I am again plunging into NaNoWriMo this year. I should concentrate on book three of my crime trilogy, The Delphic Murders – Killers Match, but as with all things writing it might be secondary to another ‘bright and shiny project’ – a prequel to my Rython series. I am excited to begin Malgraf’s journey in the novella entiitled Malgraf’s Dawning. So once the 25,000 or so words of that story/novella are completed, I will ‘finish’ NanWriMo with the beginning book three.
Who says writer’s can’t be flexible. Truth be told new ideas are always the shiniest prospect, we are essentially magpies.
I would love to hear about your project for NaNoWriMo this year. And you can always add me as a buddy on the website. Look up MandyB
Good luck , happy writing and see you on the other side.
With the first draft of the second book in my crime fiction trilogy off to beta readers, I can rest easy for a minute. Of course, the plan is to begin the third and final book during National Novel Writing Month but… as we all know something shiny and new can always draw us away from the ‘should do’s’ and entice us in other directions.
In common with many writers, I have a stack of manuscripts in various stages of completion. A western romance, a suspense novel, and a YA romance. These manuscripts have been dwelling in digital folders for some time, and I keep reminding myself that they should be revised and edited and then set out into the world. Alas, a new shiny project always seems to take precedence and steers me away.
However, the one shining brightly at the moment is none of these. Rather, it is a prequel to my Rython saga. It will tell the story of how the vengeful witch, Malgraf became such a malignant force. I have mental images of locations, the young Malgraf and her childhood experiences manifesting into story and it is so enticing. I am even thinking which colour I should use for the book cover! As you can see I have a gorgeous blue and green for the other editions, but need a darker feel for the story of the witch, for obvious reasons. A cover always tells its own story and sets the mood for the reader.
So, how do we avoid a new idea? Well, there are several predisposing conditions.
A publishing deadline.
To continue the flow of a series.
Keeping the characters front and center to ensure continuity.
These can help drag you away from a new and shiny idea – but not always. It all comes down to your self control and if you are under a contract. For me, I will explore my new story, jotting down scenes etc. and possibly use part of NaNoWriMo to write it. It will be a novella, in line with the other two editions, so will leave me ‘space’ in November to start the final book in the trilogy. That’s my excuse, and I’m sticking to it!
How do you avoid a new story idea? Or do you succumb to the excitement?
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.
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.
The strange habits of some famous authors has always interested me. I cannot lay claim to anything this weird, mores the pity. Maybe I can cultivate something? Are you willing to share your ‘strange’ habit?
The ancient Greek writer shaved half his head. Ensuring that by looking so idiotic, he would stay home and work, instead of facing ridicule in public.
2. Henrik Ibsen
The A Doll’s House playwright hung a huge oil painting of his greatest rival on his study wall. Inspiring him to strive to better his enemies.
3. Franz Kafka – Too Much Cake
Kafka allowed himself to eat a whole pineapple upside down cake when he finished a story. He did not share any of it!
4. Mary Shelley – Pet Snake
Shelley’s pet 23-foot-long boa constrictor was housed in her writing studio. With the snake wrapped around her shoulders she would write until the snake became restless and began to squeeze, then she stopped writing for the day.
5. Agatha Christie – Ate apples in the bath.
6. Isabel Allende – starts every book on the same day January 8.
7. John Steinbeck – needed two dozen sharpened pencils.
8. Patricia Highsmith – ate eggs and bacon for every meal.
9. Virginia Woolf – wrote at a standing desk.
10. Charles Dickens – slept facing north.
11. Dan Brown – hanging upside down inversion therapy for writer’s block.
12. Victor Hugo – wrote without clothes so he could not leave the house to met a deadline.
13. Francine Prose – writes facing a wall to limit distractions.
14. Truman Capote – never started or finish writing on a Friday.
15. Anthony Burgess – use random words from opening a page in a dictionary to complete a descriptive passage.