Hi, Debra. Thank you so much for
hosting me today! I try to keep up with Two
Ends of the Pen, and I was delighted that you wanted to interview me as
well as review my book. I feel honored to be here.
Besides
writing, do you have any other passions?
Definitely the Three Rs—Reading, Writing, and Riding. The
reading and writing part are pretty much what you’d expect for a writer. The
riding part is a bit more complicated. When I get on a horse, I can actually
feel a deep change come over me, a sense of completeness so profound that it’s
probably safe to say that if I’m not riding every day, I’m not in my right
mind. Unfortunately, my horse Circe, the inspiration for Wyl’s horse Firebrand
in my story, is twenty-nine years old now and has some age-related health
problems that have us both grounded. Not only do I really miss the nonstop,
nonverbal conversation that takes place between us when riding, but riding is my
favorite form of exercise. I’m also a reformed adrenaline junky—I’m no longer
suffering from immortality like I did when I was younger and did some really stupid
things on horseback, but just getting on a horse still opens the window of
opportunity for a sneaky adrenaline fix.
I also enjoy acrylic painting and pastels, hand-sewing and
embroidering fun stuff like medieval garb, and tribal belly dancing. My elder
daughter introduced me to manga and anime a couple years ago; I love Fullmetal Alchemist, Full Metal Panic!,
and Dogs: Bullets and Carnage. Now
she’s doing her best to get me hooked on Korean dramas, so the list of
recreational interests just keeps getting longer, but finding time to indulge
in them keeps getting harder and harder. I work full-time and write full-time, and
my husband and I are virtually empty-nesters, so I’m trying to spend more time
with him and take advantage of opportunities to spend time with our girls now
that I don’t see them every day.
What is
your writing process? Do you listen to music or do you like silence?
I bought a nice recliner with the proceeds of my first paid
writing gig—a video script—and I’ve logged a lot of hours in it ever since. I
do most of my writing now in a little room at the back of my house, with my keyboard
in my lap and a big monitor about four feet away (so I can put my feet up in
the recliner). My fifteen-year-old tortoiseshell cat, Cookie Monster, likes to
hang out with me there. I play movie scores when I’m actually focused on
writing or editing—nothing with lyrics. Pirates
of the Caribbean, Conan the Barbarian, Batman, Thor, and Batman Begins did a lot of the heavy
lifting for Rebel. If I’m plotting, I
sometimes like silence, no artificial mood influencers. When I need to come up
for air and reenergize, a good action-adventure movie helps get me back on
track.
Do you
outline your story or just go where your muse takes you?
I used to be a dyed-in-the-wool pantser—it was exciting to
chase off after every fresh inspiration and spontaneously adapt my stories to
the challenge. Unfortunately, I like twisty, complex plots, so every story I
wrote ended up trapping my characters in corners they couldn’t get out of. I
finally got frustrated with going nowhere fast and my 2010 New Years resolution
was to do everything differently—from
focusing on just one story (I have fourteen series in various stages of
development), to starting writing at 3 a.m. instead of 10 p.m., to plotting the
story backwards—and as a manga!
The manga approach got me unstuck, but really didn’t suit the story.
Everything else, however, affected my productivity so dramatically, I’ve never
looked back.
My initial outline is pretty bare-bones—I’d much rather be
writing content than an outline, so I compromise by writing out every major
turning point or emotionally-pivotal scene as a part of the outline process. With
a nine book series, it’s the only way I can be sure all the puzzle pieces fit
together. I make heavy use of Word’s bookmarks feature—a bookmark for every
scene—and during the editing phase, I upload the manuscript onto my Nook, which
shows the bookmarks as chapters in the Table of Contents. I hand-write the TOC and
page numbers into a table, creating on the spot the most up-to-date and accurate
outline of the story without wasting time making a new standalone outline. I
use that to manipulate the flow of the plot and the various POV characters. With
a 150,000 word manuscript, I feel an accurate outline and bookmarks are
indispensable.
Have you
ever had a minor character evolve into a major one? Did that change the
direction of the novel at all?
Funny you should ask! The Legend of the Spider-Prince series started out as a single book
that I struggled to make work—the initial concept had been a simple retelling
of Rapunzel from the witch’s point of
view for my kids during a car ride, but I had to make some significant changes
to the fairy tale world to support the very different version I made up, and no
matter what I did when I wrote it out later, the opening drowned in backstory
and world building.
I wrestled with that problem for years, and eventually
realized that the main character was neither the witch nor Rapunzel, but rather
a minor, yet pivotal, character from the end of the original story, and that
the story itself was no longer Rapunzel.
By the time I sorted out whose story I was actually telling, and how much room
I would need to tell it, the original book had become Book 7, the beginning of
the final trilogy in the series. It was very unexpected, but all the pieces
just fell into place, and it was what it was. I was a little exasperated—my
original intention had been to come up with a single, standalone YA novel
instead of Yet Another series (and a more adult one at that)—but the story
itself was too exciting to let drop.
Do you
belong to a critique group? Have they helped improve your writing?
I have a degree in English and a library of about one
hundred writing books, but nothing can take the place of frank, knowledgeable
feedback on your own writing. I’ve been seriously pursuing a writing career for
over twenty years, but I can honestly say my growth as a professional storyteller
stagnated until I began giving and getting critiques. Until two years ago, the
only people who’d read any of my drafts were family, and of them, only my
youngest sister is a fantasy reader.
I only learned about www.critters.org
in August 2011 and immediately joined the Science Fiction and Fantasy Workshop
there. The first critiques I got back were a shock, but eye-opening and
undeniably true. That experience kicked off a frenzy of improvement in my craft.
I discovered www.critiquecircle.com
this past January, and though the critique process there is different, the
feedback has been just as helpful. I’m really grateful to have had the benefit
of so many other authors’ insights. Lesson learned: A writer needs readers and
feedback. You can’t grow in a vacuum.
What
factors influenced your decision to self-publish your book(s)?
I really wrestled with that decision. Self-publishing offers
complete artistic freedom, but it’s non-writing and labor-intensive with a
steep learning curve. Like a lot of authors, I’m far more interested in writing
than running a publishing business, and it was tempting to team up with a
traditional publisher. But the reality is, if you want to have readers, you
have to do more than just write, no matter which route you take to publication—especially
if you are unknown. Both paths have their pros and cons, but either way, you’re
going to be doing some marketing.
The decision to go indie became a no-brainer for me just
this April, when I finally asked myself the right question: What if I sold my
first book to a traditional publisher, and it sold some copies, but failed to meet
sales expectations?
The sad truth to traditional publishing is that a new author
has about three months to prove herself before her book starts getting pulled
from the shelves. I’m a series writer. If I sold the rights to the first book
in this series, spent years jumping through the hoops of the traditional
publication process, only to have my publisher pull the plug on Book 1 after
just three months on the shelf—ironically, about the same amount of time as it
takes for SEO to produce results!—I would be devastated, and the other eight
books in the series would never get read. Even self-publishing, you can’t
seriously expect to sell a series without the rights to the first book!
J. K. Rowling wasn’t an overnight success—I believe it wasn’t
until her third book came out that the Harry Potter series really took off. (That’s
when I bought the first Harry Potter book to read to my girls and discovered
that there were some really good stories being written in the YA genre that an
adult would enjoy.)
I’ve been writing all my life, and I don’t intend to stop,
so I’m comfortable taking a longer view. I have a day job—it’s not like I need
a publisher to spot me a loan against my future sales (an advance) to pay my bills.
I think the Legend of the Spider-Prince
series is a great story—even fifteen years after I came up with it, I still get
excited about the story line and can’t wait to get back to work on the rest of
the series. I think there’s an audience for LotSP,
and I believe good things come to those who have the patience and commitment to
do what needs to be done, including learning new skill sets like social media,
marketing, and the like. It seems unrealistic to me to expect instant
gratification in terms of sales. Since even the big dogs in the publishing world
are struggling with discoverability, impatience for results seems
counterproductive for a career writer.
If you
used a graphic designer/publisher’s designer, how involved were you during the
creative process for your cover?
I’m so pleased that that whole experience! As an indie
author, I had total freedom to decide what my book was going to look like,
something a traditionally-published, debut author has little or no say in—we’ve
all picked up books where the cover had little to do with what was inside.
The hardest thing was coming up with what I wanted. Because
I’d originally intended to traditionally publish, I didn’t have a war chest for
producing my book and had deliberately tried NOT to think about what kind of
cover it would end up with. So, once I made the decision to go indie, I decided
to make my own cover. I’m a fair amateur artist, so I made about five different
acrylic paintings, trying to get the cover right. I really enjoy painting, but
none of those covers satisfied me. My cover painting style might work for a
manga, but not for an epic fantasy. The truth is, all my energy has gone into
becoming a professional writer, not a professional artist.
Once I recognized that fact, I scraped together a small war
chest to pay for a cover. I googled “fantasy artist,” and started hunting
through the Internet for a “real artist.” The portfolios for the first
half-dozen artists I looked at made me feel my own covers weren’t so bad—which
was discouraging because I didn’t want to use them. Then I saw Kirsi Salonen’s
portfolio, and it was love at first sight. She’s a professional artist in
Finland who is also working on a fantasy book series of her own. Her style
reminds me of what I like about Frank Frazetta and Boris Vallejo, but with a
fresh and exotic feel that is definitely her own. It just seemed to resonate
with my story, and I stopped looking at other artists. On April 23, I emailed
her to ask if she was interested in doing my cover, though I didn’t think I
could afford her.
Happily, not only was she interested, but we were able to
work out a deal at a price I could meet. I sent her the first two chapters leading
to the scene I wanted for the cover, and mentioned a few of her portfolio
pieces that captured aspects of the setting or character description. Finland
is about eight hours ahead of me, so over the ensuing weeks, we emailed back
and forth a series of sketches for comment and tweaks at my lunch time and her
end of the day. I’m so thankful that she’s very fluent in English, since my
Finnish is non-existent! She sent my first sketch on May 19, and on July 18, I
had not just my ebook and paperback cover, but also a beautiful 18” x 24”
poster of the cover, which is part of the prize in my Rafflecopter drawing for
this blog tour. I’m thrilled with how well the cover turned out, and just laugh
now when my family admits how relieved they are that I didn’t go with one of my
own paintings!
Do you
find it difficult to juggle your time between marketing your current book and
writing your next book?
This is an ongoing challenge. Trying to find a sustainable
routine that allows me to do all the things I need to do is actually the real
focus of my life right now. I’m not naturally a moderate person—usually, it’s
all or nothing—and I did a good job of wrecking my health writing Rebel, which was my wake-up call for
moderation. I have a pretty sedentary day job and combining that with 45 hours
a week in my recliner with my keyboard, writing Rebel left me with twenty-five pounds I don’t need and as
physically fit as a coma victim. Writing full-time, working full-time, and
having a family life was and is a tough balancing act in itself. I had to make
some hard sacrifices in my social life, and “free time” just doesn’t exist. Now
marketing has been added into the mix, and I don’t foresee it ever going away. I
know I’ll have to find efficiencies to make the best use of the time I spend
promoting Rebel because the moment is
fast approaching where the need to get back to writing the rest of Legend of the Spider-Prince is going to
start eating me alive.
As to the marketing itself, I’m practically a hermit, so I’m
not very comfortable with social media, but what’s the point in paying such a
high price to write a good story, then balking at a little shameless
self-promotion? I’ve been practicing putting the shameless into my self-promotion by telling people who I know don’t
bite that I’ve published a book. It’s been actually kind of fun, babbling about
writing Rebel and what I’ve learned
about the book business so far—this is all very novel to me. I’m trying to look
at this as the “reward phase” of publishing my book, getting to rebuild my
social life by connecting with people who share my love for books and stories. In
a lot of respects, marketing as just another aspect of storytelling—the story
about my story. If I use that approach to marketing, I’m more comfortable with
it. This is fiction, after all. People don’t need to read it. It’s entertainment, an enjoyable pastime, and Legend of the Spider-Prince won’t be
that for everyone. People like what they like. I don’t ever want to make
someone feel like they have to like
what I write—I just hope that they do.
What
advice would you give a new author just entering into the self-publishing
arena?
I’d like to pass on a great piece of advice I got from
author Simon Hawke after I left the Air Force and decided to make a serious career
of writing—don’t tell your story until after it’s written, or it may never to
get written at all. Don’t squander the creative energy and excitement that fuels
the writing process by telling instead of writing.
My own experience drives my next bit of advice: Don’t let
your first draft be your manuscript. I’ve been there, so excited to finally finish
a book that I just spell-checked it, boxed it, and sent it off to a publisher’s
slush pile. (That was back in the Dark Ages, pre-Internet.) Oh, the things I
didn’t know, that I didn’t even know I didn’t know! Whole books have been
written on THAT subject but, bottom line, a draft is not the same as a finished
manuscript.
Learn the different types of editing—developmental,
copyediting, and proofing, and use them yourself. Learn the tools of the trade.
There are two parts to being an author—having a story worth writing, and
crafting a story worth reading. Don’t waste your time or money proofreading a
first draft, thinking the result is a “professionally-edited manuscript.” Editing
your own work is a part of the overall writing process. Good editors can take
your story to the next level, but they can’t work miracles—garbage in, garbage
out! That’s why you need to write another draft. Don’t expect editors to write
your story for you. Give them a diamond to polish, not a rinsed-off bit of Coke
bottle!
During the self-editing process, use a “style manual” like a
good, professional editor does. As a matter of craft, you will learn a lot
about the art of putting words together. My personal favorite is the Chicago
Manual of Style because it allows me to be more concise. It is available and
searchable online, so it doesn’t take up desk space. The simplest style manual to
use is the AP Style Manual that journalists and business writers use. I use
that one in my day job, and yes, switching between detail-oriented Chicago at
home and simpler AP at work can make my head spin.
Whatever your personal taste in matters of grammar, style,
punctuation, and a bazillion other arcane matters about the craft of writing, make
a point of using a style manual as your guide. Then, when it comes time to have
your work professionally edited, be sure to ask your editor or proofreader what
style manual they use and why. If
they can’t answer that—or if they give you a blank look!—I’d find another copyeditor
or proofreader. I don’t expect perfection from any book, indie or traditionally
published, but I can’t tell you how many indie books I’ve picked up that
acknowledge a “wonderful editor” who was obviously a proofreader, leaving the
book still in dire need of either developmental editing or copyediting or both.
What’s
next for you?
I’m working on Book 2 in the Legend of the Spider-Prince series. Rogue picks up where Rebel
left off. Wyl may not know how to play nice, but those who DO have their own
agendas, and words can be just as deadly as weapons. This isn’t child’s play,
and as Wyl becomes even more entangled in the dangerous web of magic, court
intrigue, and revenge that is his life, the stakes ratchet higher, and it will
take everything he has—and more—to stay in the game.
Visit my website at: web site: http://www.margoander.com
Visit my website at: web site: http://www.margoander.com
Thank you, Debra, for hosting me on Two Ends of the Pen!
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