't rule out Shel Silverstein's The Missing Piece which is a perfect allegorical representation of the duality of human nature and how we crave both individualism and coupling. I have a copy on my coffee table and pick it up when I need a good, unanswerable question.
What has been the hardest part about writing your current work? About writing in general?
What has been the hardest part about writing your current work? About writing in general?
Finding time is always a challenge. Especially with children, a full time job and a host of extra hobbies. I often have to take entire weekends and dedicate them to whatever writing task is at hand.
What has been the best or most rewarding aspect of writing?
Reading the entire work from start to finish and realizing it makes sense and is actually a book! The first time I did so I reached the last chapter at two-a.m. with surprise. I couldn't believe it was over and wanted it to continue. I wanted to know what would happen next with Gabriel and Ebony and their friends. It was a strange, disconnected moment. Stephen King describes it as "'like reading the work of someone else, a soul-twin perhaps."
Do you have any "technical" suggestions for new writers?
Do you have any "technical" suggestions for new writers?
One thing I hate is the cliche. I really try to avoid the first solution that pops in my head. When I need to brainstorm new ideas I talk into a tape recorder for as long as it takes for the "Eureka!" moment to come. This has helped me puzzle out scenes and integrate threads into later chapters. It gives me an artificial sense of collaboration, as if I am discussing my book with my future self.
Do you have any sage advice for new writers?
Do you have any sage advice for new writers?
I really believe if we all just keep pounding at it, dedicating at least an hour a day at our books, we will eventually see publication. You never hear of a person who wrote and wrote and kept submitting their whole lives that didn't eventually see publication. We may write a few scrappers first (I wrote two horrible ones in my twenties), but that's just the awkward adolescence of talent that everyone has to go through before they become good at their craft. Just keep swimming!
Well, there you have it! It just goes to show that we can never give up, you and me. So get back to writing!
More updates on TSS 2.0, LTUE, and a quick bit on Voice (and I use too many parenthesis).
School has started. Alas, but it is true. Spring Semester 2012 is in full swing, and I wasn't really prepared for it. I'm not too worried though. I'm taking fewer classes (and easier) than last semester, so I can handle it. In part, this more laid-back schedule is because I want to devote more time to writing. College is my backup plan (not plan A), so I feel like every once in a while I should stop trying to do the "smart thing" and really go for my dreams. This is easier said than done. I'm well aware that many writers finish books and get published despite school, a full time job, and a family. Well I'm not that guy. I'm the guy who gets addicted to World of Warcraft over Christmas break, and falls so far into depression he can't even be pulled out with an ice-cream cone. I'm the guy who spends more time bemoaning his failings (quietly of course) than trying to correct them. Come to think of it, it's a miracle I was ever able to finish my first novel.
I am working hard at it though. Every week I have set days and time where I normally had classes that are now dedicated to writing. I've kept to it so far, even though the first day was excruciating (I'm telling you, writing is not like riding a bike, you can forget/get out of practice). Today's holiday is an opportunity for me to get in another huge chunk of writing time, and I'm hoping I can persevere. (Yes, depression and addiction to WoW can sometimes feel totally out of your control, even though they're not.)
Anyway, a quick update on The Sometimes Sword 2.0. I'm now at 30k words, roughly 90 pages at it's current font and margin settings. I'm not quite a third of the way through, so its going to be running 20-30k words longer than version 1.0 (this kind of scares me). Other than the slow progress, I feel like it's going well. I've been hitting dialogue a little closer to the mark this time around, and I've been working hard at making plot points cooperate better. My characters have started with a bit more mass and volume, and I've worked out some of the kinks in my story telling. Aside from the motivation to actually sit down and write, I'm feeling pretty positive about it on the whole.
For those of you in Utah (and perhaps without), you may know of a writing convention called Life the Universe and Everything (LTUE), held in Orem (I think?). It's an annual event in February, and from what I hear, it's the bee's knees. I'll be attending all three days (if I can swing it with work), backpack and tape recorder in hand. Yeah, I'm one of those over eager amateurs, so what? If you're going, hit me up so we can chat and attend a few panels together. Just a side note, membership is FREE for current students with college ID. So yeah, no excuses.
One last thing. As some of you may know, I'm a bit obsessed with the idea of a writer's "voice". It's something that has always eluded me, and I can't even define to myself, let alone other people. I can see it in the writers I read, but not myself. It's more than a bit frustrating. Today I happened upon a post on Terribleminds.com, a writing website run by Chuck Wendig (I highly recommend you check him out). I wanted to highlight part of that post and link the rest:
"Writers are at the outset a scared species. It’s not our fault: we’re told that it’s a bad idea and unless we want to prepare for a life lived inside a palatial piano crate we should just buckle down and become accountants. And so I think there’s a lot of bad psychic voodoo that clogs the works, and until we start to clear that out, it’s really hard to find out who we are on the page and what our voice looks and sounds like. Finding your voice is then synonymous with losing the fear of not just writing but of being a writer."
You can read the entire post here, and I very much recommend that you do. I love this dude's stuff, and it has helped me a ton. A word of caution though: he does use a hilarious amount of vulgarity and straight up insanity. It enriches the experience. He is very serious about writing though, and writing well.
So that's it folks. That's what's going on with me. What about you? What have you been up to, and what's your "Plan A"?
I am working hard at it though. Every week I have set days and time where I normally had classes that are now dedicated to writing. I've kept to it so far, even though the first day was excruciating (I'm telling you, writing is not like riding a bike, you can forget/get out of practice). Today's holiday is an opportunity for me to get in another huge chunk of writing time, and I'm hoping I can persevere. (Yes, depression and addiction to WoW can sometimes feel totally out of your control, even though they're not.)
Anyway, a quick update on The Sometimes Sword 2.0. I'm now at 30k words, roughly 90 pages at it's current font and margin settings. I'm not quite a third of the way through, so its going to be running 20-30k words longer than version 1.0 (this kind of scares me). Other than the slow progress, I feel like it's going well. I've been hitting dialogue a little closer to the mark this time around, and I've been working hard at making plot points cooperate better. My characters have started with a bit more mass and volume, and I've worked out some of the kinks in my story telling. Aside from the motivation to actually sit down and write, I'm feeling pretty positive about it on the whole.
For those of you in Utah (and perhaps without), you may know of a writing convention called Life the Universe and Everything (LTUE), held in Orem (I think?). It's an annual event in February, and from what I hear, it's the bee's knees. I'll be attending all three days (if I can swing it with work), backpack and tape recorder in hand. Yeah, I'm one of those over eager amateurs, so what? If you're going, hit me up so we can chat and attend a few panels together. Just a side note, membership is FREE for current students with college ID. So yeah, no excuses.
One last thing. As some of you may know, I'm a bit obsessed with the idea of a writer's "voice". It's something that has always eluded me, and I can't even define to myself, let alone other people. I can see it in the writers I read, but not myself. It's more than a bit frustrating. Today I happened upon a post on Terribleminds.com, a writing website run by Chuck Wendig (I highly recommend you check him out). I wanted to highlight part of that post and link the rest:
"Writers are at the outset a scared species. It’s not our fault: we’re told that it’s a bad idea and unless we want to prepare for a life lived inside a palatial piano crate we should just buckle down and become accountants. And so I think there’s a lot of bad psychic voodoo that clogs the works, and until we start to clear that out, it’s really hard to find out who we are on the page and what our voice looks and sounds like. Finding your voice is then synonymous with losing the fear of not just writing but of being a writer."
You can read the entire post here, and I very much recommend that you do. I love this dude's stuff, and it has helped me a ton. A word of caution though: he does use a hilarious amount of vulgarity and straight up insanity. It enriches the experience. He is very serious about writing though, and writing well.
So that's it folks. That's what's going on with me. What about you? What have you been up to, and what's your "Plan A"?
How watching films critically can help you write better.
I had my first Introduction to Film class yesterday, and despite the four-hours-in-one-really-old-theater-seat syndrome, I'm pretty excited for it. As I'm sure you can guess, we view a film once per class, book-ended by an hour lecture and discussion afterward. This gives the instructor a chance to teach us about a particular concept, allow us to watch for it, then discuss and identify the film-maker's usage of that concept.
As most of you know (at least, I hope so), movies begin with a screenplay. Which is writing, btw. Instead of writing a five-hundred page novel, a screenwriter writes something like one-hundred twenty pages (about 90 minutes of movie). Both novels and screenplays share a lot in common, from the basic structure (generally three-act, though there are always exceptions), to the need for natural, but informative dialogue. As always, characters and plot require hard work and probably tears of frustration in all forms of writing.
The interesting thing about watching a movie with critical eyes (as far as the writing portion goes), is that its format is perfect for catching all the ways the film makers handle the story elements. Such a condensed version of a story makes it east to identify character conflicts, quirks, and flaws. It's readily apparent what character's hold which place in the plot, and who does what.
We watched Little Miss Sunshine, a pseudo-indie film made back in 2006 or 2007 (maybe). We were instructed to watch for motifs (repeated themes), character parallels (and foils), and metaphors. During the discussion we talked about what we had found, and it struck me how easy it looked on screen. Of course the VW bus breaking down was a metaphor for the family's steady deterioration. Of course the beauty pageant at the end symbolized all of the character's misplaced dreams. Why can't it be so simple while writing a book? Well, maybe it is.
Next time you watch a movie, try to look at it with a screen writer's eyes, instead of a movie-goer's. Try to identify the techniques the film maker uses to draw you in, to define character, to advance plot, etc. See if any of those things might benefit your own writing. Hopefully I'll find some good stuff of my own.
As most of you know (at least, I hope so), movies begin with a screenplay. Which is writing, btw. Instead of writing a five-hundred page novel, a screenwriter writes something like one-hundred twenty pages (about 90 minutes of movie). Both novels and screenplays share a lot in common, from the basic structure (generally three-act, though there are always exceptions), to the need for natural, but informative dialogue. As always, characters and plot require hard work and probably tears of frustration in all forms of writing.
The interesting thing about watching a movie with critical eyes (as far as the writing portion goes), is that its format is perfect for catching all the ways the film makers handle the story elements. Such a condensed version of a story makes it east to identify character conflicts, quirks, and flaws. It's readily apparent what character's hold which place in the plot, and who does what.
We watched Little Miss Sunshine, a pseudo-indie film made back in 2006 or 2007 (maybe). We were instructed to watch for motifs (repeated themes), character parallels (and foils), and metaphors. During the discussion we talked about what we had found, and it struck me how easy it looked on screen. Of course the VW bus breaking down was a metaphor for the family's steady deterioration. Of course the beauty pageant at the end symbolized all of the character's misplaced dreams. Why can't it be so simple while writing a book? Well, maybe it is.
Next time you watch a movie, try to look at it with a screen writer's eyes, instead of a movie-goer's. Try to identify the techniques the film maker uses to draw you in, to define character, to advance plot, etc. See if any of those things might benefit your own writing. Hopefully I'll find some good stuff of my own.
Aspiring Writer Interview: Leigh Covington
This week's interview is brought to you by Me. And Leigh Covington from right here in Utah. I was pointed toward Leigh's blog by Melanie Fowler (another Aspiring Writer interviewee, click that there link) and I decided to ask her for an interview. She got back to me right away, which I very much appreciated, so thanks for that Leigh! It's referrals like this that help me keep up this feature, so keep them coming!
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| Leigh Covington |
First, some of the boring/invasive questions. How old are you?
*sigh* Can I lie?
*sigh* Can I lie?
Yes.
20’s would be awesome! But alas. I am in my low 30’s.
Are you married? Have any kids you'd like to brag about?
Yep! I am a city girl who married a farmer! He loves being in the middle of nowhere and would be perfectly content there as long as he lives. I, on the other hand, prefer civilization, although I do love to visit remote areas too. I have 3 kids. A boy, Kai (8), girl, Haydyn (5), and girl, Paisley (2). My entire life revolves around them. They are so much fun, but at the same time --- I love bedtime!
Where abouts do you live?
I live in West Point, Utah. It is west of Clearfield of Layton (depending on which you have heard of.) And very near the entrance to Antelope Island, which is fun.
How far back did you start writing?
Oh heavens! I have really been writing my whole life. I get a lot of requests for poems for people or skits for church groups. It is fun. But I was always afraid to go for something more – like being published. However – last August, I finally took the plunge and jumped into the blogging world (for writers) and I am working more fervently on some of my MS’s.
What are you working on right now?
I have put some of my picture books on the back burner for the time so that I can work on my YA fantasy, STAIN. It has been an adventure, and thanks to some fabulous crit partners, as well as blogging buddies – I have learned so much & it is constantly improving.
How long have you been working on it?
Hmmm – is it weird that I don’t know? I think since about September or October. I didn’t make get as much done as I wanted, with my school schedule, but I plan to have the first draft finished by March 31st.
Tell us a little about Stain.
Skye, and her best friend, Logan escape from an Island where they were used as slaves for their country. The King executes them at the age of 17 in order to prevent an army from rising against him. Skye and Logan happen upon The Guardians, where they are told more about why they were enslaved on the Island, along with the other children of Selaesia. From there they must journey to the Oracle to find out if either is the one that will be able to lead The Guardians in a war against the King in order to save the children of Selaesia. What they didn’t realize is that the king can use the stains that mark their arms against them, and he does whatever he can to stop them.
Where do you see yourself going with Stain?
I hope to find an agent and publisher, although I don’t have anything against going Indie. Mostly, I think that through an agent and publisher I can learn a lot and I won’t have to fully rely on ME!
Have you sent out any queries?
If this book ends up being everything I hope it will be then I will start querying this fall. *crosses fingers.*
What is your favorite book or author? Why?
Right now I am on a Brandon Mull kick! I love his MG series, FABLEHAVEN, and I am also enjoying the BEYONDERS series that has just started.
What has been the hardest part about writing Stain? About writing in general?
#1 hardest thing for me – is TIME! When I get the kids to bed, I want to curl up in bed and WORK! However, my husband thinks that his time to watch TV. We try to trade off, but I think I’m going to have to come up with a new plan. #2 thing that I am working on is using “active” voice. That can be tricky, but once again – I have awesome crit partners to help me out.
What has been the best or most rewarding aspect of writing?
Learning, growing and meeting awesome writers in the blogosphere. Honestly – the friendships and support are phenomenal!
Do you have any "technical" suggestions for new writers?
I think writers should attend as many workshops or conferences as possible. You learn so much and meet great people. Also – look into WriteOnCon. I wasn’t sure what to expect from that last year, but it was wonderful and I look forward to it this year. AND… do blog hops! Especially if they are writing related. It’s great to practice and get feedback!
Do you have any sage advice for new writers?
I think it’s important to “NEVER GIVE UP!” Honestly – there are pumps and valleys along the road to publication, so don’t give up. I also think it’s important to keep an open mind and use feedback. I know that I don’t see my book as others will, so I need to take their advice into consideration. It doesn’t mean I need to use it, but I should be open about my writing and not consider myself perfect. (Don’t tell my husband… as far as he knows… I am always right and always perfect.)
Have you published anything?
I did submit my 2 short stories from the Campaign Challengers on Rachel Harrie’s blog. It has been a fun experience to see a few of my things available to the public.
How about some links to any blogs, websites, or other online media you run?
http://leigh-covington.blogspot.com
http://twitter.com/leighcovington
http://facebook.com/leigh.covington
Thanks for helping me out and giving our readers something to distract themselves from at work! Keep at it, and one day we'll all be published and share snooty drinks at a snooty writer's club or something. That's what Stephen King and Brandon Mull do right?
Are you married? Have any kids you'd like to brag about?
Yep! I am a city girl who married a farmer! He loves being in the middle of nowhere and would be perfectly content there as long as he lives. I, on the other hand, prefer civilization, although I do love to visit remote areas too. I have 3 kids. A boy, Kai (8), girl, Haydyn (5), and girl, Paisley (2). My entire life revolves around them. They are so much fun, but at the same time --- I love bedtime!
Where abouts do you live?
I live in West Point, Utah. It is west of Clearfield of Layton (depending on which you have heard of.) And very near the entrance to Antelope Island, which is fun.
How far back did you start writing?
Oh heavens! I have really been writing my whole life. I get a lot of requests for poems for people or skits for church groups. It is fun. But I was always afraid to go for something more – like being published. However – last August, I finally took the plunge and jumped into the blogging world (for writers) and I am working more fervently on some of my MS’s.
What are you working on right now?
I have put some of my picture books on the back burner for the time so that I can work on my YA fantasy, STAIN. It has been an adventure, and thanks to some fabulous crit partners, as well as blogging buddies – I have learned so much & it is constantly improving.
How long have you been working on it?
Hmmm – is it weird that I don’t know? I think since about September or October. I didn’t make get as much done as I wanted, with my school schedule, but I plan to have the first draft finished by March 31st.
Tell us a little about Stain.
Skye, and her best friend, Logan escape from an Island where they were used as slaves for their country. The King executes them at the age of 17 in order to prevent an army from rising against him. Skye and Logan happen upon The Guardians, where they are told more about why they were enslaved on the Island, along with the other children of Selaesia. From there they must journey to the Oracle to find out if either is the one that will be able to lead The Guardians in a war against the King in order to save the children of Selaesia. What they didn’t realize is that the king can use the stains that mark their arms against them, and he does whatever he can to stop them.
Where do you see yourself going with Stain?
I hope to find an agent and publisher, although I don’t have anything against going Indie. Mostly, I think that through an agent and publisher I can learn a lot and I won’t have to fully rely on ME!
Have you sent out any queries?
If this book ends up being everything I hope it will be then I will start querying this fall. *crosses fingers.*
What is your favorite book or author? Why?
Right now I am on a Brandon Mull kick! I love his MG series, FABLEHAVEN, and I am also enjoying the BEYONDERS series that has just started.
What has been the hardest part about writing Stain? About writing in general?
#1 hardest thing for me – is TIME! When I get the kids to bed, I want to curl up in bed and WORK! However, my husband thinks that his time to watch TV. We try to trade off, but I think I’m going to have to come up with a new plan. #2 thing that I am working on is using “active” voice. That can be tricky, but once again – I have awesome crit partners to help me out.
What has been the best or most rewarding aspect of writing?
Learning, growing and meeting awesome writers in the blogosphere. Honestly – the friendships and support are phenomenal!
Do you have any "technical" suggestions for new writers?
I think writers should attend as many workshops or conferences as possible. You learn so much and meet great people. Also – look into WriteOnCon. I wasn’t sure what to expect from that last year, but it was wonderful and I look forward to it this year. AND… do blog hops! Especially if they are writing related. It’s great to practice and get feedback!
Do you have any sage advice for new writers?
I think it’s important to “NEVER GIVE UP!” Honestly – there are pumps and valleys along the road to publication, so don’t give up. I also think it’s important to keep an open mind and use feedback. I know that I don’t see my book as others will, so I need to take their advice into consideration. It doesn’t mean I need to use it, but I should be open about my writing and not consider myself perfect. (Don’t tell my husband… as far as he knows… I am always right and always perfect.)
Have you published anything?
I did submit my 2 short stories from the Campaign Challengers on Rachel Harrie’s blog. It has been a fun experience to see a few of my things available to the public.
How about some links to any blogs, websites, or other online media you run?
http://leigh-covington.blogspot.com
http://twitter.com/leighcovington
http://facebook.com/leigh.covington
Thanks for helping me out and giving our readers something to distract themselves from at work! Keep at it, and one day we'll all be published and share snooty drinks at a snooty writer's club or something. That's what Stephen King and Brandon Mull do right?
New Year's resolution? No thanks. But don't go away yet!
I'm one of those anti-resolution snobs. I don't believe in them. Now don't get me wrong, that doesn't mean I can't or don't support those that do. I think it's great to try to better yourself somehow, to make a fresh start. The problem is that I know myself well enough to realize that any sudden decision to change won't last long. Instead, I favor resolutions based around things already in my life. For instance: school starts once more on this coming Monday and I've decided to base a resolution around that, and not just the new year. To explain, I haven't been writing very much lately during the holiday break. Sure I've blogged a bit, even tapped out 1600 words in my book, but those are so small they almost don't count. So with the start of school I face a dilemma. All the free time I've become accustomed to in the last weeks will disappear in a puff smoke, and my reluctance/aversion to forcing myself to write will become even worse. In order to combat that, I'm taking this last week of freedom back from World of Warcraft. My goal is to write everyday this week, as much as I can manage. That way, when I finally start school again, I will already be in the habit of writing. I can't risk losing my drive to write. I have a dream dang it! I can't let it fall by the wayside.
It's my opinion that goals are better realized when tied to something solid, like the beginning of a school semester, rather than a year-spanning blanket promise to yourself. So wish me luck on this next semester, when I plan to finish my rewrite of The Sometimes Sword (60k words of 80k to go).
I had one more thing to say in this post. It's not directly related to writing, but it's been on my mind a lot. Some of you might not know, but music used to be my "thing", not writing. I was the vocalist in a local deathcore band for about three years. We were called A Horrible Night to Have a Curse (yeah, thats a Castlevania reference), and played shows weekly, sometimes even two or three in a week. We had the opportunity to play some really awesome shows with bands we always dreamed of playing with, and got to know a lot of people. It was a great time in my life, despite the incredible stress that goes along with running a band with four other young dudes. It's now been over two years since we called it quits, and I still miss it. At first it was really difficult to have nothing in my life that I was passionate about, and I even got bitter. All I was left with was my full time job, one that I hated. It was a rough two years at that job, but I eventually got over the painful cravings to perform and write music. Writing has since become my life, and I'm glad for it. If I had stayed involved in the hardcore scene as deeply as I was, I most likely would never have started writing seriously. But every once in a while, those cravings to get on stage and feel the music invade my heart and brain comes back. I know I never will again. Today is one of those hard days. I guess my point is that no matter what change happens in your life, you never know what the outcome will be. Let life happen, and take charge of yourself, despite what may happen to you. Also, don't be afraid to look back fondly, maybe even sadly. Just make sure you stay looking forward the majority of the time.
It's my opinion that goals are better realized when tied to something solid, like the beginning of a school semester, rather than a year-spanning blanket promise to yourself. So wish me luck on this next semester, when I plan to finish my rewrite of The Sometimes Sword (60k words of 80k to go).
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| Me at The Outer Rim (now closed) with A Horrible Night to Have a Curse. |
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