I grew up among middle-class everyday folk. Language was one thing that separated groups of people as I had come to know them. When I was young, every once in a while I’d hear someone say, “Oh my! She talks so uppity!” Read More
Tag Archives: success
MA: I am pleased to have visit with me today, Australian author Diana Hockley. Diana lives in a southeast Queensland country town, surrounded by her husband, Andrew, two 19 year old cats and four pet rats. She is a dedicated reader, community volunteer, and presenter of a weekly classical program on community radio. She and her husband once owned and operated the famous Mouse Circus which travelled and performed for ten years throughout Queensland and northern New South Wales. Now that the circus is sold, she is the mouse judge for the Queensland Fancy Rat and Mouse club shows!
Diana and Andrew also bred Scottish Highland cattle. Prior to 1995, her last occupation was medical transcriptionist specializing in Radiology at a major Brisbane hospital.
They have three adult children and three grandchildren.
Diana has had articles and short stories accepted and published in a variety of magazines, among them, Mezzo Magazine USA, Honestly Woman (Australia) the Highlander, Austin Times and Austin UK, Australian Women’s Weekly, It’s A Rats World, Solaris UK, Literary Journal of University of Michigan USA, Foliate Oak, children’s website Billabong. She was awarded Scenic Rim Art Festival prizes for poetry and fiction. Since that time she has published two crime novels, The Naked Room and The Celibate Mouse.
Now, that’s one of the most diverse – and interesting – backgrounds I’ve ever seen. How did you go from the circus to novels?
DH: I wrote a novel in 1971 which was rejected but deemed “worthy of merit.” After this, I didn’t write anything more until I attended university when I was in my 30s. Raising children was a fulltime occupation for a widow, so I didn’t write anything more until 2005, by which time I was living on a small farm in rural Australia, married again and on my own a great deal in the show season. I started off with articles about our animals – always a rich source of amusement for city magazines, then ventured some short stories and had some success there as well. It was a short step to novel writing after that.
MA: Did your professional career inspire your writing? Are any of your characters based upon real-life people with whom you’ve interacted?
No, my professional life – from which I retired in 1993 – didn’t inspire my writing, but I think some of my characters couldn’t help being heavily disguised as some people I know!
MA: I won’t ask which of them resemble rats! Tell us about your stories.
DH: My debut novel, The Naked Room, fits into the crime genre, the idea for which came to me one night when I was in the studio at the radio station. What would happen if the pianist didn’t turn up for the big concert? There would have to be a very good reason why not. So I set about creating one!
MA: How did you develop your protagonist?
DH: I allowed Ally Carpenter’s character to develop in response to her abduction and the personalities of her kidnappers. I once read that you have to listen to your characters, rather than trying to force them to do what you want (within reason of course) so that is what I tried to do and it seems to have worked.
MA: Is there a hero in addition to a heroine in your story?
DH: It’s hard to say who is the hero in The Naked Room. Is it her boyfriend who takes it upon himself to investigate the crime? Is it her father who holds himself together and works on the ransom money? Or are they both the hero? My heroine’s strength is that she refuses to give in. My hero’s strengths are neither of them are about to give up searching for Ally Carpenter.
MA: I understand you have more than one antagonist in the book. Tell us about them.
DH: Oh yes, there are three bad guys and one bad woman in this – but they too have an agenda other than money.
MA: Any real life experiences that flowed over into your stories?
DH: No, not really. I psyched myself into standing behind each character, listening to them speaking and the reaction of those around them – like reading a newspaper over someone’s shoulder. And I am sure they got a bit cranky with me sometimes (chuckling).
MA: So who migrates over from The Naked Room to your other novels?
DH: I have taken the main female detective from The Naked Room and given her the starring role in The Celibate Mouse. In this novel, the reader finds out what is happening to three of the protagonists from The Naked Room. For After Ariel, my next story, I have taken one of the characters from The Naked Room and made her the character. We find out what is going on with some of the Naked Room characters who were not in Celibate Mouse (some have moved on, it’s two years later) and Susan Prescott turns up again, now an Inspector. I don’t want to over-use the same characters beyond giving continuity to the series.
MA: Any last thoughts?
DH: It’s said that you should always write what you know, so my novels will always be set in small towns/rural/Australian city/UK or Wales and they will feature people whose lifestyles I understand and whose point of view I can put across. My stories will never feature high finance, spies or sophisticated political themes because I have no knowledge of these genres. I do know, however, how people keep secrets!
I tend to write my main characters in first POV and the rest in third, with the exception of The Naked Room which is very different, darker and more violent than The Celibate Mouse.
MA: Thanks, Diana! Please visit Diana Hockley’s website for more information about her writing: http://www.dianahockley.webs.com. Read More
Many writers see a piece of prose and feel they can write like that. When they make the attempt to write their own story or piece of poetry, they fail. Why?
We’re all told to read what we wish to write. That is, read the authors we like best. That’s one reason we choose to write in the genre we’ve chosen. But also read instruction books on how to write for a certain genre. With the advent of eReaders, more books can be available at our fingertips for a fraction of the cost. Your local library also has reference books.
Every genre has its requirements.
* A mystery solves a problem
* A romance brings two people together or apart
* Science fiction usually creates other worlds
* Fantasy has elements of imagination beyond the norm
* Literary fiction deals with a moment in time, the human element
And on and on…
One of the best ways to help you gain success with your writing endeavors is to immerse yourself in the form of writing you wish to accomplish. You’ll identify certain rules or formats followed in each type of story you read.
For example in poetry, if you’ve read a heartfelt sonnet that touched you deeply, and wish to write about your feelings but every time you try the words just don’t fall into place. The best thing you can do is to study how to write a sonnet. Read sonnets. Read other poetry so you can learn the different between forms of verse. The latter is a great way to understand the type of poetry you wish to write. Oftentimes, we must learn what it is not, versus what it is.
Read about the format of a sonnet, the grammatical make-up, and the purpose of a sonnet. When you come to understand exactly what makes a perfect sonnet, chances are, your words will tumble out in sonnet format.
Likewise, every writer should have a good grasp of what makes a great story in the genre of their choice. I want to say that you should read only the best books, but that doesn’t give you a well-rounded experience. Saturate yourself. Read some books that do not appeal to you in any way. Ask yourself why they don’t. You may realize that they were not written in proper format for the genre.
When you read books, be aware of what is good writing and plotting as opposed to poor or incomplete work. All of this helps you to know the rights and wrong, the ins and outs, of making your story great.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More
It’s My Time
Some time ago I saw a TV commercial where a middle-aged woman, after years of raising a family, had just received her college degree. She wears a cap and gown and clutches her diploma. Her eyes and expression say she’s dreaming of doors opening and new possibilities. The background music goes: “It’s my ti-i-ime….”
I’m a firm believer that we all have our time. Friends told me, “You sound like you‘ve hit your stride.” I also thought I had when finally realizing that I could write and actually started producing stories that sold. It was the beginning of my time.
My point is, whether or not you’ve reached a point you can call your time, why stop what you’re doing when your life has led you to this point?
Finding your time doesn’t happen all at once. It may happen without you realizing it at first. It’s a matter of steps, one success after another. Too, it also depends on what we each consider our time.
* Is your time when you finally begin writing after years of only dreaming about it?
* Do you look forward to your time as getting some short stories, even a novel published?
* Or is your time when you have finally written a novel that turns into a blockbuster?
Regardless when you consider you’ve reached a milestone in your career, each little success is your time; each success is a small step toward a greater reward. Each success is your time because you continue to do what you love the most.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More
You, the Book Promoter
One sure fact you hear about the writing industry is that writing the book is 10% of the work while promotion takes the remaining 90%. Knowing this, it’s best to be prepared beforehand, having a clear picture of what’s expected of you, the author, if your book is to sell.
With the advent of print-on-demand, if you do not do any advertising and promotion, you may not end up with the proverbial stack of unsold books in your garage. However, you will notice that your sales figures never climb out of zero and your royalty checks are non-existent.
Something else you may have heard about this business is “Write the book first.” While I agree that you must have the finished product in order to promote, once that book is in its final stages and moving through the publishing process, little time remains to learn even the basics of promotion. So while you write your book, have numerous questions in mind that must be answered:
Which publishing format should I use – print-on-demand, self-publishing, or…?
Should I try to get a literary agent to represent me?
Which publisher should I consider?
What audience do I intend for this story?
How do I reach them?
Do I need a website?
Should I join social sites?
Will my close friends and relatives spread with word about my book?
Should I write articles and get them posted on various blogs?
Do I have the funds it takes to make my book a success?
Do I have a list of magazines and newsletters for mailing review copies?
Do I need bookmarks, business cards, post cards, flyers, posters?
How do I set up book signings?
Should I contact various media? Which ones?
Do I know media protocol?
Do I know anyone from the local newspaper?
Many questions will cross your mind as you research all that is necessary and answers will come as you immerse yourself in the writing industry. As you meet people across the Internet, even in your own community, you may learn of one person’s success. Investigate their history and techniques in selling their books. Befriend them, if possible, especially on social sites.
The questions asked above should give the prospective author an idea of what it takes to promote a book and rack up sales. But still, so much more needs be learned. This list is in no particular order because that’s the way the questions will present themselves to you. You will, most likely, know when to handle each one over time.
Many of the topics mentioned in this list are discussed separately in other articles. However, as you write, make notes of things you need to know. Spend some time each day researching just one aspect of book promotion. Over time, you will gain solid knowledge of just what it takes to make your book a success.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More
MA: I’d like to welcome today’s guest blogger, K. Sawyer Paul. Mr. Sawyer is the author of the novel, No Chinook. Please tell us about you and your writing.
KSP: I think my first few stories were all plagiarisms and remixes. When I was in junior high and high school, I’m not sure I had a single original thought. I’d take characters, stories, and plots from various books and movies and video games that I’d enjoyed and play with them in different environments. It was basically the equivalent to playing with action figures from different cartoons. I didn’t know why I wrote, but I always had it in my head that I could write well if I just stuck at it for long enough. You know, the idea that perspiration would eventually lead to inspiration. So I wrote a lot. I wrote a short novella in high school, printed it out, and sold it for a couple of bucks. I sold it for a dollar if the person wanted it on a CD. I basically had my first ebook in 2000, in the form of a Word 98 file. I went to the University of Toronto and decided to take professional writing as a minor. It was a great experience, and it taught me many things about what not to do. I felt I was a little allergic to preconceived ideas of success in writing, especially Canadian writing, where the expectation is that you’ll never really make any money and you sort of make people suffer through your work. I’m very against that. If my story isn’t gripping, put it down, you know? There’s more books being published every year than anyone could ever read. Why waste time if you’re not enjoying it?
MA: Well, amen to that! Why did you choose to write short novels?
KSP: I write short novels, because I don’t like to waste people’s time, but I like novels because even if they’re short, they feel like an accomplishment to read and write. I generally hit the 50 or 60 thousand word mark in the first draft, then cut it down to 45 or so. That makes for a 200-220 page book, which I think is enough. I’m a big fan of not wasting time, wasting words. I’m a big fan of Cormac McCarthy’s style in that respect, where he purposefully leaves out areas of his stories that really could use a sweeping emotional explanation. Hemmingway, too. I like that I can go back and read A Farewell to Arms or Francis Macomber and I’m done in a weekend and better for it. There’s something really crisp and biting about a terse novel.
MA: How did you approach your two novels?
KSP: I made a really set decision when I started writing Everything We Haven’t Lost and then No Chinook to never get unbelievable, so I write about relationships because I think I know my way around them pretty well. So you can say I do romance, but if you read my books you know they’re not typical romances. The fight scenes are uglier. The sex scenes are rougher. The dialogue that connects the exposition seems pulled from real people. At least, I’d like to think so. That’s what people tell me. I want it to feel like you’re actually peering in on a real conversation between real people in a contemporary setting, and while these people are adults they still have emotional hiccups and can really hurt one another.
MA: Tell us about your hero in No Chinook.
KSP: With No Chinook, I developed Scott out of how I saw myself out of the kind of guy I saw a lot of at college: someone who’s grown in every way, but still has a few hang-ups regarding his scars. He’s not a finished adult yet, and No Chinook is in many ways him working his way out of that. So Scott is still hung up over a girl from high school, and he thinks he’s over it until she comes back into his life and they sleep together. What’s interesting about Scott is he sees how immature this girl is, and still can’t eject himself from the drama, because he’s fighting the urges of his younger self.
MA: What should we know about Scott? What makes him strong, and what makes him weak, if at all?
KSP: Scott’s big strength is that he’s a truly nice guy, who’s capable of going a long way for a friend, a lover, and even an ex-lover. His weakness is pretty well as I said above, his inability to really break free of a toxic situation. The relationship he has with Shawn is pretty toxic, and the only way he’s really capable of breaking free is by removing the love he has for this man and just using him. Basically, by figuring out how to cure himself of his biggest weakness, he has to rid himself of his greatest strength. That might seem like a convenient plot progression, but I don’t know that I’ve ever even thought of it that way until recently, now that the book has been out for two years.
MA: Interesting. And what about an antagonist?
KSP: Kate, Scott’s girl from the past, is definitely the antagonist. She’s in many ways Scott’s Tyler Durden or Ferris Bueller, a free character that helps him out of his shell. But she also crushes him over and over. Also, she never reveals where she works. Would you date someone who kept their job from you?
MA: Uh, oh…do I detect an old flame influencing the “bad girl” in No Chinook?
KSP: Yeah, there was definitely a girl I was into who didn’t like me back. But who doesn’t have that? I tapped into other people’s stories more than my own, and built conversation after conversation on the pain of my friends and colleagues. It’s a writer’s job, I think, to plaster those sorts of things together, to make sense of it.
MA: Since No Chinook has been out for two years now, what’s next on your plate?
KSP: I sent my next novel off to my editor just recently. The editorial process always takes longer than you want it to, but it’s in the pipeline. It’s called A Record Year For Rainfall. It’s about a paparazzi and a celebrity blogger who live in Las Vegas. I’m a big fan of Las Vegas, but I’m young so I’ve only ever seen the modernized Disney-like Vegas, so my characters exist in it, in 2006. It’s still sleazy, but there’s all these ironic angles where it’s family friendly now. But there’s still girls in sexy outfits everywhere, and celebrities still go there to go crazy. It’s a fun book that’s about trying to escape yourself and the things you love but not really being able to. There’s a lot of comedic violence and sex and there’s a gay governor and I think people will think the book is a lot of fun.
MA: Are your novels all standalone types, or will you write using some of the same characters in the future?
KSP: There aren’t any continuations of character, but A Record Year For Rainfall and No Chinook definitely exist in the same “universe.” You can think of it like the Kevin Smith movies or Final Fantasy video games, where there’s a new cast, but there’s a lot of familiar aspects. In Rainfall, you’ll find that Bret, the main character, used to work at a job that he’s not allowed to talk about. It’s the same place Kate from No Chinook works, but that’s not obvious from reading either book necessarily. To sum up, I guess: I don’t do sequels, but I do enjoy planting Easter eggs.
MA: I happen to love Easter eggs J. Is there anything else you’d like to add?
KSP: I think I want to talk about publishing here. There isn’t any stigma in being an independent graphic artist, an indie band, an independent charity, an independent chef, or almost any other art form or business. Lawyers go into business for themselves all the time. Doctors open up their own private practices. Soon, in less than ten years, people will absolutely not care who published your book. I don’t think readers care who published your book now. If you design a book properly, if you edit it professionally, if the package looks and smells and registers like a real book, then I don’t see the difference between an indie book and something by Harper. There’s a big difference between vanity publishing and independently publishing. Gredunza Press is a business. We publish books. I publish my books through it. Does Dave Eggers get slack for publishing his books through McSweeney’s, a press he built? The only people who care these days are authors who are more swept up in the “industry” than in writing their own books, publishers who want to stay on top, and pundits looking for a juicy story. Readers and writers don’t care, and soon enough nobody else will either. You can buy my book on your Kindle or Nook or whatever, and you can order the physical copy from me and soon from Amazon. You read it, and you’d never know I didn’t get published by one of the big guys. Not every author is capable of completely going into business for themselves. They need help editing, designing, and promoting their novels. That’s where publishers like ours come in. We offer services to authors trying to make it. We’re the future.
MA: Thanks, K. Sawyer. Folks, please visit his website and the site for his press: www.ksawyerpaul.com, and www.gredunzapress.com. Read More
Preparing Your Manuscript for an Agent
Being aware of what agents look for will help you prepare the type of manuscript they will read. Keep in mind, these same rules apply once you have an agent and the manuscript is being sent out to publishing house editors.
All agents hope to find that one manuscript that is unique above all the others. It’s been said that all stories have been told. What makes them different is each individual writer’s slant on the topic, providing they have written a solid story.
When an agent begins to read, after years of experience, they are keen to grammar flaws. This is one area that could cause an agent or editor to reject a manuscript without consideration of any of its other merits.
Too, how long is your manuscript? Paper books presently should be 60,000 to 80,000 words. Anything more than that, since it’s the requirement, the agent will believe the writer too verbose, lacking control over their adjectives and adverbs and overall sentence structure.
With the advent of hand-held readers, entire books are now converted to ebooks. There may or may not be word count restrictions. Still, your story must be good to merit the higher-end costs of ebooks as well.
If the agent or editor reads on, they do so with one motivation. They need to decide if this book, when published, will sell enough to make back their commission and any advance royalty paid to the writer. And still, the book must make a profit for the publishing house beyond that point.
The agent or editor will also be judging the writer’s overall presentation. Is it neat? Was the cover letter professional? Did it follow standard form? Did the writer seem to know what he or she talked about. What they look for is how you, the writer will perform after the book is published. Are you going to be difficult to work with? Are you going to go out of your way to make this book a success? Or do you believe that’s the publisher’s duty?
Professionals know immediately if they want to spend the time to read all the way through. They are also concerned if a reader will want to spend hours with the story and author. They scrutinize to see if the writer’s descriptions are fresh and different. What the agent looks for is individual voice. It was once enough to say “the trees had greened up after the last heavy rain;” another to say “the morning sun reflected in the raindrops on the new green leaves and made the trees sparkle.” Your voice shows in how you describe scenes and action. Your description must be different than anything else you’ve read.
An agent is keenly aware whether or not they will turn from the first page to the second. Agents read thousands of stories. They know by the end of the first page if the book will stack up against others in the same genre.
Have you written characters that an agent will appreciate? Your characters must stand out from all the rest. For character development, see my articles Faces and Quirks and Character Sketches. Everyone, from agent, to editor to publisher to avid reader must like your characters. Make them likeable or make them the kind of characters we love to hate, but make them memorable.
The overall plot must be about something the characters need to attain or obtain. They must want it desperately or the reader simply will not care enough to follow the character through whatever conflict arises.
Not only in nonfiction but in fiction as well, your facts must be right. In nonfiction it can be no other way. If you wish to make your fiction true to life, which helps the reader suspend reality and keep reading, get your facts straight too.
Dialogue moves the story. It must be written in such a manner that enhances the character’s personality. Dialogue exchanges between characters must propel the story. Ordinary conversation is never written into books. It is boring and says nothing really. Consider this:
“Good morning, John.”
“Good morning, Jim. What’s on the agenda today?”
“Guess we’re supposed to take the plane out for a test run today.”
They went to leave immediately.
“Morning, John,” Jim said, rushing in. He thumbed toward the sky. “Let’s get upstairs before the boss sees the plane still sitting on the tarmac.”
Ordinary conversation has no place in good writing. Dialogue and beats move the action. Oh yes, see my article titled Let the Dialogue Speak.
The above could easily be included in the instruction we’ve all heard: Show, Don’t Tell. Simply, what this means is that the reader must see the action happening. Dialogue promotes action. Any time the writer begins to tell what a person thinks, how they interact with others, that should raise a red flag in the writer’s mind. See the two examples above? The first version contains dead dialogue and stalls the action. The second example not only contains dialogue that moves the story, but shows us what these two people are doing. Shows, doesn’t tell.
* * *
Most of the information in this article applies to both agents and editors. You must find an agent before you can approach a publishing house editor. The agent does that for you. In rare instances I’ve heard about someone submitting directly to an editor, but it usually turns out to be a small start up publishing house. If you wish to approach the big houses, get an agent.
To help you find an agent, try the site which does not charge a fee. In my experience they have been totally reputable:
The agents listed on this site tell you what types of manuscripts they will accept and in which genres. It’s very thorough.
These are the people who publish those real thick volumes about everything you need to know as a writer. The book is expensive. However, if you sign up for their online edition, you get new listings and updates as new information come in all year long.
You can double check the credibility of an agent or editor you wish to contact by finding them on Preditors and Editors at:
Preditors and Editors tell you who is legitimate and who is a scam. Yes, there are scam artists in the writing industry. You knew that, right?
I’m sure other sites have additional information but these are great places to begin your search.
MA: It’s always fun to have authors make return visits to my blog, and today I am joined by one such previous guest, Cynthia Vespia. Cynthia first posted with me on January 8, 2010, and you can read her original post here: Cynthia Vespia, Demon Hunter Author, Guests with Mike Angley.
Cynthia’s first novel, a medieval fiction entitled The Crescent (iUniverse) was published in August 2005. The novel was unanimously praised as “an engaging, descriptive read” which prompted a sell-out at Borders Bookstore in less than one hour during the first official autograph signing.
In 2009 she released Demon Hunter: The Chosen One (AspenMountainPress.com) which quickly reached number 3 on the Fictionwise.com bestseller list. The success of Demon Hunter was followed up by the sequel, Demon Hunter 2: Seek & Destroy which takes the characters and the reader on a journey that begins on the high seas and ends in Hell. Both novels (published in e-book format) were nominated for Best Series in 2009 by LRC Cafe.
Cynthia’s latest release returns to the contemporary side of thrillers but still contains that special “twist” that her novels are fast becoming known for. Life, Death, and Back (WeavingDreamsPublishing) delves into the paranormal when a man’s life is tragically cut short and he remains on Earth in the spiritual form to tie up loose ends.
Welcome back, Cynthia, and congratulations on your new release. Tell us a little more about you and what drives you to write.
CV: I believe we are all born with an innate talent and desire, something that drives us above anything else. Whether we develop and pursue that talent is up to us in the end. I’ve been interested in writing since I was a little girl and I’m fortunate enough to have realized my dream of publication. Most people never ever see their dreams realized. Sometimes life becomes what happens to you while you’re busy making plans. That is why my new release Life, Death, and Back is so special to me.
MA: And you mean it just released, as in two days ago, I believe! What do you enjoy most about the writing experience?
CV: Story telling. I like the escape novels bring. Creating worlds, characters, it’s always juiced me. I used to read alot as a kid and I loved the way writers like Piers Anthony, Robert E Howard, and C.S. Lewis used to draw me in to their stories. It’s been a passion of mine for years.
MA: You have to tell us all about Life, Death and Back.
CV: In the wake of his death Bryan Caleb begins to realize how precious living is and how much he’d taken for granted. Now he has unfinished business. In exchange for more time on Earth, Bryan has been granted guardianship. Even as he struggles with his own mortality Bryan must find the compassion within himself to help guide Lisa Zane, an emotionally and spiritually drained young girl, through her troubled life to find her true purpose. For it is only with Lisa’s help that Bryan can rescue his very own son from the life of crime he has fallen into before Kriticos Caleb’s fate mirrors his father’s…in death.
Life, Death, and Back was written in the spirit of all classic thrillers and suspense novels, but it carries with it crossover appeal. The phenomena of ghosts and angels is a widely discussed topic spreading to many channels. There are many who have seen and experienced things not completely explainable. This novel is intended for them as well.
MA: How risky was it for you to develop your protagonists’ character?
CV: Usually when writing a contemporary thriller you can push the boundaries but it needs to stay based in reality otherwise you lose your audience. But I had alot of freedom in the development of Bryan Caleb because you tell me how someone who comes back from the dead is going to act! It did present a challenge though. I wanted Bryan to be ethereal but remain emotional at the same time. Without emotion you can’t drive the story and Bryan needed to draw from his heart and soul to take on some of the obstacles that I put in his path.
MA: I like obstacles. They make thrillers…well…thrilling! What makes Bryan “tick?”
CV: Bryan’s a guy who’s had a blessed life but it has been cut short so he’s pretty bitter about it. He’s caught between worlds unable to contact his loved ones and presented with a task of helping this troubled girl Lisa Zane get out of the trouble and danger she’s found herself in. So his current predicament represents both strengths and weaknesses at the same time.
MA: So who is the main character that torments Bryan? Who’s the bad guy?
CV: I have my antagonists such as Cyrus Houston the criminal mastermind holding Lisa against her will. And also Kriticos Caleb, Bryan’s own son, who poses a very real threat and detriment to Bryan’s causes. But I’d say the nemesis in Life, Death, and Back is really Bryan’s ability to cope with everything that is being presented to him. From being tragically killed and walking the second plane as a ghost to being resurrected and having to relearn life skills, it’s all alot for one man to deal with…how does he do it? Well you’ll have to pick up your copy to find out!
MA: How did you come up with the idea for the story?
CV: The idea to write Life, Death, and Back came from a need to delve into the mysteries of death and the afterlife. At an early age I had to overcome some tough losses to my immediate family. Dealing with such tragedy sticks with you, it becomes part of your soul, and is probably reflective in this story. The novel is a fast-paced thrill ride that asks and answers alot of questions. How will we be remembered? Who will we leave behind? What is our legacy? And most importantly how can we make a difference while we still live? Not often in life do we get second chances. We make our mistakes and must continue on, hopefully a little wiser having learned from the experience.
MA: Some lofty questions, indeed! What are your future writing plans? Any new ideas?
CV: I have many. At the moment I’m seeking a home for my suspense novel Lucky Sevens which captures the spirit of my hometown Las Vegas and focuses on the raw human emotions unique to the people who live, work, and play there. In correlation with that I’m going to be focusing on more contemporary thrillers and suspense novels…and as always they will be real life situations you could find yourself in but hope to God you never do.
MA: Will you continue to feature the same protagonist in future stories? Will any other characters migrate over to future books?
CV: That’s an interesting question and I’m filing it into my subconscious right this minute. I can’t really say what the future will hold except that I will continue to bring you more exciting reads so stay connected via my website. By the way, Life, Death, and Back is available through WeavingDreamsPublishing.com and your local retailer. Look for me on Facebook and Twitter.
MA: Thanks, Cynthia. Folks – visit Cynthia’s website for more information about her and her stories: http://www.cynthiavespia.com/
Writing, in any form, is my first love. Unfortunately very few fiction writers can earn a living writing full time; it’s a small percentage who do. Fortunately, there are other ways for writers to fill the gaps. Think of everyday life. What doesn’t include writing? Who writes the newspaper articles serious or fluff? Who writes screen or TV scripts? Who writes magazine articles or the reports or instruction books or catalog copy or sales letters or the web content or the blogs? If everyone suddenly stopped writing for a day what would be the result? So all my writing life I’ve moved through different areas of writing and have loved every minute of it. I recommend other writers who love to write, love to sculpt the sentence and paragraph, do the same. You don’t have to do the shotgun effect, but find several areas of writing you delight in and pursue them. Read More
“The Mango Tree Café, Loi Kroh Road” Co-Author Taryn Simpson Guest-Blogs on the Child Finder Trilogy
Imagine owning a restaurant near the jungles of Thailand that sits upon the most legendary mystical road in the world. Legend states that whoever walks upon Loi Kroh Road will be forever changed or shall never be seen or heard from again. In fact, the English translation of “Loi Kroh Road” is “Wash Your Bad Luck Away”. Larry, the main character, is seductively lured to this world-famous street to purchase this business. The restaurant serves as a place where he observes world travelers such as himself as well as locals who discover their fate upon this historic road. He is on a journey to discover his mission in life as he is guided by a ghostly figure that appeared to him as a child. On his adventures, he comes face to face with his greatest fear, his lingering questions of mortality and his soul’s lonely reflection. Read More