Tag Archives: neck

Dec 07

“Repetition Offends Your Reader” Let Me Repeat, Okay, You Get the Point! Another Writing Advice Article By Mary Deal

When descriptive words are used repetitively in writing, it makes the reader wonder why they have to be told something they’ve already learned earlier in the story. Repetition can kill your reader’s interest. Read More

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Jun 08

Details! Details! “Unseen Background Details” by Mary Deal

Unseen Background Details
by
Mary Deal

As a writer, you may find that TV characters can be emotionally flat time and again. What sets them apart, even what gets the viewer to like them, is that we can see them. We see their facial expressions and how they react to other people and occurrences. We see their actions, which express motivations and emotion. We see the background scenery and how they act and react in such a setting.

What we see on TV or in a film is exactly what many writers fail to include in their stories. What we see in a picture doesn’t have to be explained because we see it. When writing our stories and books, we have to describe most of this for the reader.

A simplified example: If the reader doesn’t know the character is caught out in a rainstorm, how will the reader know anything except that the character is walking down a street?

We must describe the setting. If it was raining, don’t stop there.

Was it a thunderstorm or simply sprinkling?

Did the character get caught without a raincoat and umbrella?

Was the sky dark, or was the sun shining through the rain?

Was the wind blowing?

Who else was nearby and how did they react to the rain?

We writers have to include in our written works anything that might otherwise be seen when viewing the same scene on TV or in a film. Yet, we cannot over-do the details by stopping the story and describing the background.

Every detail necessary should be woven into the action. Which do you prefer?

The sky was dark. Lightning lit up the distance sky. Thunder rolled. The wind was fierce. It bent her umbrella backwards. She discarded it. Rain pelted down. She wore a raincoat but was still caught in the rain.

Or this:

When lightning flashed and thunder rolled again and the deluge came, she grabbed the collar of her raincoat, drew it up around her neck, and began running. Her umbrella bent backwards as the wind tore it from her hands. Her hair hung in loose wet ringlets as water streamed off the ends and ran down inside the coat. How did she ever let herself get caught alone on a dark street with wind strong enough to blow her over the side of the bridge? And why had that dark sedan slowed its speed to keep pace directly behind her?

The rule is never to stop the story to describe the background or scene, but to include the surroundings among the action performed by each character and as it affects that character.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Dec 27

Young Adult Fantasy Novelist, Rainforest-Dwelling Writer, Tahlia Newland Guests with Mike Angley

MA: I have an intriguing guest today, so please extend a warm American welcome and Merry Christmas to Tahlia Newland. Tahlia is the author of the Young Adult fantasy novel Lethal Inheritance, the first in the Diamond Peak series.

She lives in an Australian rainforest south of Sydney and is a refugee from the Performing and Visual Arts. For 20 years, she created and performed in Visual Theatre shows and she makes Venetian style masks, which you can discover here: http://tahliasmasks.wordpress.com.

Now that she growing grey, she’s given all that up to become a writer. That is, when she’s not being an extremely casual high school teacher.

She has written scripts for theatre in education, a book of short stories for children and a few other short stories (one a semi finalist in the Aussiecon 4 Make Ready fantasy/scfi competition 2010), but her love in writing is novels.

Welcome, Tahlia! So you live in an Australian rainforest? I’m fascinated (and jealous). Tell us what you did before writing.

TN: I trained as a teacher after leaving high school, taught briefly then gave that up to become a professional dancer actor, mime and mask performer. During the 20 years that I lived off these talents, I also made masks and studied how our mind works. Specifically how what we think and how we deal with what rises in our mind affects what we feel, what we perceive, how we behave and what we experience.

MA: You’ve always been around the arts, so I suppose it was a natural decision to write novels?

TN: It wasn’t so much a decision, more something that just happened. I had wanted to write novels when I was younger, but I got into other creative areas and never had an idea that screamed to be written like Lethal Inheritance did. When the idea first came, it percolated for a while, then scenes began appearing in my mind and I just had to write them down.

MA: Tell us all about the story.

TN: Lethal Inheritance is a Young Adult Fantasy novel, the first in a four part series called Diamond Peak.

It’s a combination quest, love story and surrealistic journey into the mind, with sexy characters, flashes of humour, terrifying battles and a mix of fantasy and reality. It’s set in our world in the present day.

If last night was real then Ariel should be dead, but her mother has disappeared, there are bruise marks on her neck and that hideous beast in the photo looks frighteningly familiar.

When demons kidnap her mother, Ariel is catapulted into a mysterious realm in a hidden layer of reality. Stuck on a rescue mission she doesn’t want, she must negotiate an intriguing and unpredictable world where demons who feed on fear are hunting her, and they’re aiming to kill.

She needs help fast, but can she trust the quirky old guide who says he can teach her how to fine tune her mind into a powerful weapon? And what should she do about Nick, whose power is more than he or she can handle?

Ariel’s journey challenges her perception, tests her awareness and takes her deep into her heart and mind to confront, and ultimately transcend, her fear and anger.

MA: Nice tease! I take it Ariel, your heroine, was a carefully-crafted character?

TN: She just developed as I wrote the first two drafts. It wasn’t a conscious thing, rather she emerged from my creative mind as if she already existed.

MA: Well, that’s interesting. What makes Ariel strong as a protagonist?

TN: Strengths –she’s intelligent, willing to learn, cautious, has a sense of responsibility for her family, self reliant, determined. Weaknesses – At the start of the book, she is emotional, untrained, doesn’t believe in her own abilities, doesn’t know anything about the hidden realm, is sometimes over cautiour and naive.

MA: You mentioned a beast in a photo, I assume that’s the antagonist?

TN: Yes. Bitah the demon. He feeds on human’s fear and anger and tries to kill Ariel to prevent her from finding his master and rescuing her mother. There are various other demons and entities working for him as well, but he’s the main one she has to defeat in this book.

MA: So, I take it you haven’t been a real-world demon hunter…but do you have any real-life experiences that somehow influenced the plot?

TN: Not specifically, but my understanding of the workings of the mind form the basis for the methods the Warriors use to kill demons.

MA: What’s next in the Diamond Peak series?

TN: There are three sequels to this novel. I’ve written them to second draft stage and will work on them again once I get a publishing contract. I’m also working on another novel, that has a greater degree of romance and leans a bit more towards adults , but still deals with the mind and a combination of modern and older style realities. It’s called Captive. The main characters will remain the same and some characters who are relatively minor in this book will feature more predominantly.

MA: I have to ask, can you describe the demon for my readers?

TN: A black, flowing form, human in size and shape, dropped onto the path without a sound. Its slimy skin, hanging in folds like the fabric of a long hooded cloak, rippled from the impact. White flames, flicking like snake tongues, blazed from two slits in its hideous face, casting an eerie glow as the head swung from side to side, as if searching for its prey. Another slash of flaming white formed a thin-lipped mouth curled into a sneer. Long loose arms dangled at the creature’s sides and its clawed hands repeatedly flexed and unflexed. A putrid smell, reminiscent of rotting potatoes, emanated from the beast. Ariel’s nose wrinkled and her stomach felt queasy.

MA: Well, there you have it! Thanks, Tahlia. Folks, please visit Tahlia Newland’s website for more beastly information: http://tahlianewland.com. Read More

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Nov 17

From Soup to Nuts…”Parts of a Story” by Mary Deal

Parts of a Story

by

Mary Deal

Parts of a story can be seen as action scenes or major scenes tied together with other action. They can also be seen simply as beginning, middle, and ending.

Tips for writing a story are many and varied. I’ve put together some suggestions that will help you analyze your own story plot. Or you may finally be able to get your story started. You’ll be writing a book before you know it!

These suggestions apply to any stories of any length. The only difference is in genre.

In fiction, you may lead your characters to do whatever the story dictates.

In nonfiction, you will have the usual beginning, middle, and ending, but you cannot manipulate occurrences since they actually happened.

Paying attention to the details given below can help you put your own story together. Other articles on this site will cover many more aspects of building a short story or novel.

The suggestions below apply to plot action and holding a reader’s interest. Building characters, a scene, or settings will be covered in other articles.

Here then, discussing parts of a story, are some valuable tips for writing a story, or for writing a book.

Beginnings

Always, that’s ALWAYS; remember to include the five senses in all parts of a story.

Most always, you will write the story from the point of view of your main character’s five senses. If any other character must say something about the heat that’s about to make them faint, this is a great way to have a person other than the main character contribute to the description of a setting.

If your reader’s five senses are stimulated, you are more likely to immerse that reader in your story.

The very first word or two should grab the reader’s attention.

In books written ages ago, it might have been okay to begin “The weather was temperate. I was feeling good.” Today, this is a waste of eight first words. Today’s readers want action or something to grab their attention to entice them to read further.

One of the most important tips for writing a story is to make sure you realize the value of your very first words. They must grab the reader’s attention.

The beginnings are the most crucial parts of a story.

All the main characters should be revealed early on.

Oftentimes, when writing a book of some length, new characters are introduced late in a story or plot. This seems only a crutch to get out of a dead-end plot situation to get the story moving again. There can be no saviors dropping into a story, only characters interacting together from near the beginning and carrying the plot toward conclusion.

In multi-genre writing, characters might pop up anywhere. Still, in order to make them credible, they must have a reason for being included.

Important characteristics of each character should be exposed.

Not important is a visual run-down of what each character may look like. Most important is to build each character’s personality.

It’s okay to state a few facts about their physical appearances, but it’s best done when describing them in action. If some information doesn’t help the reader visualize the character, or doesn’t apply to action to take place deeper in the story, leave it out.

An example: If a man never ties his shoelaces, only include something like that to emphasize his lackadaisical attitude (that you’ve already established) and if, deeper into the story, it’s what causes him to fall and break his neck. Otherwise, leave it out. Every act, every word, must have a reason for being included in parts of a story.

The main dilemma of the entire story line should be introduced in the first chapter.

Of all the parts of a story, this one is crucial.

The main dilemma can also simply be strongly hinted at as long as it’s immediately and progressively developed as the story moves along. The reader must see the succession of events moving along as it reveals more and more of the dilemma.

I don’t advise stringing the reader along. Let them know the dilemma as soon as possible. Otherwise, the reader may ask, “What’s the point.” They will put your book down and may not pick it up again.

When writing a short story, unlike writing a book, the dilemma must be revealed as soon as possible.

Almost everything in the first chapter should be considered foreshadowing.

All the plot action and character traits are set-up to propel the rest of the story. I have written a great article titled Foreshadowing, which deals with exactly that – better than I can explain here in few words.

Keep in mind that all parts of a story must lead to another, must hint at the next event. A future event should cause the reader to remember something that was said or done a few pages or chapters back.

Middles

Give your characters tough situations to face that make the readers wonder how things could possibly be resolved.

Make it seem there is no resolution. The situations are what flesh out the story.

Readers know that most situations get worse before they get better. This should determine exactly where you step into the action of the dilemma. Yes, step into it. Do not try to build the dilemma. You will be building back-story.

Have the situation already happening when your story jumps into it.

If you want to have your characters having a fun picnic in a park, and then a shooter comes along and ruins the day, that’s okay too. Just don’t waste too many words setting up how nice the day turned out to be.

Think of this example as if watching a movie. We see the family having fun in the park. We SEE everything immediately. Ten seconds after the film begins, the shooter comes along. If you think of the scene this way, you will know how quickly you must start the action in your written work. You will know how much to include in the first few sentences and how much to omit.

Thinking of your opening as a movie is good practice for including only that which applies and then getting on with your story.

Back-story is information that helps show why the characters have a dilemma.

Use back-story sparingly. Introduce it in snippets of conversation, or in your characters’ memories. Use it only if it enhances the present action. Too much back-story and the plot will stall instead of plunging your reader head first into the bramble bush.

An open ending of each chapter, known as the proverbial cliffhanger, encourages the reader to turn the page.

Another invaluable point in the parts of a story is to try to have cliffhangers at the ends of each chapter. Don’t bring all the action to a close just because the chapter is ending. The reader won’t have a reason to read further.

Leave some events open and questions unanswered. All the while, infuse that chapter with all that it can hold for that particular scene.

When writing a book, you will have many chapters in which you can build cliffhangers as well as great endings when the meanings of these are later revealed.

In various parts of a story, when developing the plot and continuing the action, what the characters experience must be a result of the plot dilemma you originally introduced.

Think about what you created. If you have someone robbing a bank, the plot dictates how these people elude the police. In the end, they are caught. A simple trail to follow only made interesting by complications you add.

Another example is if you begin your story with a seamstress sewing clothes, this could lead anywhere. However, you’ve chosen a topic that may be difficult to develop enough to hold a reader’s immediate interest. Your market for such a story would be limited.

The seamstress would then have to create some gorgeous line of clothing, maybe accidentally, that propels her to fashion design stardom. Maybe she comes in contact with the socially elite, while she, herself, lives in squalor. Think how a story like that might end. Her status is either elevated, or she remains an unknown.

Parts of a story such as this might suggest this seamstress is blind to improving her lot though she wants to. The ending must show the reader how the seamstress overlooks her chance at a better life – and is, perhaps, better for it. Or maybe she finds happiness and reason to stay in her own little world.

Endings

Endings make or break your story.

If a reader reads all the way to the ending and the ending falls flat, you will have a greatly disappointed would-be fan. That reader will not suggest her friends read the book. In fact, she may never buy another of your books.

The ending must follow the action. Only one ending would be apropos for any story, with rare exceptions.

The parts of a story must come together so that, with the climax and denouement, the reader feels a degree of satisfaction at having shared the characters lives.

Many stories have more than one ending.

More than one ending would be where the plot contains one or more subplots that, while carrying the main plot, are also nearly stories unto themselves. See my article Forensic Evidence in Plots. In the case of strong subplots, you would then have the main story ending, along with a wrap up of one or more subplots.

Ideally the subplots should wrap up before the main ending. That way, the wrap up of the subplots feed into the climax of the main story line.

When crafting the climax of any story, the actions of the characters will dictate the ending.

You’ve heard the saying “Let the story write itself,” haven’t you? Your story will write itself.

Don’t be concerned about the ending till you’ve arrived at the ending. Allow your characters to perform, to achieve greatness in their endeavors or their dastardly deeds. When you finally arrive at the ending, the characters’ actions will dictate the ending.

Then, as I always say, There is always an exception to every rule.

When I wrote my Egyptian novel, The Ka, I had the ending before I began. I also had many other scenes and knew how the story would flow. But I had to massage and manipulate the story line to arrive at the ending I could not change.

The denouement is the lesson learned after the climax has been realized.

Either or both the character and reader understand the result of the action that occurred in all the parts of a story.

For example, let’s say your character bumbles around doing bad things to people. Then he is caught in a situation where he needs help and things look pretty bleak because no one wants to help him. But someone steps forward, sees the good in the kid, and gives him a chance to turn his life around.

The climax to all this would be the kid getting help in the eleventh hour. The denouement would be the realization the kid has about how his actions hurt people and almost ruined his chance for getting help for himself. The kid’s life does a turn around and he now teaches other kids about good and evil.

The denouement is his self-realization, plus what the reader gets from it also.

Parts of a story can be developed on their own.

Often times, my mind is overflowing with the action of a scene that I write the scene without anything leading to it. Later, I go back and bring threads forward into the new action.

As long as you tie the scenes together in a cohesive manner, nothing says you can’t write the parts of a story that come into your mind in a rush. Write it! Catch that spark of creativity as it happens.

Tips for writing a story, as outlined above, are meant to help you understand the creative steps along the way to writing a book or short story; steps a writer must utilize in the beginnings, middles and endings of stories.

The parts of a story are scenes of action. Tie them together. Make one action cause another, and write it one page at a time.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Oct 31

A Halloween Treat: “Wanted Undead or Alive” Authors Janice Gable Bashman and Jonathan Maberry Descend to the Child Finder Trilogy Blog

MIKE ANGLEY: No trick, just some treats this Halloween! I’m delighted to take a departure from my norm (fiction authors) and host Janice Gable Bashman and Jonathan Maberry today. They have co-authored a non-fiction book, WANTED UNDEAD OR ALIVE, an ideal topic for today. Let me introduce them first, then jump into the interview.

Janice Gable Bashman has written for THE BIG THRILL, NOVEL & SHORT STORY WRITER’S MARKET, THE WRITER, WILD RIVER REVIEW, and many others. She can be reached at www.janicegablebashman.com.

Jonathan Maberry is a NY Times bestseller, multiple Bram Stoker Award-winner and a writer for Marvel Comics. He has written a number of award-winning nonfiction books and novels on the paranormal and supernatural, including THE CRYPTOPEDIA, VAMPIRE UNIVERSE, THEY BITE, ZOMBIE CSU and PATIENT ZERO. He can be reached at www.jonathanmaberry.com.

MIKE ANGLEY: Tell us about your book.

JANICE GABLE BASHMAN: WANTED UNDEAD OR ALIVE deals with the struggle of good vs evil in film, comics, pop culture, world myth, literature, and the real world. Everything from vampire slayers to paranormal investigators to FBI serial-killer profilers. It includes interviews with folks like Stan Lee, Mike Mignola, Jason Aaron, Fred Van Lente, Peter Straub, Charlaine Harris and many more; and the book is fully illustrated by top horror, comics & fantasy artists.

JONATHAN MABERRY: Our book starts with good vs evil as a concept and then we chase it through philosophy, religion, politics, literature, art, film, comics, pop-culture and the real world. It’s such a complex topic, one that’s fundamental to all of our human experience, from evolution to the formation of tribes and society. We take a look at it historically, mythologically, in terms of storytelling from cave paintings to literature, we track it through pop culture and into our modern real world.
The book has a real sense of humor, too. We have fun with the topic as well as bringing a lot of information to the reader.
Plus the book is illustrated with forty black and white pieces and eight killer color plates. Artists like Chad Savage, Jacob Parmentier, Don Maitz, Francis Tsai, David Leri, Scott Grimando, Jason Beam, Alan F. Beck, Billy Tackett and more.

MIKE ANGLEY: Why did you decide to tackle the battle of good versus evil?

BASHMAN: The concept of good vs evil surrounds us. There’s just no avoiding it, and it’s been around for as long as man has walked the earth. Yet the definition of what’s good and what’s evil varies depending on who you’re asking—it’s not a black and white issue, so there are a whole slew of things to cover on the topic. In WANTED UNDEAD OR ALIVE, we tackle the whole good and evil idea in a fun and exciting way—through its presence in movies, books, comics, pop culture, and real life.

MABERRY: I’ve done four previous books on the supernatural but they mostly focused on the predators (VAMPIRE UNIVERSE, THE CRYPTOPEDIA, ZOMBIE CSU and THEY BITE—all available from Citadel Press). I wanted to wrap that series with a book based entirely on the good guys. Now that we know what’s out there in the dark, who are we gonna call?
Also, times have become tough lately. Wars, racial tension everywhere, religious tension everywhere, the economy in the toilet…it’s nice to shift focus from those things that frighten us and take a look at what is going to save our butts. And, yeah, the book doesn’t deal entirely with real world problems (after all, most of us aren’t like to have to fend off a vampire or werewolf!) but it’s reassuring to know that at no time in our vast and complex human experience has mankind ever said: “Screw it, the Big Bad is too big and too bad.” We always fight back, we always rise. That, more than anything, is the heart of this book.

MIKE ANGLEY: You delve into fiction, movies, and comics, and interview so many great people in the book. Sounds like a ton of research, yet the book’s a fun read. How do turn all that material into something so exciting?

BASHMAN: What’s not fun about talking about good and evil? Darth Vader vs Luke Skywalker. Buffy the Vampire Slayer vs vampires. Batman vs The Joker. Dracula vs Van Helsing. FBI profilers vs serial killers. Ghosts vs ghost hunters. It’s the ultimate showdown between opposing forces. We take a look at this concept from all angles and put it together in a manner that’s easy to read with lots of interviews, sidebars, and interesting facts. There’s something for everyone in WANTED UNDEAD OR ALIVE.

MABERRY: I’m a research junkie. I started out as a magazine writer and did a lot of that for a lot of years. I also wrote college textbooks that I wanted my students to not only read but ENJOY reading. That’s the challenge of writing for the mass market –you have to develop a set of instincts for what people want to know. At the same time you have to be able to craft what you write so that you can impart useful information in a digestible fashion, even with the notoriously short attention-span of the modern reader.
That said, having a Big Picture sensibility in the writing helps us to present the info in a way that is neither offense nor off-putting. Sometimes that means using a bit of snarky humor, and sometimes it’s taking off the disguise and allowing the reader to glimpse our own inner geeks. Once they know that we’re part of their crowd, the book becomes more of an act of sharing cool stuff with our peers than authors writing to a demographic. Much more fun.

MIKE ANGLEY: Vampires have been the subject of fiction and fantasy for many years, but what do you make of the current interest in them with such moves as the Twilight series?

BASHMAN: The enduring appeal of Vampires is one that seems to have no end. People are fascinated by beings that can live forever. The Twilight series moves that whole vampire idea into one that appeals to a generation of readers who want their vampires attractive and appealing. None of this bite your neck stuff and you become a nasty being. The idea of falling in love with a vampire, of being in love forever until the end of time, is one that many women (and men) find attractive. But what the interest in vampires really allows us do is to examine good vs evil in a way that is easily tolerated.

MABERRY: Vampires will always be popular, and there will always be new spins on them. Currently it’s the tween crowd with TWILIGHT and the urban fantasy crowd with Laurell K. Hamilton, L.A. Banks and that crowd. A few years ago it was Anne Rice, Stephen King and Chelsea Quinn Yarbrough. Before that it was Hammer Films, and so on. Vampires are changeable characters who represent our desires to transcend the limitations and natural crudities of human physical existence. They are, to the modern pop culture era, what the gods of Olympus were to the Greeks: admirable, larger than life characters that we can idealize, lust after, want to be, and be entertained by.
There has been a lot of unfair criticism about the TWILIGHT books and movies. I don’t play into that. Those movies and books have done immeasurable good for the vampire as a pop culture commodity. And a lot of people are getting massive career boosts as a result, even though they are some of the loudest critics.
A Big Picture way to look at it is, if the readers get tired of sparkly pretty-boy vampires, then they’ll go looking for nastier horror-based vampires. That’s already happening—hence books like THE STRAIN by Guillermo Del Toro and Chuck Hogan, and Justin Cronin’s THE PASSAGE. The so-called backlash is really just the process of people seeing one thing, deciding that it’s not for them, and seeking out something that’s a better fit. The contempt so many people throw at TWILIGHT is more than just snobbish, it’s ill-informed and short-sighted.

MIKE ANGLEY: How do you manage the writing process when there are two people writing one book?

BASHMAN: We each came into this project with our own strengths and that made it easy to decide who should tackle what part of the book. The most difficult aspect was finding one voice that worked for both writers so that the book read like one person wrote it. We accomplished this fairly easily, with some trial and error, since we had worked together on a number of articles in the past.

MABERRY: We also divided the book according to personal interest and existing knowledge base. I tackled stuff that played to my strengths –vampires, comics, pulp fiction, etc. Janice played to her strengths. She’s writing a book on thrillers, so she tackled serial killers, etc.
I agree that finding a single voice was a challenge. We’re different kinds of people and different kinds of writers, but now, even I have a hard time remembering who wrote what. Janice even picked up my smartass sense of humor—which means that I may have caused her some permanent damage. On the other hand, she’s an enormously disciplined writer, so I hope I picked up some good writing habits through osmosis.

MIKE ANGLEY: What’s the hardest part about writing a book with someone else? The easiest?

BASHMAN: I can honestly say that I didn’t find any aspect of writing the book with Jonathan difficult. It’s important have an open line of communication with your writing partner and a willingness to view things from your partner’s perspective. Otherwise, you run into the potential to butt heads on some matters. We both came into this project with the attitude that we’re writing a book together and we’re going to do what needs to be done to write the best possible book we can. When both partners have the same goal in mind and both share an excitement for the subject matter, it makes it pretty easy to co-author a book.

MABERRY: I agree…this was a fun, easy, fast and very rewarding process. It helps that we’re friends and have a lot of mutual respect. That goes a long damn way in making the book fun to write and (I hope) fun to read.

MIKE ANGLEY: What’s next for you guys?

BASHMAN: I’m finishing up a proposal for my next non-fiction book; it’s still under wraps so I can’t share the details at this time. I can say that dozens of key players are already on board for the project and it’s sure to be a fun one. I continue to write for various publications, and I’ll also be shopping a young adult novel shortly.

MABERRY: This has been my most productive year to date. Between novels, nonfiction books, short stories and comics (for Marvel), I’ve had something new coming out every month, and often multiple things coming out in a single week.
Next up is ROT & RUIN, my first young adult novel. It’s set fourteen years after the zombie apocalypse and kicks off a new series that will be released in hardcover by Simon & Schuster. Then I have my third Joe Ledger thriller, THE KING OF PLAGUES, hitting stores in March from St. Martins Griffin. I also have three mini-series from Marvel in the pipeline. MARVEL UNIVERSE VS THE PUNISHER is already running, and it’s a post-apocalyptic existentialist adventure. Very strange, even for me. Next up is BLACK PANTHER: KLAWS OF THE PANTHER, kicking off in October; and then in January we launch CAPTAIN AMERICA: HAIL HYDRA, a five-issue Marvel Event that follows Cap from World War II to present day. And my graphic novel, DOOMWAR, debuts in hardcover in October.
I’m currently writing DEAD OF NIGHT, a standalone zombie novel to be release by Griffin in June.
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Aug 06

Mary Slaby, Writing as Molly Roe, Pays a Visit to Mike Angley’s Website

MA: I’m delighted to introduce today’s guest-blogger, Mary Slaby (AKA Molly Roe), who hails from the same neck of the woods where I grew up: northeastern Pennsylvania. Mary’s stories use this region as their setting, and weave aspects of the local history and culture into their plots. I am intrigued by her focus on the Molly Maguires, a group if Irish immigrants in the early coal mining days of Pennsylvania’s history. The Molly Maguires fought for better treatment of the Irish community, sometimes using violence as a means of making that happen. My father was a coal miner in this region when he was a young man in the 1940s, and occasionally after a pint or two of ale, he’d spin a tale about the Mollies and the last remnants of the group he ran with back in those days. I was always fascinated by this history – a living history for my dad — so having Mary Slaby visit me and guest-blog about her writing is such a treat. Mary, thanks for coming by. Tell us about your background.

MR: I’ve lived most of my life in Pennsylvania, only about 60 miles from where my ancestors settled when coming to this country from Ireland during the 1840s and ‘50s. I had a wonderful childhood, growing up with an extended family in the old homestead. My husband John grew up in the same home town, but we did not meet each other until college. I attended Immaculata College and Penn State University as an undergrad, then Wilkes and Temple for graduate school. I’m currently a reading and language arts teacher at Lake-Lehman School Junior-Senior High School near Harveys Lake, PA. Read More

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