I think I am a romantic at heart, but also I love the idea of relationships because I truly believe that these are the essence of humanity. How people react to each other is like dancing, and the twirling of the steps can be hypnotic. I want to create worlds and lives that reflect these beautiful steps.
2. Which comes first – character or plot?
Sometimes its just the concept or idea, sometimes I can envisage a face or the feeling of a character. For me, the process doesn’t always start logically, but it pulls out and unravels like threads of silk. From there I weave it into a fine thread and make it into a story.
3. Are you a plotter or a panster?
Pantser – 100%! I have tried to plot, but I find it more difficult than just letting the words reveal themselves to me. Obviously with a trilogy I have a base concept of where the story is heading, but even them, the plot can change as the story develops.
4. How does the terrain, history and unique characters of Australia affect your writing?
There is a lush and yet arid beauty in Australia. As if when it was created, multiple worlds fought over the same space and so you have long stretches of sparsely filled desert like sands and plants, followed by fields of wheat, green fields and forests, and then long golden coasts. Its such a pleasure to discover new places and spaces that feel untouched by anyone else.
5. Can you tell us about the Eyre Writers Festival?
The festival was formed a few years ago as a way of engaging local writers and authors with the greater community. Not only do they offer some amazing guest authors and workshops, but they support local writers to engage in various forms of writing through their sessions. For me, its been an absolute joy to be surrounded by such talent and meet some best selling authors and learn their secrets.
6. Did you find anything surprising when writing the magical stories?
Always! The beauty of magic is that there are no limitations or hindrances. If you can imagine it, then magic can make it happen. How wonderful!
7. How was writing the paranormal romance different from your other narratives?
There is definitely a greater freedom in paranormal romance, because what you write can include elements of the ‘unreal’. You can have magic and other world abilities, that realistically are not possible in a general romance. So I have greatly enjoyed paranormal romance, and have many ideas and plans for more characters and worlds in this genre going forward.
8. How do you come up with your novel titles?
I would like to say there is a methodical process to it, but there isn’t. Sometimes I focus on the plot line to generate ideas, but largely I rely on general concepts. For more than one book, I already have the name of the book I just haven’t uncovered all the plot yet!
9. Where do you love to write?
Anywhere and everywhere. Coffee shops can create fabulous characters as you absorb the hum of the visitors around you, but a library brings forward fabulous ideas and worlds. So I try and move around and write in lots of different places, because I think they all bring their own benefits. If I had to pick just one, it would be a special writers retreat location that I go to with other author friends as often as time allows. I think the collective imagination takes hold and brings forward beautiful writing.
10. Can you tell us about your newest novel?
My next novel is The Heart of Nowhere, which is due out in October. Its the second book of a trilogy and brings the next part of the story forward. A Town Called Nowhere was the starting point, which introduced my two key were-panther characters – Dru, a famous race car driver escaping his notoriety and Nicci, a lone were-panther running from her past. They form a new pack in Nowhere, an abandoned town in remote Australia. But they soon find that they cant outrun their history or their destiny. For the second book, there are lots of action scenes which I hope will keep the readers on the edge of their seats!
I just want to thank my readership for their active and avid support. They are what keep me writing!
VK Tritschler is a native New Zealander/Canadian, who is now residing in Port Lincoln, South Australia. She had been a member of Eyre Writers (an established author and writers group) since 2010 and has been an active writer since youth. The Secret Life of Sarah Meads (Chic-Lit) was her first published book and utilized her background as a mother, woman, and degree in Psychology. Her novels include Magic and Mischief – Vital Impetus (Paranormal Anthology), The Risky Business of Romance (Romantic Suspense), and Trade Secrets (Rom-Com) and A Town Called Nowhere was released in April 2021.
It is always exciting, as an author, to announce a book launch, an event or a new narrative idea. Today, I can elude to upcoming changes to my current novels.
There will be a new cover for Life in Slake Patch – watch this space for the reveal or subscribe to my newsletter for a special early reveal.
Also, all my current novels will have (if not present already) BOOK CLUB questions added. If you need copies of the questions for your book club, please message me and I am happy to send them to you. I am also available for virtual book club interviews via Zoom or in person locally. I can organize a giveaway to coincide with the event too. Let’s connect – message me on the contact form.
My narratives include feisty heroine’s, as well as great world building, romance, mystery and adventure. Immerse yourself in a time and place of my imagination – you will love it.
There are a number of ways that stories come to me, one is using writing prompts because they always spark ideas or images in my mind. Some result in a short story or, occasionally a poem, but others have become full blown novels.
I recently responded to the prompt below and the character emerged complete in my mind. I could see him walking along the sidewalk, and the effect he had on the people he passed. He may appear in a future novel – who knows. Some characters stay with me and after a time begin to demand attention. This one is mysterious and I am keen to know his backstory and his future plans.
Heads turned, chatter ceased and whispers began as the tall, dark clothed man strode along the high street. His focused gaze ahead, never glancing at the store fronts, or the recoiling of other pedestrians as he passed by. The summer atmosphere cooled as an ominous air pervaded his very being. The holiday town was used to many visitors but this one was different and dangerous.
Would you like to ‘meet’ this character?
One prompt that resulted in a published book was my novella, The Rython Kingdom, which was actually a series of prompts that combined into the basis of the story. The prompts were – blue beads, a beast and a medieval town. You can read the full story (and its sequel if you want) here:
Another inspiration are dreams. And the reason, I have a small notebook on my bedside table. If I don’t write it down immediately, the dream dissipates never to be remembered again. The opening sequence of The Commodore’s Gift was a snippet of a dream that just needed to be used in a story. At the time, I had no idea that Owena, would become such a integral part of the story and evolve into it’s central character.
Do you have questions about my writing inspiration? Please ask on the comments, I will be happy to answer them all.
Your novels tend to have unexpected protagonists/settings. Was this a conscious decision or the spark of an idea that evolved? My ideas hit me just as unexpected. It is not like I want to come up with this or that like a contract writer where an idea is developed and catered to a market, I am on the other end of that spectrum. I am not in control of my ideas, and there are plenty, and many I can’t even tackle, most of them I won’t finish in my life time. The once that make it are pressing, have an immediate impact on me and when they linger over weeks I know I have to sit down and deal with them. What brings us to …
Do you plan an outline or free flow write? … this question, and yes I do. For the longest time I had to keep up a job to buy myself time to write (and food and the other trivialities), so I couldn’t just write into the blue and hope the novel turns out well somehow. I had to be sure. I could not waste any time. Early on I developed my outline technique where I work only on 1 letter sized piece of paper, which I could take anywhere (jobs etc.) at all times. Everything is on that 1 page, the entire outline, like “They steal the car”, that’s a beat, at that time I don’t know where they do this for example. Only when I see these beats work and I understand my protagonists, hear them, feel them, know them, and I clearly hear the narrating voice I start the novel. This planning phase takes between 2 and 15 years before I start writing, but then the 1st draft is the novel.
Can you explain how the process of writing with a fellow author works? Is it a chapter each or a combination of thought and writing? I did this more than once, but always we agreed one of us writes a quick first version and the other expands on that. This way the voice of the novel is not flopping back and forth – except there are 2 distinct views or narrators, then this would make sense.
What differences are there from writing a novel to a film script to a song? A song or a poem is the entire opposite to a novel to me. These happen in an instance, a spontaneous outburst in under an hour, unplanned, unmanaged, quasi anarchic in character. A film script (as well as a radio play or a theatre play) is planned like the novel, but the writing is a fraction of it. I love film scripts, I wish more people would read them and they’d become an own literary genre.
Does your music affect your writing or the other way around? All the different media I am working in influence each other, ideas bleed from one form into another (example my song “Joyride Sky” was inspired by my novel “For a Spin”, I invented a band that pops up in a number of my novels, and for the dystopian novel “2112” (working title) I am currently working on I recorded an entire album you can listen to on Bandcamp, the band is called JENNY HAS TRAFFIC. It is fun and adds to the characters.
You have been prolific in the number of publications. Are the ideas still coming as quickly? Do you have a folder of ideas pending? Oh yes, ideas come constantly, I have to dodge them, write them down and put them in the folder. That folder is full with ideas, no way I can write all of them.
What challenges do you face with language? English is my 2nd language. The biggest challenge for me as a writer is not so much the spelling, grammar, vocabulary (you can work on that), but the fact I did not grow up in the English culture, I miss out on most childhood references, sport and political events, etc. I have to live with that, there is no way I can catch up with that.
When you write songs what influences you? My mood. My mood dictates the feeling of a song. Many lyrics come from darker places, I am not a musical comedian although I wrote many funny novels and had the pleasure to experience their impact first hand during my readings in schools between Denmark and Italy.
What propelled you to start you podcast? I was the kid (14 years old) that stayed up late to listen to radio shows at midnight. I always loved the medium, for music and word. I worked for radio in Germany, and as a volunteer I had an own 4 hour show at CJSW at the University of Calgary called PolterZeitGeist where I mixed words and music. Since technology evolved digitally I was able to get the equipment and do it myself.
Can you tell us about your latest project? I received this year the Literary Arts Individual Project Grant by the Alberta Foundation for the Arts to write the dystopian novel “2112”, and I document this process on my homepage in words, photos, audio and video until February 2022.
Is there a message you would like to share with your readers? Don’t judge a book by its cover, please read the first page. Even with my novels, because the narrating voice changes.
Thorsten Nesch is a German author who lives in Lethbridge, Alberta, Canada. 2008 Nesch’s first novel Joyride Ost was nominated for Oldenburger Kinder- und Jugendbuchpreis and the Landshuter Jugendbuchpreis. 2012 the book won the Hans-im-Glück Award
You have experienced a multitude of jobs – have these experiences given you insights for the characters in your stories, within your book Rage and other writing?
Yes and no.
Yes in that I have based characters on past jobs for some of my writing. For example, two stories which appear in Rage are about archaeologists (“Deposition” and “The Edmore Snyders”) and I did work as a salvage archaeologist for about six years. Consequently, both of these stories carry elements which are very much true to life.
However, most of my stories are not based on past employment. To keep looking at the stories in Rage, I’ve never been a mountain climber, a priest, or a teenage girl (and probably never will be). To look at some of my other past jobs, I’ve never published a story about writers, software developers, or graphic designers–in fact, I find most of my past employment doesn’t excite me enough to craft share-worthy fiction from it. It’s the experiences I’ve had (which may or may not have come tangentially from those jobs) which inspire me, shock me, give me joy, disgust me, scare me, or piss me off so much I find myself mining for my fiction.
I’ll wrap this up by saying I am a strong proponent of thorough research and writers getting their facts as correct as possible. If I can use a past job to get my facts right, I’ll do it. If I need to interview people who’ve experienced the things I’m writing about, I’ll talk to them. I find story elements which don’t ring true to life (or at least my experience of it) can bring me out of a story faster than anything else–and I try very hard to never do that to my readers.
Your path into writing was the result of an unusual message, please tell us about it and if now you are convinced or otherwise to the validity of that message?
I’m not sure if the message you’re referring to was actually my path into writing (I’ve been making stuff up for almost as long as I can remember), but that message was most certainly the catalyst which finally got my ass in gear and helped me focus on my dream of becoming an author.
The message was this: you’re on a path for destruction and unless you change your ways, you are going to die. The deliverer of that message was a tarot reader I’d met at a party in New Orleans, and when she told me this, it scared the shit out of me. At the time I was a rather unhappy software developer and I chose to interpret her message to mean I should abandon my career in information technology and give writing a real, honest, both-feet-in effort (I also remember hoping this was not a medical thing).
As a result, I completely refocused my life. I enrolled in some continuing education classes in creative writing and for the first time in a long while felt truly happy (like I was where I was supposed to be). My instructors were encouraging, my classmates were invested, and everyone took the writing thing seriously. I learned a lot. When I got enough decent material together for a portfolio, I applied to Simon Fraser University’s year-long program, The Writer’s Studio. Coincidentally enough, that was the time I got downsized from my software development job, so I was given the luxury of being able to focus on my studies full time. At SFU, I got involved in the local literary community, met many interesting people, and learned even more. Then, I took my biggest leap and applied to the Master of Fine Arts in Creative Writing program at the University of British Columbia. I’ve got to say when I got my acceptance letter from UBC, I did the biggest happy dance of my life. UBC was a fantastic experience for me, where I met even more interesting people, got involved in teaching creative writing, and learned an awful lot more.
In the end, whether or not I’m convinced of the validity of that message doesn’t really matter–I acted on that message, destroyed my old life, and created a new one I’m very happy with.
In teaching creative writing is it an advantage or a disadvantage to your own creativity?
Advantageous in that I get to meet many people with creative ideas so very different from my own. As a writer I don’t get out much, and talking to other writers about stories and other creative things is something I both enjoy and constantly learn from.
The downside for my creativity I experience from teaching is that I let it pull me away from my writing time. When I’m teaching a class, I feel it’s only fair to give my students my full attention, so whether I’m critiquing homework assignments or preparing lesson plans, I find I’m not writing as much of my own material as I’d like (in fact, I find I don’t write at all while I’ve got a course in session).
What writing process is the most comfortable for you – pantser or planner?
I’d like to be able to say I’m a planner, but that’s not entirely the truth. While I outline meticulously (not only do I take comfort in an outline, I’ve also discovered outlining saves me from having to write at least a full draft or two), I almost always deviate from my outline and end up pantsing to some degree as I go along. Now that could mean I’m further refining within the scope of my outline, but it could also mean I’ve got to throw away my current outline when I come up with something better (which happens often). As I’ve discovered my own writing process, I’ve realized my first drafts don’t look very much like my second drafts, and my final drafts are very different from what I first envisioned for my story (that’s not to say I only write three drafts–my current work in progress is on draft 10.7). So, um, yeah, I’m a bit of a hybrid.
How do you find inspiration and time to write?
As for time, I’m very lucky in that aside from the occasional teaching gig, all I do professionally is write (I’m also very lucky to have an extremely patient and generously supportive wife). As for inspiration, that’s been a bit trickier for me these past two years (as I suspect it has for a lot of people). I usually find my inspiration (whether it’s from things which shock me, give me joy, disgust me, scare me, or piss me off) from meeting new people, going to new places, and doing new things. As those stimuli have been somewhat curtailed lately, being inspired has become a bit of a challenge. I’m currently relying on memory and my outlines to carry me through my work.
What determines which genre/style your write in? (Short story, play, or poetry)
I haven’t been writing for the stage lately, and I’m not doing much short fiction or poetry, either. What I’ve been focusing on is longer fiction (the word count of the latest complete draft of my current WIP is about 120,000 words).
That being said, I did take a break from my novel and publish a short story in Speculative North last year. It’s about a werewolf desperately trying to keep her shit together while contending with increasing provocations from sources which have no regard for her as a person whatsoever (by the way, there should be an adult content warning if anyone decides they want to read that story–which anyone can for free by following the Free Downloads link on my website [http://www.johnmavin.com/downloads.html]). I knew that story would be short (it’s only about 7,900 words, admittedly long for a short story) as what I wanted to say wouldn’t have filled a novel.
So I guess that’s my answer–it’s what I want to say about a given idea that determines which genre or style I’ll use. My current WIP is too big and has too much world building to be effective in short formats so I’ve gone long. For my stage plays, it was usually the effect on a live audience I was going for (for example, my one-act play Daguerreotype–also available on my Free Downloads page–is an intentionally uncomfortable experience which is different for each person in the audience, depending on when they figure out what is really going on). For my poetry, if what I’m looking for is the emotional equivalent of a quick punch, that’s the genre I’ll choose.
You offer writing courses – what made you decide to do this?
I like to share and I like to teach. Back when I was taking my MFA, my grad advisor looked at my proposed schedule and called me in for a meeting. She said I’d signed up for too many courses and had to limit my choices–specifically, she asked me to choose between a class on teaching creative writing and a class on journal publication. While I was disappointed I couldn’t take both, making that choice was easy (I chose the teaching class).
Do you have a current WIP? Can you tell us about it?
I’m currently working on (and have been for far too long) a dark fantasy trilogy. I’m not yet at the stage where I can publicly say much about it, but I will say it’s set in a secondary world and deals with belief, deceit, and what happens to the soul after death. Oh, and yeah, the cast is very much filled with morally questionable characters (as with most of my writing, no one is truly good and no one is truly evil–they’re all hybrids, which I find true to life, or at least my experience of it).
How important do you feel creativity is – no matter the medium?
Very, very important. I believe humans have an innate need to create in almost all situations. Whether that creativity is expressed through writing short stories, composing music, painting pictures, solving problems, completing work, or even getting dressed is immaterial–everyone is creative. I realize I’m not expressing this very well, but I do know someone who can: his name is Jim Jackson and he has a podcast called Radio Creative, in which he looks at ways to expand people’s natural creativity and tap into it when they want to in their life, work and art. Full disclosure–Jim had me on as a guest a while back–but he’s also interviewed chefs, business consultants, and lawyers besides editors and writers). I recommend giving Radio Creative a listen. [https://anchor.fm/radiocreative/]
Where can readers find you?
The best place to find me online is my website, http://www.johnmavin.com, where I’ve got links to both my Facebook page [www.facebook.com/author.john.mavin] as well as my Goodreads profile [www.goodreads.com/author/show/16623050.John_Mavin].
Do you have a message for your readers?
Um, you mean beyond “hello, thanks for reading my stuff, please read more of my stuff, and I’d really appreciate it if you gave my stuff an honest review on Goodreads and/or Amazon”?
Okay, for something much less self-serving, how about this…I came across a meme on Facebook the other day which struck me as apropos. It went something like this:
List of Books to Read Before You Die
1. Any book you want.
2. Don’t read books you don’t want to read.
3. That’s it. The meme goes on, but at its core, I really liked its message
A chilling collection of stories unraveling the consequences of longing, broken trust, and deceit.
John Mavin is the author of the dark literary collection Rage who’s taught creative writing at Capilano University, Simon Fraser University, the University of British Columbia, with New Shoots (through the Vancouver School Board), and at the Learning Exchange in Vancouver’s Downtown Eastside. He’s a graduate of SFU’s The Writer’s Studio and also holds an MFA in Creative Writing from UBC. A past nominee for both the Aurora Award and the Journey Prize, his work has been translated, studied, and published internationally. He invites you to visit him online at http://www.johnmavin.com or follow him on Facebook at http://www.facebook.com/author.john.mavin.