Showing posts with label Cross-Genre. Show all posts
Showing posts with label Cross-Genre. Show all posts

Sunday, August 10, 2014

ALEXANDRA CHRISTIAN: Five Things I Learned Writing GENTLEMEN PREFER BLONDES

 
 
 
 
 
Fangirl favorite Alexander Kingston has a “type”—blonde, willowy and sophisticated. He doesn’t give mousey wardrobe mistress Elizabeth a second look, until she transforms herself and sets out to seduce him.
 
But dark desires are at play. Before long their erotic encounter will turn into a date to die for.
 
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1. WRITING ISN’T ALWAYS A CHOICE.
Writing “Gentlemen Prefer Blondes” was a complete and utter accident.  I had no intention of writing it.  In fact, I was pissed off when the idea came to me.  I was right in the middle of writing another novel that I was really excited about (which, incidentally, was also an accident) and just couldn’t be bothered with a creepy little erotica piece.  I was having a conversation with a friend about Tumblr and how “fangirl culture” was a scary place that I wanted no part of.  She sent me a link to this massive Twitter war between two fangirls over some celebrity.  The details aren’t important, but as I was reading this ridiculous internet fodder, I got to thinking about how both of the girls involved felt that they knew this person.  That their appreciation of his portrayal of characters made them feel as if they had a stake in his life.  The more I thought about it, the more creeped out I was.  The idea that in our media saturated culture, everyone is either our best friend or our worst enemy.  We have so much access that we begin to feel connected and trusting of people we’ve never met.  That thought disturbed me so much that I was compelled to write this cautionary tale—whether I wanted to or not.
 
2. OBSERVING THOSE AROUND YOU IS A POWERFUL WEAPON IN THE WRITER’S ARSENAL.
I come from a long line of “people watchers.”  My father can sit in a shopping mall food court for HOURS watching the people that walk by.  He makes little deductions and tells little stories about them.  It’s remarkable.  Over the years, I realize that I’ve started to do the same thing.  I have created so many characters and been inspired to write so many stories just by watching the people at the coffeeshop where I like to write.  It also helps to create realistic reactions to various situations.  I’m constantly cataloguing incidents and people to use for stories. 
 
3. APPARENTLY I’M AFRAID OF LOSING MY MARBLES.
I have written a few horror tales in my time and looking back over them—mostly they feature women that have a psychotic break over some guy.  They say you write what you know and that the best horror writers write about what scares them.  Sudden and uncontrollable madness is definitely something I find completely horrific.  The thought that a perfectly normal human being could wake up one day and mow down their office with an AK-47 scares the shit out of me.  But I assure you—my love life is very healthy and I don’t think I’ll be stalking any celebrities anytime soon.  Well… maybe just that one…
 
4.THE REAL MONSTERS ARE US.
I write paranormal romance for the most part.  A genre that is utterly saturated with girls falling in love with a monster (i.e. vampires, werewolves, zombies, dragons).  What I’ve learned writing this story and others is that supernatural stuff isn’t particularly frightening.  It’s the guy sitting next to you on the bus. Or the guy washing the produce at the supermarket.  Or the guy you’re talking to on Facebook.  Those are the ones you have to watch out for.  Those are the real monsters.
 
5.YOU DON’T ALWAYS HAVE TO TAKE SOMEONE’S ADVICE ABOUT YOUR STORY.
I don’t generally use beta readers.  It isn’t that I don’t like using beta readers or that I’m super-secretive about what I’m working on.  I always take opinions way too much to heart.  I agonize over details and wondering, “What if they’re right?” instead of following my instinct.  But with this story, I did let someone beta and they gave me some really good ideas.  Many of which I used, but one that I agonized over for quite a while.  Now, I’m not going to tell you the suggestion, because I’d spoil the book to do so, but needless to say—I loved the beta’s idea.  But not for this book.  I considered it for a long time going back and forth, but in the end I remembered that this was MY book and I had to do what I felt was right.  Following your instincts and writing the story that only you can tell is probably the most important lesson a blossoming writer has to learn.  And ultimately, it’s what separates the real writers from the ones who think anyone can do this.
 
 
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About the Author:
 
Alexandra Christian is an author of mostly paranormal erotic romance and horror.  In case you don't know what that means, she writes about not-so-nice girls getting it on with out- of- this- world heroes.  Vampires, werewolves, dragons, angels and demons-- and that's just recently! 
A self-proclaimed “Southern Belle from Hell,” Lexxx is a native South Carolinian who lives with an epileptic wiener dog and a pet ghost hunter.  She has published several novels, novellas and short stories with Ellora’s Cave, Purple Sword Publications, Mocha Memoirs Press and most recently, Seventh Star Press.  She looks forward to sharing her twisted view of reality with the masses through erotic paranormal romance and horror.  Lexxx’s long-term aspirations are to one day be a bestselling authoress and part-time pinup girl. 
 
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Monday, July 7, 2014

Selah Janel: Five Things I Learned Writing OLDE SCHOOL




Kingdom City has moved into the modern era. Run by a lord mayor and city council (though still under the influence of the High King of The Land), it proudly embraces a blend of progress and tradition. Trolls, ogres, and other Folk walk the streets with humans, but are more likely to be entrepreneurs than cause trouble. Princesses still want to be rescued, but they now frequent online dating services to encourage lords, royals, and politicians to win their favor. The old stories are around, but everyone knows they’re just fodder for the next movie franchise. Everyone knows there’s no such thing as magic. It’s all old superstition and harmless tradition.

Bookish, timid, and more likely to carry a laptop than a weapon, Paddlelump Stonemonger is quickly coming to wish he’d never put a toll bridge over Crescent Ravine. While his success has brought him lots of gold, it’s also brought him unwanted attention from the Lord Mayor. Adding to his frustration, Padd’s oldest friends give him a hard time when his new maid seems inept at best and conniving at worst. When a shepherd warns Paddlelump of strange noises coming from Thadd Forest, he doesn’t think much of it. Unfortunately for him, the history of his land goes back further than anyone can imagine. Before long he’ll realize that he should have paid attention to the old tales and carried a club.

Darkness threatens to overwhelm not only Paddlelump, but the entire realm. With a little luck, a strange bird, a feisty waitress, and some sturdy friends, maybe, just maybe, Padd will survive to eat another meal at Trip Trap’s diner. It’s enough to make the troll want to crawl under his bridge, if he can manage to keep it out of the clutches of greedy politicians.




1.World building in any form is soul-consuming, especially if you are a passionate, detail-oriented, perfectionist. 

I’d been used to the headaches of urban fantasy world building and somehow I had it in my head that coming up with this whole new realm from scratch would be so much easier because I was inventing all the rules.

This was a stupid, idiotic thought and I don’t know what evil gremlin whispered that into my ear one night, but it is LIES. ALL LIES.

No matter what, world building is going to eat you alive, especially with the first book of a series. You’re never going to please everyone. Some people want only a little detail, others want everything down to the fungus under your lead character’s toenails. Finding a good way of figuring out what goes in and how to put it in without a massive info dump was trial by fire for me. This was the first time I’d ever attempted anything so big, and because I like things to be tight and immersive, I condemned myself to utter agony because I am an overachiever. I will not go into how many edits I did to make sure certain characters’ dialects stayed true through the books and didn’t bleed over into other age brackets or types of characters. Not only did I have to set rules for the technology but also the politics, the mythology behind the politics, a somewhat reasonable backstory for the lead character, and a whole mythos for magical entities that weren’t supposed to exist. Plus I made it even more fun by making sure that certain characters never spoke in contractions, certain characters only used certain terms, and since it was a fairy tale world I wanted their vocabulary for objects that might be in our world to stay true to theirs (ie spectacles instead of glasses, mechanical quills instead of pens).

It didn’t matter how many notes I took. It didn’t matter how much sense I thought I was making at any given time. I had to revamp whole chunks of things nine thousand times and pray that things still were realistic for the world, but weren’t going to punch anyone in the face with all the detail-ness.

This. Was. A. Nightmare. I am still recovering and my brain may never fully stop screaming at me for all this.

2. Creating my own slang was AWESOME. 

On the flip side, developing a pop culture world for Kingdom City was hilarious and kept me laughing. I love that they have their own horror franchises. I love that they have their own dating sites. The thing I love most though is the slang. Whether it’s the standard ‘By Fate!’ or ‘Spindles and briars!’ or reference to Snow White’s frilly knickers and poisoned corset, I absolutely love those bits. ‘Bluebeard’s Balls,’ may be my pride and joy. When I was younger and watching The Tenth Kingdom on television, I was enamored by all the weird phrases the trolls would yell out, and I was determined to pay backhanded tribute in this series (and there may have been a weird, healthy sense of competition with The Tenth Kingdom phrase ‘suck an elf’, as well). I was writing some scene with Ippick and was struggling for an appropriate curse that would make sense. My hands just started typing and when I read the screen I just died. I don’t know why that phrase is so hilarious to me, but I love it. If I only become known for adding to the troll curse word pantheon, then I will absolutely be proud of that.

3. It is amazing how many horror elements are close to fairy tale elements. 

No, seriously. I don’t know at what point I realized this, but I’m fairly convinced that many versions of Cinderella must have worshiped eldergods. We’re talking ladies who talked to trees, who talked to dead animals, who made bargains with dead animals, who tossed stuff around that grew into barricades that their adversaries couldn’t cross. I don’t care what realm or universe you’re from, that is either sparkly and magical or creepy as all get out. Plus, the stepsisters were willing to mutilate their feet for love, there are conditional bargains with magical entities, there are elements of cannibalism in some of the stories…the genres line up way too well to not play with that. You don’t even have to get into the obvious “well fairy tales are violent” argument. There are so many other elements that, in the right mindset, read like Lovecraft.  I may have turned things on their heads, but I stand by it and now you will never convince me that some of those ladies weren’t secret cultists of some sort.

4. It is amazing what my publisher lets me get away with. 

I fully went in thinking I was going to have to defend a lot of the more unconventional scenes. If anything, all I had to do was tighten things up so they played out a little easier.  I had been dreading trying to explain things like why this little bird might be this ancient entity but it also talked like an eloquent, archaic pervert…segments like a particular diner scene that start in one direction and just exploded into something else, not to mention all the little side comments from Ippick. The story turns on a dime multiple times, revealing more and more layers, and I wasn’t sure if the press would go for it once they actually saw what it was. Plus there was all the slang innuendo, antiquated that’s what she said jokes, odd pop culture references, and characters that change allegiances like they change clothes. I shouldn’t have worried. Seventh Star fully embraced the book and offered nothing but encouragement. I really started writing this because it was what I wanted to read. I was entertaining myself, actually laughing out loud while writing some scenes. I’m pleased that pretty much all of those elements got to stay and that people have embraced them. Of course, knowing that they’re behind me just means I’m going to have to try harder to needle them…

I’m also learning that I’m very comfortable writing ridiculous male characters who say whatever they want. Ippick and Clyde are two of the easiest characters for me to write and I gleefully enable them. I’m not sure what this says about me, but maybe I’ll have more thoughts on this by book 2.

5. “Silly things” or “guilty pleasures,” when used well, can rock a book. 

I will admit that the editing process for this was overwhelming on top of all my cohesive world building. This taught me that I will never be ashamed for all the chocolate I eat when I get to a point like that if it keeps me from bludgeoning myself with my laptop. Seriously, many bags of chocolate chips never saw a cookie because of this book and I have no regrets about it.

Also, I do get a lot of eye rolls for my PBS addiction and my tendency to watch every British comedy or drama on the station. These shows saved my mind so hard in some ways. I had wanted Kingdom City to sound “different” and, honestly, the thought of fantasy characters talking with mid-American slang just didn’t work for me. I’m not saying my dialects are all that great or should be seen as tribute to Doc Martin, Sherlock, As Time Goes By, or Call the Midwife, but I think listening to different accents, dialects, and slang over and over helped me develop the sound of Kingdom City. Please do not hunt me down, British people. I mean it as a compliment, truly.

Likewise, I think my geeky love of pop culture helped flesh out the world somewhat. My love of Jim Henson’s fantasy films and shows gave me courage to develop the world. He attacked Dark Crystal, The Storyteller, and Labyrinth with such a passion, turning them into full-bodied worlds…if I hadn’t had that example growing up, I don’t know that I’d be remotely willing to try to shoot as large as I did for world building Kingdom City. A childhood of growing up exploring fairy tales of all sorts gave me a much better background to work with than if I had tried to go in and purposefully write a “fairy tale story.” I usually never work with any kind of character reference or avatar, but I definitely had some unexpected voice references for Clyde and Paddlelump that freed up my stressed mind to really dive into those characters, have some fun, and make them who they were supposed to be.

#

Selah Janel has been blessed with a giant imagination since she was little and convinced that fairies lived in the nearby state park or vampires hid in the abandoned barns outside of town. The many people around her that supported her love of reading and curiosity probably made it worse. Her e-books The Other Man, Holly and Ivy, and Mooner are published through Mocha Memoirs Press. Lost in the Shadows, a collection of short stories celebrating the edges of ideas and the spaces between genres was co-written with S.H. Roddey. Her work has also been included in The MacGuffin, The Realm Beyond, Stories for Children Magazine, The Big Bad: an Anthology of Evil, The Grotesquerie, and Thunder on the Battlefield. Olde School is the first book in her new series, The Kingdom City Chronicles, and is published through Seventh Star Press. She likes her music to rock, her vampires lethal, her fairies to play mind games, and her princesses to hold their own.

Facebook author pagehttp://www.facebook.com/authorSJ


Monday, June 30, 2014

The Conglomeration Genre - Featuring Author Selah Janel and OLDE SCHOOL

Hello folks.

After reading several reviews and becoming more and more inquisitive about Selah Janel's OLDE SCHOOL novel, I corresponded with this talented writer and author. Always interested in what makes other writers tick, and why they do what they do, and what their latest book(s) is about, I asked the following questions with the following responses from the author.



PW:WoHF:  Why do you write? For fame and fortune? Simply want to be read? If you don't get the muse out you'll explode? Why do you do this crazy thing? :)

SJ:  I write so that the ideas don’t eat my face off when I fall asleep at night. 

Seriously, it’s because I have to. I’ve always been prone to stories of all sorts, ever since I was a kid. They may have taken the forms of daydreams or playing pretend or mapping out elaborate adventures for my Barbies and My Little Ponies to go on, but I craved stories the way some kids crave candy bars, a later bedtime and less parental supervision. 

Maybe it’s me trying to make sense of the world or all the emotions that filter through me on a given day. 

Maybe it’s that I see so much possibility around me, so many wonderful “what if’s” lurking behind an everyday façade…for whatever reason I feel the need to dig deeper and just explore all of it. I full well know I’ll never get to everything, but I’d like to think that I can at least do the ideas that I can get to some justice. 

Writing, storytelling, for me is a need, a passion, a drive that’s hard to fully describe or name. It’s not necessarily about escapism or trying to be famous…it’s wanting to share all the cool things in my head and heart with those around me in the hope that maybe it will get people talking and exploring their own ideas and imaginations. 

I feel like at some point a lot of people have given themselves rules for being creative, or think that it’s only something certain people do. I write because I want people to get lost in the things I explore and realize that it’s okay to get lost, it’s okay to think and ponder, it’s okay to feel.



PW:WoHF:  OLDE SCHOOL is a conglomeration of, in your own words, fantasy, paranormal, urban fantasy, horror, and comedy...and fairy tales. Is there a genre you wrote within first and foremost when you started, or have you always liked to blend things up a bit?

SJ: I think it’s always depended on the story. When I first started out, though, I would think of an idea and very purposefully be “Okay, well this should be horror.  This will have to be sci-fi. This is fantasy.” Which is fine, but when I go back to those early pieces they are really stilted and borderline formulaic. I stand by most of my concepts, but I think I was trying too hard to do things the “right” way, and for me that line of thought wrecks a story. 

Throughout that process I had started journaling (a habit that I employ off and on still), but I would take a page from Ray Bradbury and either jot down things that I was passionate about or things I noticed or felt in the day to day. Those prompts started to inspire ideas or concepts and I would just sit down and write. I wouldn’t try to make them anything or slant them any one way. Was it a magic hack into getting myself instantly published? Hell no, because I still had a lot to learn about structure and characters and all the rest. 

Still, it really started to give me a sense of freedom and a confidence that I didn’t have when I was trying to fit a mold or “be” in any certain genre. I started to realize that I could take what I loved about different things and just write what’s best for the idea.

These days, unless it’s for a specific call, I rarely sit down and slant an idea to a certain genre. I don’t like being put in boxes and while I’ll admit genres help for marketing, if I go in consciously writing for one, it affects things, and not always for the better. Personally, I feel like if I have a concept or an idea in my head and other elements from other genres want to get in on the party, why not invite them? 

Life is not one thing at a time. Emotions are not one dimensional. There are many layers to happiness, grief, anger, passion. Humans are complicated, emotional creatures and life is a complicated process so why should stories be any different?

Olde School started out as a short story idea and went through a very long evolution, but it got better the more liberties I gave myself. From the get go I had wanted a fantasy-type story, but I’d also wanted to defy the “roles” that specific creatures or people usually play. Why can’t I have the young girl be a conniving person? Why can’t the troll be the hero? Why can’t the whole society combine modern technology with fantasy tropes? 

To me, as long as I can make things make some amount of sense and give them a fair amount of “truth,” I have no problem going off in different directions. It’s amazing to me that so many fairy tale or folk tale elements are close to horror, and not just in the “people get tortured” kind of way. There are some very creepy plot elements in a lot of those tales, yet I also fully admit it’s kind of hilarious to put some of that horror through a fairy tale filter. 

For me, it was important that Olde School embrace all these different genres and traits and be something fairly unique, but to not take itself too seriously. The characters regularly call out different tropes or clichés for what they are, they will absolutely point out if something is ridiculous. To me that just adds to the fun.

It can be a hard balance, to be sure, but I’d much rather be knee-deep in something that’s going to keep me on my toes than something that’s rehashing the same old thing. I get that there’s comfort in the familiar, but I also think that there are ways to take the tropes and genres we’re comfortable with and dust them off and play with them. It’s like a mint in the box action figure. Sure, it’s awesome that you have it and it’s totally respectable to leave it as it is.


For better or worse I’ve always been the type of person to rip those boxes open so I could get my paws all over the figures inside. Genres are kind of the same way with me. I don’t expect everyone to agree or love my habit, but it’s the way I have to be. If I really want to play with the action figure, I’m not going to leave it sitting on the shelf in the hopes that maybe someday I’ll do something with it. If the story wants to incorporate a lot of elements, I’m not going to edit those out because they’re against genre and you just don’t do that. I’m going to ask why not and see if it’s possible. If it really doesn’t work, fine, but I’ve found that more often than not, people are more willing to go along with a mix of things, as long as they’re blended well and it’s not a hot mess that’s slopping all over the place. If all the elements contribute to a tight story with relatable characters that keep a reader intrigued, why not do what needs to be done, whether it’s typical for the genre or not?

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Olde School by Selah Janel
Book One of the Kingdom City Chronicles

Available at:

Genres:
Cross-Genre: Fantasy, Fairy/Folktale, Paranormal, Urban Fantasy, Horror

Kingdom City has moved into the modern era. Run by a lord mayor and city council (though still under the influence of the High King of The Land), it proudly embraces a blend of progress and tradition. Trolls, ogres, and other Folk walk the streets with humans, but are more likely to be entrepreneurs than cause trouble. Princesses still want to be rescued, but they now frequent online dating services to encourage lords, royals, and politicians to win their favor. The old stories are around, but everyone knows they’re just fodder for the next movie franchise. Everyone knows there’s no such thing as magic. It’s all old superstition and harmless tradition.

Bookish, timid, and more likely to carry a laptop than a weapon, Paddlelump Stonemonger is quickly coming to wish he’d never put a toll bridge over Crescent Ravine. While his success has brought him lots of gold, it’s also brought him unwanted attention from the Lord Mayor. Adding to his frustration, Padd’s oldest friends give him a hard time when his new maid seems inept at best and conniving at worst. When a shepherd warns Paddlelump of strange noises coming from Thadd Forest, he doesn’t think much of it. Unfortunately for him, the history of his land goes back further than anyone can imagine. Before long he’ll realize that he should have paid attention to the old tales and carried a club.

Darkness threatens to overwhelm not only Paddlelump, but the entire realm. With a little luck, a strange bird, a feisty waitress, and some sturdy friends, maybe, just maybe, Padd will survive to eat another meal at Trip Trap’s diner. It’s enough to make the troll want to crawl under his bridge, if he can manage to keep it out of the clutches of greedy politicians


Selah Janel has been blessed with a giant imagination since she was little and convinced that fairies lived in the nearby state park or vampires hid in the abandoned barns outside of town. The many people around her that supported her love of reading and curiosity probably made it worse. Her e-books The Other Man, Holly and Ivy, and Mooner are published through Mocha Memoirs Press. Lost in the Shadows, a collection of short stories celebrating the edges of ideas and the spaces between genres was co-written with S.H. Roddey. Her work has also been included in The MacGuffin, The Realm Beyond, Stories for Children Magazine, The Big Bad: an Anthology of Evil, The Grotesquerie, and Thunder on the Battlefield. Olde School is the first book in her new series, The Kingdom City Chronicles, and is published through Seventh Star Press. She likes her music to rock, her vampires lethal, her fairies to play mind games, and her princesses to hold their own.

Selah’s Links:
Facebook author pagehttp://www.facebook.com/authorSJ