Category Archives: The Writing Process

Kilts and Coffee with Petra

I had a nice conversation with occasional Fictorians guest poster Petra Klarbrunn about how she ended up becoming a writer. Here’s a mini-interview that gives a good explanation as to why some folks write.

Guy Anthony De Marco


 

When I walk into Everyday Joe’s Coffee House in Fort Collins, Colorado, it takes all of ten seconds to locate Petra Klarbrunn. A prolific author who writes under at least ten pseudonyms, she built a temporary wall of research books around her clunky pre-Lenovo IBM laptop to keep the world at bay. Her face remains focused on her computer, fingers pounding away on keys polished blank and smooth from years of hard use.

I place my order for an espresso and a cup of Earl Gray for Petra. While the volunteer baristas expertly craft the brews, I realize that my author friend looks more like a librarian than a writer of bizarro stories and niche erotica novellas. Her round Harry Potter-esque glasses are oversized for her small features, and tattoos of Marvel comic book heroes peek out from around her well-worn Batman t-shirt. Everything about her is a clash between multiple worlds. Marvel versus DC. Demure librarian versus hardcore literary dominatrix.

She remains in her own bubble universe until I pierce her event horizon by sliding the ceramic mug of steaming tea into the only open spot within her reach. Her clear blue eyes lock onto mine and she flickers the corners of her mouth upwards.

“Gimme a minute to finish this scene, would you?”

Nodding, I take the opposite chair at her table and locate a few spare inches of table space to set my cup. The coffee house is half-full of students from Colorado State University, and Petra blends in seamlessly. I’m easily the oldest person in the place. Most of the students are working on homework or socializing. Several kept glancing at the attractive brunette with the loud keyboard. Once I had settled in, even more eyes wandered towards our table. Was I her father, her friend, or something more? The enigma baffled the college crowd.

Petra finally pushes the screen down on her laptop, the old hinges squealing in protest, and she looks up with a lopsided grin. “I had to get that scene down before I forgot it.”

“What are you writing about today?” I asked while adding a little brown packet of raw sugar to my espresso.

“Chick porn.” She laughs with a clear soprano voice when a barista stops in his tracks at her words and then continues on as his face turns red. “Gotta pay the bills. This one is set in Ireland.” She waves at the books piled on the table with the grace of a ballerina. All of them pertain to some aspect of the Emerald Isle, ranging from travel books to historical castles. “I love to travel. One day I’ll make it out to Europe. I’m keen on visiting Wales, Ireland, and especially Scotland.”

When pressed why she wanted to go to Scotland, it was her turn to redden her complexion. “It’s the kilts. I can’t resist someone manly enough to basically wear a skirt and drink Scotch.”

Sex, a travel bug, and a sad childhood are what started Petra’s foray into writing erotica novellas for women and, to a lesser extent, for QUILTBAG readers. “It allowed me to travel virtually for a while, burying my head in travel books and online forums so I could forget my problems. Eventually, I had to get off of my butt and go see things without having to peer through a window made by IBM. By the time I was ready to get on a plane, I had 33 erotic novellas published under a couple of different pseudonyms. I made enough to cover my living expenses and to travel to my first exotic location – Los Angeles.” Her laugh is contagious, and eventually everyone in the coffee house is smiling.

When asked about her family, Petra admits she barely remembers her father. She does remember the tears and the sobbing that gripped her mother. “I was, what, five or six years old. I couldn’t understand what was wrong with my mom. She was Wonder Woman to me…indestructible, yet loving and warm. To see her so broken up, it broke my heart.”

Those feelings haunted Petra. In grade school, she fought so often that the principal joked he was going to adopt her because they saw each other more than he saw his own kids. “I was a terrible hellion. The girls start growing faster than the boys, and they were all afraid of me. I never had to wear make-up because I had a bruise or a black eye. Maybelline Fist, I used to call it.”

Unfortunately, when the boys started their growth spurts, she remembered the principal saying that she had better start to use her brain instead of her fists if she wanted to survive. “That made sense to me. Someone talking to me like I was an adult, telling me things that made logical sense…that was the game changer for me.”

Several bleak Christmas holidays in a row, one of them requiring a midnight jaunt to a park to locate a suitable shrub so she and her mother could have a tree to decorate, convinced Petra to settle on a career choice. She heard about the lofty advances that authors like Stephen King were pulling down, so that seemed like an easy method to get rich. “My god, what an idiot I was. Still am, now that I think of it.” She laughs and snorts, which causes her to laugh uncontrollably for several minutes.

“I was the proverbial broke, struggling writer until I wrote my first erotica—based in Scotland, of course. My roommate read it straight through and convinced me it was fantastic. I uploaded it to Amazon’s Kindle Digital Publishing platform, and it began to sell. I made more money the first month than I did waiting tables. I wrote another one in a week, and that one did even better. I kept writing, and the books got better and better as I learned my craft. I now make enough to pay my bills, my mom’s bills, and I’m taking her on a two-week vacation to Scotland next month.” That lopsided grin lights up her features again. “We’re going to drink real scotch and find out what’s hidden under those kilts. It’s my mission in life now.”

 


 

About the Author:DeMarco_Web-5963

Guy Anthony De Marco is a speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.

Two Must-Knows About Your Inner Muse

Your inner muse is the voice of your experiences – both real and desired.

I think my muse went this way....
I think my muse went this way….

That inner muse can be elusive. It is who we blame for our writer’s block.

But there is a secret to keeping that muse away from the straight jacket of silence. That secret is understanding the two truths of the inner muse which no one talks about.

Those two truths, once realized, will forever unfetter your inner muse. This month’s theme is about how life’s experiences shape what we write. We know that our experiences shape our perception and hence what we write. Experience also shapes what our inner muse reveals. But, did you know that there is a way to tap into those experiences while letting the muse do its sorting and compiling to create those aha! moments?

Tapping into our experiences happens when we’re aware of the two truths about the inner muse that no one talks about:

1) Inspiration isn’t always obvious; and
2) You may not realize what you know.

It seems that I’m stating the obvious. But without conscious awareness of these two truths, your inner muse doesn’t have permission to stay away from the straight jacket of silence.

What these two truths mean is that what inspires you to create a world and to write the story can be hidden somewhere deep inside and you don’t even know it.

Can you dig it out? Find it? Use it? Of course you can. The best way to do that is to not go looking for it. Sometimes, you’ve just got to let it happen. Sometimes you just have to be literal about being inspired. Here’s what I mean:

To be inspired means to be in spirit. That means giving your muse permission to access all that information in your head, all those observations and the situations you’ve experienced. It means letting your muse make the associations it needs to and to draw from the library of your inner knowing.

All you have to do to succeed is to trust it. Yes, trust your muse, trust what you know even if you’re not aware of it. Why? Because:

1) Inspiration isn’t always obvious
Sometimes we have an aha! moment which inspires a scene, a story even or a moment in the book. More often it comes from somewhere deep within. How often have you read what you’ve written and wondered how you knew to write that, or to word it that way, or your character has surprised you? Those are the moments when inspiration isn’t obvious and you may never figure out what inspired you to write what you did, but aren’t you glad your inner muse was working for you?

Our brain likes to make associations, find familiar in the unfamiliar, and find patterns. It sees shapes in clouds, a face in a whorl of wood, that phone number is all primes and if I add the first two numbers together…

The trick is to trust the inner muse and to trust that it’s working for you. Forcing the writing, forcing a scene, rarely works. It has to come from the characters and the situations we created and from the inner muse which understands those creations at a much more profound level than what we are sometimes aware of.

2) You may not realize what you know
I’m a kid from the farm. It took a little while for me to realize that most of my stories happen in rural settings in whichever genre I’m writing. I have detail which I take for granted and other people have to research. I understand the relationship people have  with the land and animals. I have planted, harvested and marketed, I have prepared and stored food for the winter and have experienced limited access to store bought foods,.

It’s the same thing with the characters we create. We tend toward the familiar, especially when it comes to relationships. That’s when patterns in our writing occur. Strong female, weak male characters or vice versa. Female characters who hate their fathers. Male characters who are emotionally deprived heroes. There are countless patterns and stereotypes we fall into because it’s subconsciously familiar in some way. It’s the material the muse has to work with.

Whether it’s settings or characters, relationships or values and ethics, our inner muse has the information of who and what we are and uses it, even if we don’t realize that’s what is happening.

So we don’t always realize what we know and even what we don’t know. But when we consciously let the muse do its work, when we become consciously aware of the work it is doing, then we can form a relationship with it that changes what we write. We can give the muse permission to explore new situations, characters and relationships. This awareness allows us to ask for help to change the pool of information the muse has to work with. In a critique group I’m in, a well published author informed us that she had become aware that she always wrote a specific father-daughter relationship into her stories and she understood why. Now she wanted to change it up.

The two truths contradict each other:

“Trust inspiration” versus “Don’t trust what it’s telling you”.

Or, so it seems at first glance. But the real axiom is:

Trust Inspiration. Understand what it’s telling you so that you can change it up – if you wish.

We found our muse!
We found our muse!

We, and our inner muse, are the sum total of our experiences. As writers, we’re not always aware of what we know and what we don’t know. The more we write, the more opportunity we have to understand what informs our writing and to change and expand upon that.

You know that the writing myth that says you’ve got to write a million words before you’ve got a chance to be successful? It’s not about the word count, it’s about understanding your inner muse and developing a comfortable, trustworthy relationship with it. Sometimes, it takes a million words before you realize you’re basically writing the same story, the same themes albeit in different settings and milieus. Once you realize that, you’ve hear your inner muse. Now, you can give it new fodder, inform it with new information and experiences. You can give it permission to shake it up a bit.

Will you need a million words to do this? Maybe yes. Maybe no. And remember, I used the word ‘myth’ for a reason.

Inspiration isn’t always obvious and you may not realize what you know – once these two unspoken truths are understood, your life experiences will shape your writing in ways you never imagined it could! So, trust Inspiration and understand what it’s telling you so that you can change it up – if you wish.

Gaining Experience from the Past: A Guest Post by Shannon Fox

I’ve never believed much in writing what you know. If everyone wrote what they knew, we’d have no fantasy or sci-fi. Imagine a world without Narnia or Hogwarts. A life without Lord of the Rings or Game of Thrones.

I consider myself a novel writer. While attending UC-San Diego’s Literature-Writing program, I became part of the departmental honors program during my senior year. I needed a new project, a manageable short story as I only had about four months to get the research, writing, and perfecting all done for the defense.

Most people know about the Tesla car, but not about Tesla, the man. I was first introduced to Nikola Tesla, the inventor, back in 2006, while watching the Christopher Nolan film, The Prestige. Though the Tesla character played by David Bowie (RIP) was only a small part in a film dominated by Christopher Bale and Hugh Jackman’s rival magicians, I was nonetheless enchanted by Bowie’s character.

Trying to brainstorm short story ideas for my senior thesis, I thought again of Bowie’s Tesla and his experiments in Colorado. But by the time I sat for my thesis defense in 2012, my committee and I both concluded that my short story, now grown into a novella, was not even that, but rather a novel.

I finished the first draft of the full-length novel in 2013. It was suggested to me that I go to Colorado Springs and look at the town for myself, to trace what I could find of Tesla’s trail. My research had uncovered little written about Tesla’s time in Colorado Springs. Tesla arrived by train on May 18th, 1899, stayed at the Alta Vista Hotel, ran experiments for roughly eighteen months at his new lab, and left. The lab was later dismantled and the pieces sold to pay Tesla’s debts. I had read everything there was to read about Tesla. I had looked at old maps and drawn from my childhood raised on the Front Range of Colorado to complete the atmosphere. But, my descriptions were lacking a certain authenticity. You couldn’t quite imagine the town yet, picture the clouds of dust rising softly around your feet. And while I couldn’t travel back in time, I could visit the town, 115 years in the future.

Shortly before Christmas 2014, I arrived in Colorado Springs. Like so much of Colorado, Colorado Springs was born of gold fever. The 1859 Pikes Peak gold rush brought the first settlers into the region. In 1871 the town of Fountain Colony was laid out, along with Manitou Springs. In addition to the mining that was done around Colorado Springs, many people came to the area for the health benefits of the dry climate. Fountain Colony would later be renamed Colorado Springs. Colorado itself achieved statehood on August 1st, 1876, and became known as the “bicentennial state”.

My first stop in Colorado Springs was Tesla’s first stop: the train station. The Denver & Rio Grande Railroad Depot was completed in 1887 and remained operational until the late 1960s. The station is not in use today, though it continues to be well-maintained and was even decorated for the Christmas Holiday.

My father used to write non-fiction books, pictorial essays, about the railroad and he always included his own photographs, shot with a traditional film camera. Though I was sporting a several years out of date Canon DSLR, I think I had never felt closer to my father. My young childhood was spent in the back of his green jeep as he and my mother carted me around the western United States, looking for trains to photograph. In addition to the death of his clientele (the old timers who worked on the railroad and still appreciated film photography), the advent of 9/11 made it all, but impossible for him to continue with his books. Where he had so easily been able to walk right up to the tracks and get onto the surrounding hillsides to frame his shots, most access points to the train tracks were now blocked by barbed wire and other deterrents.

But no one is concerned with an empty train depot. I easily creep around the back of the building to take a look at the tracks and the platform. If one could erase the highway overpasses, it is fairly easy to picture the station as it would have been over one hundred years ago. All hustle and bustle with the whine and hiss of steam engines.

Tesla stayed at the Alta Vista Hotel, in Room 222 or 207, depending upon which story you consult. It is said that Tesla selected his room on the premise that the room number was divisible by 3, a prime number. While I had known that the Alta Vista Hotel was long gone, I am not prepared for the surprise of it being completely taken over by a bank with a drive-through. I had been imagining a gaping hole where it had been. As if you could cover up something that vital to the town’s early life.

Around the corner is St. Mary’s Cathedral, one of the buildings I had come to visit more for its age than because it had any actual relevance to Tesla. According to the Church’s website, St. Mary’s was the first Roman Catholic Church in the Pike’s Peak region. More to my interest, the majority of this structure was completed in 1898, the year before Tesla arrived.

It’s a beautiful church, as most churches of a certain age are. St. Mary’s has been well-kept and modernized over the years. Many of the features of the church were embellished or added on later, though the core of the building, the beautiful red brick, has remained the same.

In the downtown area, many of the buildings and streets have retained their original layout. Tejon, Kiowa, Cascade. All names that can be found on historical maps. Many of the buildings bear historic plates, attesting to their age and the sights they have seen.

I drive down Tejon, looking for more buildings from the late nineteenth century. I discover an old day nursery and several wonderful specimens of old Victorian homes. I also find myself near one house that was built in 1902. Tesla’s lab was located outside this downtown area, about a mile behind The Colorado Deaf and Blind School. The school itself had grown from its early days as a single building. I park in the neighborhood across the street from the entrance (a neighborhood also composed entirely of Victorian Homes) and as I get out of the car, I hear a bell tolling the time.

The bell continues to peal as I walk up to the fence outside the school. Here, finally, I can feel Tesla’s ghost again. I have no proof that he ever left his lab and went into town, ever walked into the buildings I’ve just seen. But this school was about the only thing out here besides his lab. He would have been aware of it.

Though most of these buildings weren’t here in 1899, the fact remains that the deaf and blind students who were educated here lived less than a mile from Nikola Tesla.

To find the spot where Tesla’a lab stood, I don’t have to travel far, about a block or two further down. An enormous park takes up the right side of the street as I turn on Foote.

My phone’s GPS dings that I have arrived and I glance around, a little bit confused. There’s no remnant of the lab having ever been here. Residential houses, decorated for the holidays, line both sides of the street. I had known the lab had been entirely dismantled, but I didn’t imagine it would be so completely erased.

I stop in front of the largest house on the street, the one Google has dropped a pin on. A couple comes out of the backyard. They give me a curious look, but don’t ask me what I’m doing. That seems to be the theme of the day. Hardly anyone seems very concerned about me. What a difference from San Diego, where any sort of odd behavior would prompt a question or two.

I head over to the park, where there’s a marker dedicated to Tesla. As I wait for the light, I notice the statue to the fallen firemen on the corner. It’s a little bit ironic that this monument and Tesla’s marker are sharing the same park. After all, during the eighteen months Tesla was in Colorado Springs, his experiments caused at least one grassfire.

The monument to Tesla turns out to be just a plain wooden sign underneath an old tree. Tesla’s trail has officially ended here.

It starts to snow, fat, lazy flakes. It’s a good thing I only want to make one more stop. I need to leave before the storm really hits.

Lowell Elementary is a beautiful, red brick building still in use as a school today. And even more striking is the panoramic view of Pike’s Peak you’re afforded from the front lawn. I grab a few pictures of the school in the snow before admiring the mountain. Wreathed in wispy snow clouds, there’s a glow on Pike’s Peak, as if God was feeling particularly proud of his work and decided to cast a spotlight down on this mountain and all 14,114 feet of its splendor.

I learned a lot from my trip to Colorado Springs. The most important being that I had the layout of the town entirely backwards. From my reading, I had thought the Deaf and Blind School and Tesla’s lab sat in the foothills of Colorado Springs. They actually sit to the east, on the plains. I also discovered that the houses dating from the turn of the century where quite a bit larger than I had envisioned.

Petite by today’s standards as we build our McMansions, but not a shack either. I was also surprised by the use of brick and stone in the architecture. I had been convinced that everything was wood, made to burn.

I think that there’s something to be said about the authenticity, even if it’s not quite writing what you know. As authors we can try to have these crucial experiences. While I’ll never know what it was like to be in Colorado Springs while Nikola Tesla was there, I now know the streets he might have walked, the mountains he saw when he stepped off the train for the first time, the scent of the pine trees rolling off Pike’s Peak, the school he might have gazed at when he stepped outside his lab on a summer morning. We cannot know everything, but we can know what remains to us.

My pictorial diary of that day I spent in Colorado Springs in late December 2014 can be seen here. I am currently seeking representation for my historical fiction novel about Nikola Tesla. If you would like to read more about my writing journey, you can visit my blog at IsleOfBooks.com.

1adf16_4e3d92970c7a4d00b8cd53a62951e52bAbout Shannon Fox:
I have a B.A. in Literature-Writing from UC-San Diego. While at UCSD, Pulitzer prize-winning poet Rae Armantrout selected my poetry as a runner-up for the 2011 UCSD Stewart Prize in Poetry. Recently, I have worked with Tom Jenks of Narrative Magazine and am currently an Assistant Editor at Narrative. I have co-authored an article published in Scientific American Mind Magazine and was an editorial assistant for Teen 2.0 by Dr. Robert Epstein. I was also a research assistant for the recent book, Against Their Will, by Dober, Hornblum, and Newman. My fiction and poetry has appeared in Black Fox Literary Magazine, The Copperfield Review, The Fat City Review and more. I also have my own blog, Isle of Books, and am a contributing writer to the blogs Mooch Mooch Pets and Coastal Premier Properties.

Leaving Books Behind

[For those interested, my book Unwilling Souls begins a week long Kindle Countdown Deal at 8 AM EST TODAY, February 2nd, 2016! For the next two days, it will be just $0.99 on Kindle, with the price going up steadily every couple of days after that. So act quickly!]

Owing to my post last month which directly related how experience shapes writing, I’m going to take a slightly different tack in approaching the topic this month. Show of hands: how many of you have read Stephen King’s The Dark Tower series? It’s an interesting set of books for a number of reasons. The first is that fantasy isn’t generally King’s genre. I’ve often found that talented writers who don’t usually write straight fantasy then choose to attempt it come up with very unusual entries into the genre. It’s as if not being immersed in the rules of the genre, both written and unwritten, means they approach a fantasy story with a very different mindset. Justin Cronin’s series The Passage has similar traits.

But I digress. The real reason The Dark Tower is such an unusual series of books is that King published them over a period of twenty-two years (1982 – 2004, and thirty years if you count The Wind Through the Keyhole, which came out in 2012). And since books 5-7 were published within a year of one another, the publication frequency became even more lopsided.

This is an impressive feat. Keeping the enthusiasm for a series of books up for that long is pretty much unprecedented, at least recently. As much grief as George R.R. Martin gets, his series has been ongoing since 1996, so he’s just second place on this list of two I’ve generated. There were plenty of Stephen King fans who, prior to 2003, thought they would never get the end of their beloved series.

It’s tough to keep up enthusiasm for one idea for that long. To be a writer requires a lot of enthusiasm, because there is very little in the way of positive feedback, especially in the early going. Certainly there’s no monetary feedback. It’s almost impossible to put fingers to keys if you aren’t excited about the ideas you are putting down, or at least excited about finally finishing those ideas. What readers ended up getting with The Dark Tower was a series of four books, each of which was written in a different style and with a vastly differing plot. No two of those first four books were really anything alike. Each was its own, unique animal, with strengths and weaknesses that largely differed from any other entry in the series. The overarching plot connecting them was very loose and free-form. By contrast, King wrote books five through seven back-to-back-to-back in an effort to finally put the series to bed. As a result, those last three books demonstrated a much more uniform style and a renewed focus on the overarching plot of the series. In the end, the main seven books of the series were written by five different versions of Stephen King over a period of a quarter century.

Talk to enough writers, and you’ll start to hear the same refrain over and over again: ideas are easy, execution is hard. And it’s true. My friend Gama Martinez is famous among his friends in the writing world for being able to take any weird or random notion you throw at him and sketch out a story concept within a few minutes. Most every author has more ideas knocking around inside their head than they can ever write about. And the sad truth is that plenty of those ideas, as excited as you may be about them when they pop into your head, may wither on the vine before you get to them. People change. The things that interest or excite them change too.

After my first Superstars seminar, I returned home with renewed writing vigor. Over the course of two months, I wrote a 100,000 word first draft of a superhero novel. It flowed out of my brain faster than anything I’d every written before. Then I started looking at it and realized how many problems it had. Ultimately, it was a series of mostly cool scenes and chapters that didn’t really fit together into a single, cohesive story, and I wasn’t sure, at the time, that I could find a way to make them fit. I put the book aside and began work on something new, my burst of excitement over my superhero story fizzling.

I told myself I would come back to it, rewrite what needed rewriting to fix the structural problems and not waste all that time I spent coming up with that world and those characters. And yet here I am five years later, and I still haven’t rewritten that novel. I’m neck deep in a four book series, now, unwilling to break my momentum with major side projects. After that’s done, the possibilities of the blank page may call to me more than a massively flawed novel first draft.

Time marches on. Our lives take us in different directions, and the topics we focus our thoughts on shift in compensation with these changes of direction. Sometimes, as writers, we outgrow ideas, or even entire stories. That’s okay. In fact, it’s perfectly natural, change being the only universal constant and all.

Write down your most exciting ideas when you have them. Even if you can’t get to them for years, you may find a way to spin them together in another story. And if nothing else, they are a snapshot of the kind of writer and the kind of person you were at the time.

 

About the Author: Gregory D. LittleHeadshot

Rocket scientist by day, fantasy and science fiction author by night, Gregory D. Little began his writing career in high school when he and his friend wrote Star Wars fanfic before it was cool, passing a notebook around between (sometimes during) classes. His first novel, Unwilling Souls, is available now from ebook retailers and trade paperback through Amazon.com. His short fiction can be found in The Colored Lens and A Game of Horns: A Red Unicorn Anthology. He lives in Virginia with his wife and their yellow lab.

You can reach him at his website (www.gregorydlittle.com), his Twitter handle (@litgreg) or at his Author Page on Facebook.