Tag: Joshua Allen Mercier

Book Spotlight: Spirits (Sparks Saga, Book Two) by R.S. McCoy

Joshua A. Mercier
***Originally posted on The Bearded Scribe on July 28th, 2014.***

Book Spotlight: Spirits (Sparks Saga, Book Two) by R.S. McCoy

Bonjour, Beardies!

It has been far too long, so please forgive my absence…

Today, however, I have a special treat, and it’s not just my return from the depths of non-existence.

A while back, I spotlighted the first book of The Sparks Saga, an exciting new series by RS McCoy. The book, also titled Sparks, was phenomenal. After reading the 5-star book, I was so happy that RS McCoy stumbled upon the blog and requested a review. There was one hiccup, however. Although a top-rated book for me, the editing was lacking. Luckily, RS McCoy agreed to my pleading that I edit it for her. I couldn’t let such a great story suffer the stigma of a bad editor.

With that said, I also edited Spirits, the subject of this Spotlight. Let it be known, however, that I show no bias to either book given my involvement—my involvement was a direct response to my absolute love with this series and not the other way around, and I can’t wait to give you all the juicy details. And by details, I mean Gems—not spoilers.

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{—PREMISE—}

LARK DAVIES sleeps in a gilded palace and eats the finest foods, but he would trade it all to change that one night. Unable to use his talent for mind-reading to prevent a series of murders, Lark’s dreams are ravaged by gruesome memories. Robbed of sleep and slowly losing his sanity, the devoted lover and expectant father can only watch as his life continues to spiral out of control.

Whispers of invasion threaten what little peace their new life might have offered. Khea, the new queen of Nakbe–and his only light in the night–declares human sacrifice to be a necessary component of the island culture, forcing Lark to assert his disapproval. For the first time, the unifying bond he shares with her isn’t enough to keep them together.

With his mentor at his side, Lark’s only hope to stand against the queen and avert a future of death lies in his unexplored ability to manipulate physical elements of the world. The two men search out the spirits that control water, fire, and wind in hopes of ending two thousand years of violent traditions before rival nations invade.

{—GEMS FOR WRITERS—}

1. World Building...

PERHAPS you are thinking I always choose this Gem. In part, you’d be correct. But only if the book warrants it. World building is my passion–if you cannot build a believable and enticing world, most likely you cannot fully conceive the story you are writing. It’s often said that writers are often off in their own little worlds, and there’s a reason for that: they are. Most great writers submerge themselves into the worlds they are putting to page.

MCCOY has not only created a wonderful world in her series, but the individual regions that make up the world as a whole are worlds within themselves. Each has its own culture, its own history, and its own struggles, all of which McCoy describes beautifully. She truly delves deeper into the Nakben culture in writing Spirits, and we as readers feel as much a part of the world as Lark, Khea, and Avis.

2. Magical systems...

IN the first book of the series, Sparks, we learn that individuals carry a spark, a light which makes them special and allows them to manipulate elements or creatures or something less tangible (such as thoughts). In Spirits, McCoy explores the reason behind the sparks and truly incorporates lore and legend within her magical system to account for the transcendence of the magical abilities. We learn more about the gods and goddesses of the world and their role within the system. This makes the magic not only seem believable, but also possible.

3. Characterization...

THIS might sound cliché, but McCoy‘s characters truly leap from the page–most into your heart. As a reader, you connect with the characters on a level that you do in everyday life–at least I did. From the amorphous green fog to the unlikeliest of friends found deep in the Silver Springs, each has a distinct personality you grow to love–or, in some cases, hate. The human condition and its complete range of emotions are not lost with McCoy She incorporates almost the entirety of its span, and believably so.

4. ALTERNATIVE LIFESTYLES...

WHILE editing Sparks, I commended McCoy for incorporating same-sex love within her Nakben nation, but I did not mention it in my spotlight of the title. Her continued mention of this in Spirits—and her obvious support of the existence of love in its many forms—cannot be ignored any longer. I must outwardly and openly commend her for it. Literature is often at the forefront of cultural norms, so hopefully her expression of same-sex love as something normal–even mundane–will open the eyes, hearts, and minds of other readers, too.

{—RATING—}

{—CONCLUSION—}

IF you haven’t yet picked up the first book of this wonderful series, do so now! It’s not only about magic, it’s about life, love, loss, and looking at the world through another’s eyes. It’s about learning about the magic and power within yourself. It’s about friendship and connection to the world around us in a way which we as humans have lost.

I can’t wait for the third installment of this series, and I’m gloating in the fact that, as its editor, I get to see it before any of you. 😉

Until next time—Happy Scribing!

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Joshua A. Mercier

MEET JOSHUA
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***Spirits (2014), by RS McCoy, is published by and copyright RS McCoy.

***Per FTC Regulations: I received a free Advance Reading Copy (ARC) from the author and was not compensated in any way, monetarily or otherwise, for this review.

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Book Spotlight: The Alchemyst (Secrets of the Immortal Nicholas Flamel, Book 1) by Michael Scott

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***Originally posted on The Bearded Scribe on September 17th, 2012.***

Book Spotlight: The Alchemyst (Secrets of the Immortal Nicholas Flamel, Book 1) by Michael Scott

GOOD Evening, Beardies,

Back in May, we did an Author Spotlight and giveaway with Michael Scott, author of the Secrets of the Immortal Nicholas Flamel Series. The contest, and his subsequent interview, were very successful, so it didn’t take us long to decide to do a collaborative series of Book Spotlights featuring each of the Michael Scott, author of the Flamel books. Unfortunately, finding time to collaboratively write the posts took much longer, but we finally did, and we couldn’t be more excited to bring you the first in this series of Book Spotlights.

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{—PREMISE—}

FAMOUS alchemist Nicholas Flamel died in 1418—at least that’s what the records say. There’s only one problem: his tomb lies empty, a suspicious coincidence for someone who supposedly discovered the secrets of immortality.

While their parents are on an archaeology dig in Utah, twins Josh and Sophie Newman are forced to stay in San Francisco with their Aunt Agnes for the summer. Both quickly find jobs in order to save up money for a car. Josh’s boss, Nick Fleming, seems like a great person, but a strange turn of events reveals that “Nick Fleming” isn’t who he seems, and Josh and Sophie find themselves on a journey in which they discover that they may have legendary powers of their own.

{—GEMS FOR WRITERS—}

1. MYTHOLOGY...

AS we were reading this book, we were astounded by how many of the world’s mythologies were seamlessly united in the story, but in his interview, Mr. Scott enlightened us about his inspiration for this:

"The original idea was to create a series that unified all the world's mythology, based on the simple premise that at the heart of every story is a grain of truth. As I research folklore all over the world, it has become clear to me that so many of the world's myths and legends are incredibly similar, and some are almost identical. So I came up with the idea that I would feature as many of the world's folklore and myths in one story, and populate my world with immortal human characters. The only created characters in the series are Sophie and Josh."

THE premise of a unified world of mythology, wherein the truths of one legend are retold in each of the others, is masterfully set in The Alchemyst. We are intrigued by this premise, eager to continue our joined efforts, and curious what Mr. Scott has in store with the other five books of the series.

2. USE OF HISTORICAL FIGURES...

MICHAEL SCOTT seamlessly weaves many real historical figures into his story, and manages to preserve their integrity while using them in creative, yet believable ways. This blurs the line between fantasy and reality, making it even easier for the reader to slip into the fictional world. It would take ages to list the whole cast of historical characters in this book, but here are a few:

  • Nicholas Flamel (1330-1418) worked as a bookseller and scrivener in Paris. After his death, he developed a reputation as an alchemist because of his work on the philosopher’s stone and his quest to understand an alchemical tome called The Book of Abramelin the Mage. Flamel’s wife, Perenelle (1320-1412) served as his assistant and became known as a sorceress and alchemist in her own right. The Flamels were known as great philanthropists in their lifetime and both have streets in Paris that bear their names. They were buried in Paris, but their grave is empty, paving the way for further speculation about their immortality—and for Michael Scott to set them down in a twenty-first century bookstore under the assumed names of Nick and Perry Fleming.
  • Dr. John Dee (1527-1609) was a noted mathematician, occultist, astrologer, and served as an advisor to Queen Elizabeth I. He developed a plan for the British Navy, determined the coronation date of Elizabeth I through an astrological reading, was imprisoned for treason for reading the horoscopes of Elizabeth I and her sister Mary, and is rumored to have hexed the Spanish Armada. He is also said to have been the inspiration for the Shakespearean characters of Prospero and King Lear. He is the villain-in-chief of the Secrets of the Immortal Nicholas Flamel Series and has been chasing the Flamels for centuries. According to Scott, Dee’s relentless pursuit of the Flamels is to blame for many disasters, including the Great Fire of London in 1666.
  • Mary Wollstonecraft Shelley (1797-1851) was the daughter of an anarchist and an acclaimed feminist. At the age of eighteen, she conceived the idea for her best-known novel, Frankenstein, on a dare while staying in a summer home in Switzerland with her husband, the poet Percy Bysshe Shelley, and her husband’s friend Lord Byron. The trio had been reading ghost stories and had a contest to see who could write the scariest story. In The Alchemyst, Shelley is said to have based her novel on a story she heard from Dr. John Dee.

3. WORLD BUILDING...

WITH the above-mentioned use of actual Historical figures and integration of Mythology from several different cultures, Elizabeth and I agreed that Michael Scott‘s pile of notes must have been extensive. He is, indeed, nothing short of a master when it comes to world-building. His blending of ancient and modern, of legend and truth, and—most amazingly—of fantasy layered within an urban reality are all done seamlessly and with delicate precision. Specifically, within the area of world-building, the following areas need spotlighting.

  • Magic. Scott’s system of magic is one of the most unique we’ve encountered. His use of Auras is a blend of the existing belief that auras can be perceived as colors, and the introduction of his own creation—that they also have an aroma unique to their owner.
  • Shadowrealms. In The Alchemyst, we are only privy to view one Shadowrealm—a separate dimension created by an Elder upon banishment from the Earthly realm—but we are told that there are many. By introducing us to Hekate‘s Shadowrealm, Scott is able to set aside his Earthly setting for one that doesn’t conform to its limitations. Within this Shadowrealm we are introduced to several fantastical creatures—both of legend or otherwise—and we are also reminded of Scott’s love affair with mythology with his inclusion of Yggdrasil.
  • Landmarks. We know from reading other reviews that Mr. Scott uses several landmarks around the world within the Flamel series, but it’s his exceptional ability to describe said landmarks—such as Alcatraz—with great detail that blows our minds. Again, just thinking about the size of his research notes humbles us. Given the size of the research notes for our own respective writing endeavors, we can only imagine!

{—RATING—}

{—CONCLUSION—}

The Alchemyst pulled us in with its stellar world-building, creating a unique magical system and using real historical figures and pinpoint descriptions of real-world landmarks to make a solid, believable world. On top of being an exceptional writer, Mr. Scott was gracious enough to allow us to pick his brain about his inspirations and creative process in a fantastic interview. We are, and will continue to be, huge fans of Michael Scott and the Flamel series; stay tuned for our collaborative Spotlights on the next five books.

Happy Reading & Happy Scribing,
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Joshua A. Mercier

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Elizabeth J. Norton

MEET ELIZABETH
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***The Alchemyst (2007) by Michael Scott is published by and copyright Delacorte Press, an imprint of Random House Children’s Books.

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Book Spotlight: Eyes to See (Jeremiah Hunt Chronicles, Book One) by Joseph Nassise

Joshua A. Mercier
***Originally posted on The Bearded Scribe on July 22th, 2012.***

Book Spotlight: Eyes to See (Jeremiah Hunt Chronicles, Book One) by Joseph Nassise

GOOD EVENING, Beardies!

Many of you may remember my first ever Author Spotlight on my writing coach, Joseph Nassise. As a prequel to a follow-up Spotlight—this time complete with an interview—I am doing my first ever Book Spotlight on Eyes to See, the first book in Nassise‘s Jeremiah Hunt Chronicles.

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{—PREMISE—}

WHEN Jeremiah Hunt’s daughter, Elizabeth, is kidnapped without any tangible evidence, his world is shattered; the obsessive search for her whereabouts leaves everything else in his life—his marriage, his job, his friends—to come crashing down around him. In his search for tangible clues, his desperation leads him to the intangible—an arcane spell that is supposed to help him see what he has overlooked. Sacrificing his normal sight catapults him into a world of literal and figurative darkness—a world of spirits and entities that haunt him in his now-cursed life of endless night. When called upon by the police for his “paranormal” abilities, a string of gruesome murders uncovers clues about his daughter’s disappearance, a cast of unlikely friends, and unforeseen enemies.

{—GEMS FOR WRITERS—}

1. World Building...

YOU should have guessed I’d say it, but Joseph Nassise does a spectacular job of creating the obscure reality in which Jeremiah Hunt is doomed to walk. The colorless world—because of Hunt’s quasi-Faustian sacrifice—is populated with spirits, demons, and other entities of myth and legend that walk the streets of the novel’s Boston setting, all undetected by the city’s corporeal denizens, but all of whom can detect Hunt’s ability and are drawn to it like a beacon. Just as Stephen King creates written replicas of his (and my) native Maine with perfect prose and imagery, Nassise, too, does the same for his native Boston and its surroundings—all while adding an eerily believable layer of fantasy.

2. Historical Elements...

ONE of the things I loved about this book was its incorporation of historical elements (and in this case, specific to its region). This, in itself, ties in with World Building—in fact, I’ve mentioned it before in the World Building Series. Using the element of history as a writing device in urban fantasy is pure genius; it makes the world all the more believable, no matter how made-up the fantastical element is. It even makes you question history. The motives behind the witch trials that occurred in Salem may not have been what was originally believed, something this novel proposes. Curious? Read this book.

3. Point of View...

THIS element of writing is far-too-often overlooked. Although there are some passages that are in some other POV (perhaps even slightly weaker in comparison), Nassise does a stellar job with Hunt’s first-person narrative. Even the flashbacks are easy to maneuver through because of the tightly-written prose.

{—RATING—}

{—CONCLUSION—}

I don’t want to sound cheesy—or sycophantic—when I tell you that I had difficulty putting this book down. I had started and completed this book within a span of 30 hours—including sleep and meals—excitedly turning each page… a total, perhaps, of 10-12 hours actual reading time. If you are looking for an urban fantasy with a paranormal flavor that redefines the genre, look no further.

Keep Reading and Happy Scribing!

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Joshua A. Mercier

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***Eyes to See (2011), by Joseph Nassise, is published by and copyright Tor Books (Tom Doherty Associates, LLC).

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Exciting Announcement

Joshua A. Mercier
***Originally posted on The Bearded Scribe on July 18th, 2012.***

Exciting Announcement

HELLO Beardies,

From The Bearded Scribe‘s inception in February, I’ve had a handful of devout followers, all of whom kept me typing and posting away when at times I wondered if my audience would ever be big enough for all the work I was putting into the foundation and constant research for exciting posts on the blog.

One such follower—whom you all have met and whose posts you all have had the opportunity and pleasure in reading—is Ms. Elizabeth Norton.

MEET ELZABETH

SINCE joining the blog as a Fellow Scribe—and even before then—Elizabeth has shown a passion for the topics that appear on the blog, going well beyond the call of duty that any Fellow Scribe should. She has offered critiques, edits, and her ideas and opinions on most posts, not to mention her constant encouragement.

It is because of this reason that I am pleased to announce Elizabeth as The Bearded Scribe‘s Assistant Editor! The position is unpaid, except in gratitude and friendship, but I wanted to give her the acknowledgement she deserves. Because she deserves to be paid for all that she does, I will be indebted to her even more than I am already.

I hope you all take the time to comment and commend Elizabeth on this title! Congratulations, Elizabeth! And thank you again for all that you’ve done and all that you continue to do! I am so lucky to have you as a friend, and I am so happy to have your passionate insight on The Bearded Scribe Team! 🙂

Happy Scribing!

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Joshua A. Mercier

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Movie Spotlight: Brave

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***Originally posted on The Bearded Scribe on July 16th, 2012.***

Movie Spotlight: Brave

HELLO Beardies,

Hang around The Bearded Scribe long enough, and you will inevitably catch a glimpse of Scottish pride amidst its contributors. Elizabeth is a direct descendant of Clan Ross, the first named clan, designated by King Malcolm IV of Scotland in the twelfth century; and Joshua has a bit of all the British Isles in him from his mother’s side… If genealogical reasons of pride weren’t enough, Joshua and Elizabeth met when they were all students at Alma College, home of the Scots. (The city of Alma is nicknamed Scotland USA.)

ALMA College has its own registered tartan, which both the marching band and the pipe and drum corps wear for every performance; every convocation starts with the bagpipes; the Choir can often be heard in the Chapel (or, on occasion, in secluded churches in Scotland!) singing tunes such as “Loch Lomond” and “Highland Mary;” and at the end of Spring Term, the students must vacate the dorms to make way for the Highland Festival, a huge gathering including traditional Highland music and dance, a nearly-frightening number of men in kilts, and Highland games.

Alma College Tartan

Alma College Choir in Scotland performing "Loch Lomond."

IT is because of this Scottish pride that The Bearded Scribe excitedly brings you its first ever Movie Spotlight on Disney/Pixar’s latest film, Brave. And to top it all off, it is the first ever post to appear on the blog with two contributors! (We’re sure it won’t be the last!)

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{—PREMISE—}

A born tomboy and expert archer, Merida is not your average girl, but, as her mother often reminds her, she’s a princess, and with that comes expectations. The clans are about to gather, bringing their suitors to compete for Merida’s hand, and of course, Merida wants nothing to do with it—especially after she sees just who these potential suitors are. She devises a way to compete herself so as not to have to get married, but it causes her worst fight yet with her mother and Merida runs away. Deep in the woods, she follows will-o’-the-wisps to a witch’s cottage. The witch gives her a spell to change her fate, but when the spell backfires, trapping her mother in the form of a bear, Merida must use all her wits and skills—princess-like and otherwise—to save both her independence and her family.

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{—GEMS FOR WRITERS—}

1. The Land...

ONE of the greatest aspects of Brave is the film’s unforgettable landscape, beautifully portrayed through superb animation. The entire “world” built by the film is complete, and the landscape alone is merely one of its facets. In addition to the lush, green rolling hills, the crags and high cliffs, and the architecture of monuments and buildings, the film includes key elements to the traditional, Celtic culture. Intricate knotwork is carved on wood and stone throughout—including Merida’s bow. Nary a scene exists without a man in a kilt or some display of tartan (ever wonder what the Scotsmen wear under those kilts… watch this film and you will no longer), a few of its characters adorned in woad paint (a tip of the hat to Braveheart, perhaps?), and fanciful tapestries line many a wall.

Many of the Scottish traditions outlined in our intro are beautifully and respectfully reflected in Brave, one of them specifically is that of the Highland Games. According to tradition, each clan presents its most desirable suitor for the hand of the Princess, and the winner is determined through a test of her choosing. Brave’s focus is not mainly on romance; rather, in a stroke of unconventional plotting, the games serve as an impetus for the main conflict between Merida and her mother, and between Merida and the conventions of her society.

Another aspect we loved about Brave is the wonderful music contained in its soundtrack. As we are both vocalists and lovers of music, this was one aspect, in our humble opinion, the film had no room to get wrong. They didn’t. The composer of the film’s musical score, Patrick Doyle—also the composer of Harry Potter and the Goblet of Fire—used traditional Scottish instruments such as the bagpipes, a solo fiddle, Celtic harps, and the bodhrán, just to name a few. Doyle was quoted as saying, “I employed many classic Scottish dance rhythms such as reels, jigs, and strathspeys, which not only serve the action but keep it authentic.”

The only issues we found with the world-building of the film were anachronisms. Given the film was fictionally set in 10th Century Scotland, the use of plaid (15th-16th Century), kilts (18th century); forks (16th century); Shire horse (breed developed in the mid-17th century) and fighting the Romans (1st-5th century) all fit the bill. Because we love all things Scottish, we happily forgive them.

2. The Legend...

IF there is something that must be mentioned, it is the way elements of folklore and mythology are interwoven throughout the entire film. While there is no precedence for the actual legend of the plot, other elements from Celtic lore are used ingeniously to drive home the “fairytale” aspect. From its very start, we are introduced to will-o’-the-wisps—colloquially referred to as “wisps”—which Merida is told (by her mother) are said to lead a person to their fate. The “wisps” vanish when approached, just as the actual lore states; ironically, however, in most Celtic lore a “wisp” (or ignis fatuus) is said to lead travelers away from the safety of the path (into bogs and other treacherous destinations). Continuing with the “fairytale” notes is the sacred henge in which the final showdown takes place. It represents not only the sacred rock formations that speckle the British Isles, such as Stonehenge—which are placed on sacred sites filled with the natural energies from the Earth—but also the smaller-scale formations referred to as “faerie rings.” These sites were said to be portals to the land of the Sidhe, and were to never be entered. Merida’s horse, Angus, obeys this superstition by stopping suddenly at its edge, meanwhile throwing Merida into its center. The fact that the wisps appear from this site to lead Merida to witch’s cottage is another allusion to the Faefolk they are meant to represent.

ANOTHER mythological element which is prevalent—if not pervasive—is that of the bear. While researching for this post, we discovered a possible connection between Queen Elinor and the Celtic Bear Goddess, Artio, often referred to as “Mother Bear.” We even uncovered an ancient statue of said goddess that appears strikingly similar to one that may or may not have made an appearance in the witch’s wood-carving shop. The legends and myths that appear throughout the film and its landscape are like the tapestry in the film; they are tightly woven, never to be torn from one another. The mistakes and stories of the past—however far-fetched and magical they might seem—are there to educate generations of the future. We must take heed and not dismiss them so quickly, which echoes Queen Elinor’s line in the movie: “Legends are lessons, and they ring with truths!”

3. The Lessons Learned...

AS firm believers that no woman should need a man to make her complete, we really enjoyed seeing a Disney/Pixar film wherein romance is present without being the main focus of the plot. We’re not anti-love by any means, and both agreed that the romance between the Queen Elinor and King Fergus is sweet. Love, after all, makes life sweeter, but love comes in more forms than just romance. Merida is a tenth-century girl with a twenty-first century mindset, and her independence and determination is refreshing. She knows she can do better than any of the suitors she is offered, and she’s not willing to compromise or settle—a position we totally support.

Unless you’ve been living under a menhir somewhere—or trapped under one—you’ve most likely heard the expression: “Be careful what you wish for.” The main theme of Brave is exactly this, and it is an expression Princess Merida already knows all too well. Despite this, she wishes for her mom to change, and when the Queen is transformed into a bear, Merida must deal with the consequences. Afraid for her mother’s life—due to her father’s understandable hatred of bears—Merida and the Queen flee the family’s castle in search of the witch or the wisps that led her to her fate. While helping Merida with trying to find a way to reverse the spell, Queen Elinor gains respect for her daughter’s strength and wilder side; Merida, too, finds a deeper respect for her mother when faced with the prospect of losing her forever. Also, they discover that Merida is not the first to wish for a change of fate, and by repairing the mistakes she made, she has the opportunity to correct the wrongdoings of the past.

{—RATING—}

{—CONCLUSION—}

GIVEN our love affair with all things Scottish, we had high hopes for Brave, and we weren’t disappointed. Add in a strong female lead, stirring soundtrack, and beautiful scenery and animation, and our separate trips to see this film were time well spent. As a bonus, it gave us a chance to truly collaborate for the first time, a practice we hope to keep up in the future!

Gus an coinnich sinn a’rithist,
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Joshua A. Mercier

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Elizabeth J. Norton

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World Building Series: Settings—Part I (Introduction)

Joshua A. Mercier
***Originally posted on The Bearded Scribe on July 9, 2012.

World Building Series: Settings—Part I (Introduction)

AFTERNOON, Beardies!

When I started my blog back in February, I knew right away that I wanted to include a World Building Series to help other writers. The series is designed as a reference point, to seek help if you have questions, and sort of a guide of “tips” and “techniques” in various areas of the World Building process.

(Of course, I am always open to direct questions from my followers; if you have a question you can always ask it through our CONTACT FORM.)

I’ve been putting this area of World Building off for obvious reasons. It’s massive, and it is going to take several posts to cover such an extensive topic. Other than on my languages, I’ve spent the most amount of time on this area when the original story idea for The Chronicles of Aesiranyn kept—for the lack of a better word—haunting me.

Lets start with the starting point you should start with as a writer… Maps.

An Aerial View of Elizabeth's Dream Circulatory Desk 🙂

EVEN if you are writing an urban fantasy story set in a major city on Earth, your world should have a map. Of course, if that is the case, your map is already available, and you merely have to pull up Google Maps. By saving those maps (screen shots) as a quick reference guide, you will save yourself many headaches of wondering what is located on the cross-streets of say… 42nd and 5th in New York City, wherein lies a bibliophile’s own fantasy.

For the purposes of this introduction, however, let’s assume you are building your own world.

MAPS IN FANTASY BOOKS:

HAVING a map is crucial to World Building because it helps you, the writer, view your world so that you may keep facts and settings consistent. It also provides you with a somewhat haphazard but helpful scale of your world so that you may know the distance between two places (how long does it take to travel from Point A to Point B). However, if you decide to include a map in your final product, having a realistic and thought-out map—with a humble regard to how geology forms things such as coastlines, mountains, rivers, et cetera—will greatly benefit you. There have been a few occasions in which I have opened a book and found a map that didn’t seem realistic or thoroughly researched, and so, without even a look at the text, I closed the book and placed it back on the shelf. On that note, however, there have been a couple of books in which I have ONLY glanced at the included map and decided to buy it.

Let’s touch on a few of those geological formations for this blog post.

COASTLINES:

COASTLINES are irregular. If your coastline looks like a circular or rectangular blob, your doing it wrong. Coastlines are created by the shifting of tectonic plates–plates pulling away from one another resulting in oceanic trenches, which are never clean lines. Nothing in nature is ever a clean line. Coastlines are then continually changed by the constant erosion of landmass by the waves, which is completely dependent upon the geological make-up along the coast. (Softer materials erode quicker, leaving the harder, more resolute material behind). On the other hand, if your fantasy world is made up of man-made landmasses, then by all means, draw in straight, clean lines.

An excellent place to look at how coastlines appear is an atlas. Or, in this day’s technology, Google Maps. You can take any island, any coastline of any continent (or, for that matter, just a section of it), or any ocean (or sea, gulf, or bay) as inspiration. Or, if that doesn’t inspire you, maybe its inverse will be appealing to your creative spirit.

Another great place of inspiration for the coastlines of your world can be found in nature–or even those elementally frustrating situations around the house. Have a water stain on a wall or ceiling? Trace its outline as a start and then embellish.

MOUNTAINS:

LIKE coastlines, mountains are also caused by the shifting of tectonic plates–but their convergence and deformation. Orogenesis–or the creation of mountains–happens along the lines of tectonic plates, which is the reason for extensive mountain ranges as opposed to singular peaks. Sometimes the subduction of one plate under the other occurs, but more often the convergence of the tectonic plates pushes both plates upward, causing crumpling on either side.

There are always exceptions to the rule, but taller, rigidly-peaked mountains are usually the youngest, while smooth, rolling peaks signify an older range. Take the Appalachian Mountains, for example; they are the oldest on Earth–and are one of the most visually appealing mountains because of their gently rolling peaks and valleys.

Take heed when drawing your own mountains. Get to know your land. What did it look like in its most primitive stages? Or is it still in said stage? Have its plates shifted and moved away from one another creating a drastically different landscape? Mountains should occur along where the plates collide.

RIVERS:

RIVERS flow down from higher elevations toward lower elevations. So, in simple terms, from mountains toward coastlines. They take the most direct route, so long as there is nothing impeding that route. In other words, rivers will not often change directions, unless there is, say, another mountain range blocking its route to the coast. I am in no way saying they travel in a clean, straight line (remember that nothing in nature is ever a clean line), just that they their routes are downhill.

Rivers converge; smaller tributaries flow into larger rivers. Rivers do not split, unless there are sound geological reasons for its divergence, and in this instance, the divergence happens for short distances, eventually re-converging.

If a river flows into another body of water, such as a lake, it will continue. A lake will empty at the lowest side of the lake, wherever that may be, so pay attention to the altitude in the different areas of your world.

A WOR(L)D OF ADVICE:

I am sure you all have heard the saying “If you want to be a great writer, then read, read, read,” but the same is true for world building. If you want to create great maps for your world, pick up an atlas. Look at the intricacies of the coastlines of several different bodies of land. Study the layouts, paying close attention to the three areas mentioned above.

Another great place to visit for help and questions related to World Building, specifically map creation is The Cartographers’ Guild, a forum on which you read and even participate in related threads.

Get Busy Building & Happy Scribing,

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Joshua A. Mercier

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Author Spotlight: Michael Scott

Joshua A. Mercier
***Originally posted on The Bearded Scribe on June 16th, 2012.***

Author Spotlight: Michael Scott

GOOD EVENING, Beardies! 🙂

Many of you have probably began to wonder if my interview with Michael Scott was ever going to appear. Some of you have even contacted me in query. But fear not; the wait is over!

Organizing the contest, as well as seriously contemplating what questions to ask Michael, have both been a blast for me, and I can’t thank him enough for the opportunity and assistance with arranging and promoting the contest. Because of his busy schedule with The Enchantress book-signing tour–not to mention out of sheer gratitude and respect–I wanted to give him ample time to chew on the questions a bit before answering.

The wait was well worth it! The answers are phenomenal, and I know all of you are going to enjoy them as much as I did. But you’re going to have to wait just a bit longer, as I want to introduce Michael to all of you first…

ABOUT MICHAEL SCOTT

(Biography taken directly from Michael‘s website; Mr. Scott owns alll copyrights.)

IRISH-born Michael Scott began writing over twenty-five years ago, and is one of Ireland’s most successful and prolific authors, with one hundred titles to his credit, spanning a variety of genres, including Fantasy, Science Fiction and Folklore. He writes for both adults and young adults and is published in thirty-eight countries, in over twenty languages.

He is considered one of the authorities on the folklore of the Celtic lands and is credited with the resurgence of interest in the subject in the mid-1980s. His collections, Irish Folk & Fairy Tales, Irish Myths & Legends and Irish Ghosts & Hauntings have remained continuously in print for the past twenty years and are now included amongst the definitive and most-quoted works on the subject.

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THE INTERVIEW

Joshua A. Mercier: At what age did you begin writing?

Michael Scott: I was probably around 18 or 19 when I started doing it seriously. I never set out to be a writer, but I was a great reader, and if you are a reader, then one day you will say, “I think I can do this.” That’s how every writer I know started. The trick is to stick at it.

Joshua A. Mercier: I read somewhere that mythology is one of your first loves; would you say that it was mythology that inspired you to start writing?

Michael Scott: Absolutely. I grew up in Ireland where myth and legend is still very close and very real. When I started my first collection of Irish folklore, back in 1982, there were very few books on Irish folklore in print and most of those were much older books, written in the style and language of the 19th century. I decided that I would do a collection of the classic Irish folktales, written in a modern accessible style. My first three collections, Irish Folk and Fairy Tales, are still in print to this day. Collecting and writing those first stories were my first ventures into print.

Joshua A. Mercier: Would you say that growing up in Ireland—with its culture deeply seeded with folklore, mythology, and mysticism—influenced your incorporation of magical elements into your novels?

Michael Scott: I grew up with these magical stories, where the dividing line between this world and the faery realms (which appear as the Shadowrealms in the Flamel series – indeed some of the Shadowrealms, like Tir na nOg are named in honor of the Irish otherworlds) overlap.

Joshua A. Mercier: Which Irish myth/story stands out amongst the others as a favorite?

Michael Scott: There are so many, but my all time favorite is The Children of Lir, one of the Sorrows of Irish Storytelling. It is the story of four children, changed into swans by an evil step-mother and doomed to spend nine hundred years as swans before returning to their human form. It was my first young adult novel and remains one of my favorites.

Joshua A. Mercier: What is your favorite book? Your favorite fantasy/speculative fiction book?

Michael Scott: Too hard a question. There are so many. I love Huckleberry Finn (the original version, not the new edited version), and I’ve read it a dozen times at least and find something new in it every time. Growing up I was greatly influenced by people like Andre Norton, Mary Norton, Susan Cooper, H.P. Lovecraft, Talbot Mundy and Robert E Howard.

Joshua A. Mercier: For me it was Bridge to Terabithia… was there a particular book that hooked you into the fantasy genre?

Michael Scott: That’s an easier questions: Tros of Samothrace by Talbot Mundy, a wonderful semi-historical historical novel, woven throughout with fantasy. It was first published in the 1930’s and I read the paperback reprints in the late 1970’s. Inasmuch as Flamel is a sort of historical fantasy … well, here are its roots.

Joshua A. Mercier: Could you describe your writing process for the readers of The Bearded Scribe?

Michael Scott: For me plotting is everything. Once I have an overall idea for a story, I will then work through it, plotting it down to chapter by chapter level. Once I have that outline, I then write the ending. Once I have my ending i know I can write the story. The practical process involves sitting in a chair about ten hours a day. I work on two screens, with the novel open in one screen (in Word), and my research notes (in Mindmanager and TheBrain) on the second screen.

Joshua A. Mercier: As an aspiring fantasy author trying to shop his first manuscript, could you tell me how many agents you sent query letters to before you received a “yes” from one of them? Also, how long did the process take?

Michael Scott: I’m afraid to say that this will depress you. I’ve published a lot of books, and did not get an agent until I’d sold about 25 or 30 by myself. I sold my very first book by simply contacting a publisher directly. However, the business has changed a lot now and having an agent is almost necessary just to get in the door with a publisher. (If it is consolation, when I went looking for a new agent for the Flamel series, very few were interested. But all it takes is one. And the writing business is all about persistence.)

Joshua A. Mercier: Could you tell the readers of The Bearded Scribe more about The Thirteen Hallows, your literary collaboration with Collette Freedman?

Michael Scott: The Thirteen Hallows is based on a novel I wrote many years ago called The Hallows and now long out of print. This is a story based, like so much of my work, on mythology, but a very specific Arthurian legend and the great English hymn—Jerusalem. Collette and I worked to bring the story up to date, tighten the storyline and improve on the original. We met briefly in LA to discuss the original idea and then worked with Skype and Google docs over the next several months on the story. I then returned to LA for the final work on the manuscript. It sold very quickly and I was thrilled to be published by Tor. They’d published some earlier fantasies of mine a long time ago. We’re working on a sequel, called The Hallowed Keepers.

Joshua A. Mercier: What about your pen name, Anna Dillon? What is the story behind where and how it came about?

Michael Scott: I had been working on a big historical novel set in Dublin before the first World War. My publishers loved it, but felt that the readers might have difficult accepting that it had been written by a fantasy writer. Also, it featured strong female characters and was seen as a “female” books. (I should add that this was a long time ago, and attitudes have changed.) I choose Anna Dillon, which is a combination of family names. Seasons, the first book, was an immediate success and I went on to write several more books under the Anna Dillon name. For a long time “she” was more popular than I was!

Joshua A. Mercier: When you visited Flamel’s residence in Paris, was it sort of a writer’s “love at first sight” for you? What went through your thoughts upon entering?

Michael Scott: As an historian I’d always known about Nicholas Flamel—he weaves in an out of various aspects of European history and Doctor John Dee (whom I had written about before) was a collector of his work. It was, initially, a curiosity to be sitting in his house, drinking tea and looking around. At that stage, Dee was the hero of the series (it was the Secrets of Doctor Dee), but I knew instinctively that Dee was not right for the hero—he was just a little too dark. I think it was when I remembered that Flamel had been a bookseller (and I was working as a bookseller at that time), that the pieces began to come together. But once the decision was made, everything slotted together so neatly.

Joshua A. Mercier: Being a direct descendant of Jeanne D’Arc’s brother, Jacquemin D’Arc, as well as my birthday being exactly 550 years to the day of when she was wrongfully burned at the stake, I feel an unprecedented connection to her. (Dare I mention that she and I are both lefties?) I am curious… other than for the obvious reasons, what inspired you to use Jeanne as a part of the Flamel series, especially the way in which you did?

Michael Scott: Ok, that now is very impressive! And I do have a short story plotted which includes all the d’Arc siblings, Pierre, Jean and Jacquemin, and, of course, Joan—I’ll tell that story some day soon, I promise. I included Joan because, in the plotting process, I knew I wanted to send the Flamels back to Paris to retrieve the sword. I also wanted to include the wonderful catacombs beneath the city in the story. So, if I have everyone in Paris, then they will need to be protected by the ultimate French warrior: Joan of Arc.

Joshua A. Mercier: This question was also asked by my Assistant Editor, Elizabeth Norton… are you currently working on any new projects now that the Flamel series is finished?

Michael Scott: Yes, I am writing The Earthlords series right now. It is related, but only vaguely, to the Flamel series. It is a mythic fantasy, a trilogy … with no cliffhanger endings, I promise.

Joshua A. Mercier: I’m not sure of the topic or in what capacity, but would you consider writing a guest post on The Bearded Scribe at some point?

Michael Scott: Yes, of course. Just ask.

Joshua A. Mercier: Rumors of a film adaptation of the Flamel series have circulated across the internet… are the rumors true, and are there any current status updates?

Michael Scott: The rumors have always been true. Several huge companies have looked at Flamel and tried to make it work. For various reasons, often to do with the script, it simply has not happened – also the really compressed time frame of the series makes it tricky to shoot. However, now that the series is finished, there is renewed interest and, fingers crossed, we should know very soon. And this time, I’ll write the script, so at least it will vaguely resemble the books.

Joshua A. Mercier: As you know, I hosted a contest on my blog and asked the participants to submit questions for this interview… here are some of them that came my way…

Court Elllyn: How did the initial idea for The Enchantress come about?

Michael Scott: The original idea was to create a series that unified all the world’s mythology, based on the simple premise that at the heart of every story is a grain of truth. As I research folklore all over the world, it has become clear to me that so many of the world’s myths and legends are incredibly similar, and some are almost identical. So I came up with the idea that I would feature as many of the world’s folklore and myths in one story, and populate my world with immortal human characters. The only created characters in the series are Sophie and Josh.

Joshua Hernandez: I’ve always wondered where you concocted the idea for auras to have smells? Also, if you had an aura, what would you make your fragrance?

Michael Scott: Auras or versions of auras turn up in myth across the globe. I added in the element of smell because I wanted to make the characters memorable, and scents are one of the most distinctive and evocative of all the senses. We can all remember smells from our childhood for example. Someone suggested that all the good characters smell “good” and all the villains smell “bad.” This is not actually true. All of the characters have taken odors appropriate to their time. I have been told that my aura is green and smells of spearmint.

Francis Ramos: Now that the Flamel series is done, is there any possibility that you’ll make another series related to it? Or maybe a series with one of the characters from the Flamel series as the main character?

Michael Scott: I am working on a new series now called The Earthlords. It is vaguely related to the Flamel series, but none of the characters from the six books will appear in the new series. However, I am not entirely done with Flamel yet. I have plans for another linked series and some short stories set in the same world.

Booklover 31 (Name Undisclosed): Did you have a favorite character to write for, and if so, did it change throughout the Flamel series?

Michael Scott: Dee has always been my favorite. Villains are always so much fun to write. However, as the series progressed, Billy and Machiavelli and Scathach, of course, were great fun to write. I always knew how he would “end,” so that did not change. I’ve not been entirely fair to him however. He was a fascinating man, with one of the largest libraries in private hands and probably the basis of Shakespeare’s Prospero.

Miranda Harrison: What was the most challenging part of the series to write? And also, for which character did you have the most difficulty writing?

Michael Scott: Keeping all six books straight in my head and ensuring the continuity of the series. The notes for this series are huge—bigger than the books themselves. All of the characters presented their own difficulties, but some, like Scathach, for example, tended to take over. So I had to be careful not to give her too much time on the page. I’ll give the Shadow her own series eventually.

Oscar Montepeque: If a film adaptation of the series does come about, how do imagine the script writers and directors will incorporate all the different view points of the characters? What about the “flashbacks” and “memory” sequences experienced by the characters?

Out of the hundreds of historical figures out there, what made you decide on the ones you did choose? What made them more special than the rest?

Michael Scott: That is always going to be an issue. The movie is not the book and the book will always be better than the movie. It is now looking like I will do a first pass on the script myself, so I will try and keep it as close to the books as possible, but obviously, something will have to go. (And I am not a fan of flashbacks in movies!)

As I plotted the series, sometimes the locations would suggest the characters (Joan in Paris, for example, or Shakespeare in London). But this really was a great opportunity for me to include all of my favorite characrers from history. There are so many who simply did not make the final books, (but who may make the short stories!).

Lynn Volovic Rosin: I was just curious… did you travel to all the wonderful places in the series (i.e., Alcatraz and Notre Dame) in order to mimic them so perfectly within the books?

Michael Scott: Yes, I have visited, stayed in or lived in all of the places in the books. That was part of the deal I make with you, the reader. Also, by setting it so firmly in the real world, using very real locations, it make the magic and fantasy all the more real.

Vivian Mah: Growing up, had you always wanted to become a writer? Any advice for young writers?

Michael Scott: No, I never really wanted to become a writer; it sort of happened. However, I was a great reader, and if you are a reader, then sooner or later you decide that you have your own stories to tell. My best advice for young writers is, obviously, to read, read, read and then read some more. But also to learn how to type properly. Do a keyboarding skills course. It will make your writing life so much easier. And get a really comfortable chair, because you will spent a lot of time sitting in it.

Carlos Escribano: Were the characters of Josh and Sophie inspired by real people?

Michael Scott: No, they are the only two created characters. However, they are twins, and twin mythology is universal. I generally make it a rule never to base anyone on people I know. I may take elements of people’s personalities and incorporate them into the story, but it is never a good idea to write your friends into your work.

Joshua A. Mercier: Is there anything else that you would like to share with The Bearded Scribe‘s readers that I did not ask you (and you wished I had)?

Michael Scott: I think this is a really exciting time both for writers and readers. This generation of readers have an opportunity (like here) to talk directly with writers. And, writers have an opportunity to listen to their readers and hear what they are saying. I think this dialogue is incredibly positive. And finally, of course, let me thank you for reading the books. Without readers, books are just dead words on a page: it is the readers who bring them alive.

CONCLUSION

THANK YOU, Michael, for taking the time out of your busy schedule to sit down and share your answers with me and the readers of The Bearded Scribe. It has been an honor and a privilege talking with you over the past few weeks, one that I won’t soon forget.

Stay tuned for an upcoming, collaborative review of Michael Scott’s The Alchemyst written by Elizabeth and myself. Also, stay tuned for a potential guest post by Michael Scott himself!

MORE ABOUT MICHAEL

FOR more information about Michael Scott, please visit his website. You can also follow him on any of the following social media links:

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TO check out Michael’s other titles, visit here, there, over here, and don’t forget about over there, too! (Yes. There are that many!)

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Until next time—Happy Scribing!

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Joshua A. Mercier

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Author Spotlight: Cidney Swanson

Joshua A. Mercier
***Originally posted on The Bearded Scribe on June 13th, 2012.***

Author Spotlight: Cidney Swanson

HELLO Beardies,

A few weeks ago, Elizabeth emailed me with the name of an author whom she knew through her work at the library. Without knowing it, Elizabeth had already corresponded with the author to see if she would be open to an interview for the blog… to which the author graciously agreed.

In conjunction with this upcoming Author Spotlight, Elizabeth wrote a wonderful review of The Ripple Trilogy, authored by our guest today, Cidney Swanson. (For those of you who do not remember Elizabeth’s Book Spotlight on The Ripple Trilogy, please check it out as soon as you get a chance.)

ABOUT CIDNEY

(Biography taken from Cidney‘s Author Page on Amazon and originally provided by Cidney or a representative.)

CIDNEY SWANSON grew up within spitting distance of the central California foothills and learned to drive on the crazy highways linking gold rush ghost towns. She began her first novel at age eight; it started with “Ouch,” and she’s enjoyed creating painful situations for her characters ever since. Cidney worked as a costume designer, clothing designer, and kitchen gadget salesperson prior to giving it all up for literature. Cidney lives in Oregon’s Willamette Valley with her husband, three kids, a dog and two cats, and entirely too much rain.

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THE INTERVIEW

Joshua A. Mercier: You have two blogs—your personal blog and one titled The Writer’s Voice—could you tell the readers at The Bearded Scribe a little more about each of them?

Cidney Swanson: I’m a contributor over at The Writer’s Voice, a blog where several young adult authors post. On my own blog, I tend to write a couple of posts a month on something that moves me. Wow. That sounded vague. Here’s another try: when I find myself getting shivers from an experience that has to do with reading or writing, I usually end up blogging about it.

Joshua A. Mercier: Would you consider writing a guest post on The Bearded Scribe at some point?

Cidney Swanson: Of course! In addition, you can always request to re-post an earlier post of mine if you think your readers would find it interesting.

Joshua A. Mercier: At what age did you begin writing?

Cidney Swanson: I began writing fiction as soon as I learned to write words, right around age seven. I have no idea why. No one in particular encouraged it, but I loved reading and I’m guessing that inspired me.

Joshua A. Mercier: What is your favorite book? Your favorite fantasy/speculative fiction book?

Cidney Swanson: Really? Favorite, like, favorite??? I’m totally cheating and answering with more than one title. *grins evilly*

If I could only have one book for the rest of my life, I would pick Lord of the Rings. My favorite books that I’ve read more recently would be Laini Taylor’s Daughter of Smoke and Bone and Maggie Stiefvater’s The Scorpio Races.

Joshua A. Mercier: For me, it was Bridge to Terabithia… was there a particular book that hooked you into the fantasy genre?

Cidney Swanson: It was actually Star Trek (the original series) that hooked me into speculative fiction. I read science fiction looking for something similar, but I was often disappointed. Interestingly, when I discovered The Chronicles of Narnia and the Lord of the Rings within twelve months of each other, it felt like “coming home” for me. Those books converted me into a fantasy reader.

Joshua A. Mercier: It’s funny that you mention The Chronicles of Narnia, actually. It was what made me realize that there were other great fantasies out there. Shortly after reading Bridge to Terabithia, a professional acting group visited my elementary school and performed a dramatic adaptation of The Lion, the Witch, and the Wardrobe. After that, I think I was not only hooked, but also the subconscious decision to become a writer had manifested in my head, even at that young of an age.

Do you only write in the fantasy genre?

Cidney Swanson: So far, all of the novels I have completed have had fantastical elements to them. I enjoy reading contemporary young adult fiction, but I don’t seem to be driven to write it myself. Unless there is something speculative involved in the writing, I don’t tend to stick with it. That probably won’t change any time soon, given the number of books clamoring (from inside my brain) to be written.

Joshua A. Mercier: As an aspiring fantasy author trying to shop his first manuscript, could you tell me how many agents you sent query letters to before you received a “yes” from one of them? Also, how long did the process take?

Cidney Swanson: I am currently un-agented and self-published. But I was looking for an agent once upon a time. Here’s how my process went: I chose two dozen agents that I thought I might work well with. I only received a handful of outright rejections. Most said, “What else have you got?” or “It’s good, but I think this would be tough to market.” That process took about two years. Meanwhile, I wanted to quit my day job and write full time. So, I set aside querying in favor of publishing The Ripple Trilogy myself. That was one year ago. I’m making a living as a writer at this time.

I certainly wouldn’t be in this position if I had continued to query without taking a break to polish and publish. I’ve owned a couple of businesses, so I looked at this very much from a business standpoint asking: how can I achieve my goal of writing for a living? Self-publishing was a very good option for meeting that goal. Now I am about to jump back on the query-go-round with a couple of new manuscripts in hand.

The main problem with the query process is that it moves at the pace of a banana slug. On a very hot day. On an abrasive surface. Agents are under tremendous pressures now with the flux in the publishing industry. Their first responsibility must be to existing clients. They read queries and manuscripts in their free time! (Meaning, when the rest of us would be sipping sweet tea or going to the movies.)

The query process is a very lengthy one made even longer by the fact that it is accomplished during someone’s “non-work” hours. I’d say it is typical to get a first response after 3-6 months. If an agent asks for a couple of chapters, you’ll probably hear back on those in 2-4 months. If they ask for a complete manuscript, allow another month or two. They may request revisions before deciding. This should take you a couple of months. Then they will need a couple of months to get back to you. Are you starting to see a pattern? We’re well over 15 months at this point from when you first sent something off. Of course, everyone’s journey is different, but 15 months before a final answer is probably fairly typical. Unless it is a no, in which case, only 3-6 months would be normal.

Joshua A. Mercier: What was your inspiration for The Ripple Trilogy?

Cidney Swanson: I had an image in my mind of a teen girl sitting beside the Merced River (by Yosemite.) As I “gazed” at her, she disappeared. She didn’t notice she had turned invisible. I had to know why (1) she turned invisible and (2) she didn’t even notice it had happened.

I mean, wouldn’t you notice if you turned invisible?

Joshua A. Mercier: I would like to think that I would notice, but who’s to say for sure. Then again, we all feel a bit invisible at times, don’t we?

Have you received any optioning rights for film adaptations for the Trilogy?

Cidney Swanson: No. But whenever my daughter asks for an iPhone or other expensive item, I tell her, “Okay, as soon as I get my movie optioned.”

Joshua A. Mercier: Are you currently working on any new projects?

Cidney Swanson: Yes. Several. (How coy of me!) But seriously, I have a sci-fi trilogy and a stand-alone about ballet and goblins. I have a couple of other things in the works as well, but they don’t have complete first drafts yet.

Joshua A. Mercier: Elizabeth just did a Book Spotlight on The Ripple Trilogy and she focuses on the techniques (or gems) that other writers can take away from reading the specific titles she reviews. Are there any other tips or techniques you would like to share with The Bearded Scribe‘s readers—especially fellow writers—which they can use in their own writings?

Cidney Swanson: Read, read, read. Put sticky-note flags next to sentences or paragraphs that move you as you are reading. Later, go back and analyze what the writer did. Do exercises where you try to recreate that in your own style. I did an MFA many years ago where my art profs had me copy the masters in drawing and painting. I think writers can do the same thing to great benefit.

Joshua A. Mercier: Could you describe your writing process for the readers of The Bearded Scribe?

Cidney Swanson: Sure! I write six days a week, in the mornings when my inner editor is groggy. That way the creative stuff is flowing pretty well. When I approach a new project, I will generally create a loose outline with a very definite “this is what happens at the end” in mind. I find that I need to know which direction I am driving, as it were.

I write out my first drafts at a pace of right around 2,000 words/day. Sometimes I’ll hit a 4,000- to 5,000-word day, and those are great, but many days I struggle to get those 2,000 out. I write anyway. Even when it feels like pulling teeth. I’ve found the muse only shows up if I do.

After I’ve completed a first draft, I set it aside for one to two weeks. Then I clean it up a bit and let my editor have a look. My editor does a “big picture” pass over it, suggesting where I need to pick up the pace or describe things more clearly. This is more of the “story development editing” that you may have heard of.

Afterwards, I go into a revisions phase where I am still focused on the big picture: what scenes need to go buh-byes, what additional scenes I need to write. Then I set it aside for another two weeks or so and look it over again, cleaning up obvious errors. If I am still feeling uncertain about the overall story arc, I may ask that same editor to look it over again.

Once I have a storyline that feels nice and solid, I get to do my two favorite passes through the manuscript! I do one pass looking at each page as a separate unit in completely random order. When I read the single page, I am looking for one bright sparkling bit of something: a moving description or something humorous or a really lovely metaphor or a sentence that I could just dive into and live off for the next six months. Well, those are my goals, anyway. If the page doesn’t have any of the above, I work it and tweak it, asking myself where it needs something really yummy, where that bright bit might fit in. Ah. There. I feel happier just talking about that process.

Lastly, I do a line edit searching for word repetition, misspellings, weak verbs, any adverbs I can get rid of, and so on. That is also deeply fun, for me. After this, it goes to a line editor, and after I fix the line edits, it goes to a copy editor.

You’ll notice I have several weeks of “down-time” when a manuscript is either out of my hands or when I choose not to look at it so that I can come back to it with fresher eyes. During these periods, I work on another manuscript.

Joshua A. Mercier: Wow! Thank you for that! I am sure my readers are going to love that you were so detailed when describing your process!

Is there anything else that you would like to share with The Bearded Scribe‘s readers that I did not ask you?

Cidney Swanson: Um. Hmm. If you haven’t read Laini Taylor’s Daughter of Smoke and Bone, you should totally run to your library or bookseller and get a copy. Did I mention that I loved that book? Oh. I already said that?

Seriously, though, thanks so much for spending some time with me. I feel so fortunate to be doing what I love for a living, and that wouldn’t be possible without readers. ¡Gracias!

CONCLUSION

THANK YOU, Cidney, for taking the time out of your busy schedule to sit down and share your answers with me and the readers of The Bearded Scribe. It has been a pleasure conversing with you over the past few weeks, and yours is a talent that deserves spotlighting.

MORE ABOUT CIDNEY

FOR more information about Cidney, or to read her delightful musings, you can visit her website. You can also follow her on any of the following social media links:

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Joshua A. Mercier

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World Building Series: Language Construction—Part 1

Joshua A. Mercier
***Originally posted on The Bearded Scribe on March 30, 2012; post has been edited and updated.

World Building Series: Language Construction—Part 1

HELLO, Beardies!

I decided to do yet another post within my World Building Series, this time focusing on language construction. Being a lover of language, especially in Fantasy, I believe this is one of the many elements that sets the genre apart from the rest.

I mean… How exciting is it to open up a new book and find a glossary?!? I love the challenge and the ‘secret’ invitation to get inside the head of the author. How the author forms the language, how it is used by the characters, and how the author incorporates it into the book are all things that make for a stimulating read. At least for me.

I spent years trying to perfect my first language. At first I got in my own way. I was just creating words—with truly no fluidity or method of organization. I even complicated things by trying to incorporate too much complexity into the language. I was my own worse enemy.

I finally had a breakthrough when I realized I needed to simplify. A lot. It was overhaul time, but where to begin? Sure, the words I created were wicked neat (as we say in New England) and evocative of their true meanings, but there was no cohesiveness to their styles or potential etymology. I almost scrapped it completely, but I ran across something that changed my outlook on Tolkien’s genius and fantasy languages altogether.

One chilly winter’s afternoon, I took a sojourn to Lansing, Michigan and my path led me to a newly-finished, outdoor mall. I can’t recall if I went there specifically or happened to stumble upon it, but at any rate, they had one of the largest bookstores I had ever seen (I’ve seen much larger ones since, but this was a great find for us at the time). While browsing the shelves, my eyes were drawn to the bright red binding and the title of the book pictured below: The Languages of Tolkien’s Middle-earth by Ruth S. Noel.

THE image is perhaps too small to read the block of text under the title, so I will oblige all of you with a transcription: A complete guide to all fourteen of the languages Tolkien invented.

Yes. You read it correctly. Fourteen! I figured if it gives me even the slightest inclination as to how he did it with fourteen, then surely I should be able to create at least one!

I read that thing from cover to cover. Twice.

And then I re-read it with a journal and pen to take notes on all the helpful information it contained. It is in no way a reference guide to how Tolkien did it, but it contained enough clues for me to discern a pattern and methodology. And with my journal now full of notes, hints, and questions for me to ask myself about my own language, I decided to jump in head first.

I also discovered something important. Tolkien didn’t create his languages from scratch, he had a little help. I am not saying that Tolkien wasn’t a genius because he didn’t create his language from scratch—because he absolutely was one; I am saying that perhaps the fact that he decided to use an existing language for guidance proved his very genius. Why not borrow parts of a language that already has all of the ‘kinks’ worked out? It made perfect sense to me, so that’s what I decided to do.

As Tolkien based his language upon Finnish (whether it was just one—or perhaps all fourteen—I am not certain), I, too, decided to structure [at least parts of] my language on an existing one…. well, many, actually. Parts of my language are derived from Gaelic, parts from French, parts from Latin, parts from Finnish, parts from Hebrew (the list actually goes on, but I will spare you from its entirety).

Also, like Tolkien, I decided to use combination forms of words so that I could create better-formed proper nouns—names of characters and places and important things.

This post is getting rather long, so I will end it and continue where I left off in a future post. Keep your eye out for it! 🙂

Since this post was first published in 2012, I've actually dissected my languages and have decided to simplify even more, so I removed the section of this post that contained the older language references.

Stay tuned for the next post in this series,

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Joshua A. Mercier

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World Building Questions: The Rules of Majick

Joshua A. Mercier
***Originally posted on The Bearded Scribe on March 24, 2012.

World Building Questions: The Rules of Majick

WORLD BUILDING QUESTIONS:

  • Where does majick come from: divine source, a tangible energy or resource, the personal will-power of the caster, et cetera?
  • Is the source exhaustible?
  • How does a caster tap into majickal energy?
  • Does it require some rite of passage (investing one’s own energy or lifeforce into an object; divine selection or selection of some other kind; specific knowledge/education; creating, being given, or inheriting a permanent connection to the source/energy; successfully summoning a demon/angel/spirit/divine being/et cetera)? —OR— Does it just happen naturally because of study or as a part of growing up?
  • What things can majick do? What can it not do? (i.e., what, if any, are the limitations?)
  • How much is known about the laws of majick? How much of what is “known” is wrong?
  • What does one need to do to cast a spell (an elaborate ritual, recite spell/poetry, combining the correct ingredients)?
  • Are there objects like a staff, a wand, a familiar, or a crystal ball that are necessary or useful to have before casting spells?
  • If so, where and how does obtain these objects?
  • Can any wand be used by any wizard or are they wizard-specific?
  • How long does it take to cast a spell? Can the spells be stored for later, instant use? Do spells take lots of long ritual, or is majick a “point and shoot” kind of thing?
  • Can two or more wizards combine their power to cast a stronger spell, or is majick done only by individuals? What makes one wizard more powerful than another—knowledge of more spells, ability to handle greater quantities of energy, having a more powerful divine being as a patron, etc.?
  • Does practicing majick have any detrimental effects on the wizard (such as being addictive, crippling/injuring, slowly driving the wizard insane, or shortening the wizard’s life-span)?
  • If so, is there any way to prevent these effects? Are the effects inevitable in all wizards, or do they affect only those with some sort of predisposition? Do the effects progress at the same rate in everyone?
  • What general varieties of majick are practiced (e.g., herbal potions, ritual majick, alchemical majick, demonology, necromancy, etc.)? Do any work better than others, or does only one variety actually work?
  • Are certain kinds of majick practiced solely or chiefly by one sex or another? By one race or culture or another?
  • Does a wizard’s majickal ability or power change over time—e.g., growing stronger or weaker during puberty, or with increasing age? Can a wizard deplete all of his/her majick, thus ceasing to be a wizard?
  • Can the ability to do majick be lost? If so, how—overdoing it, majickal attack, depletion, et cetera?
  • Can the ability to do majick be forcibly taken away? If so, how and by whom?
  • What is the price wizards pay in order to be wizards—years of study, permanent celibacy, using up bits of their life or memory with each spell, a personal sacrifice (killing a family member—perhaps to absorb their majickal energy), a required daily or periodic sacrifice (say, to a demon), sacrifice/loss/depletion of beauty/looks, et cetera?

Good Luck in this and all of your quests,

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Joshua A. Mercier

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