Fiction's Midwife: 8 Questions With Celebrated New Author Jolina Petersheim

Jolina Petersheim

Jolina Petersheim

By Daniel Ford

While researching authors for future Writer’s Bone interviews, I kept coming across Jolina Petersheim’s name on Twitter.

The author’s first novel, The Outcast, is a modern retelling of The Scarlet Letter influenced by Petersheim’s Mennonite upbringing. The book was named one of Library Journal’s Best of 2013 and was called a “must-read” by The New York Times.

Petersheim took a break from promoting her second novel, The Midwife, to talk to me about how she was raised, her path to publishing her work, and her writing process while taking care of a newborn.

Daniel Ford: Your backstory is one of the more interesting of any author we’ve come across so far. Can detail some of your history and how it shaped you as a writer?

Jolina Petersheim: My husband and I share a Plain background that originated in Lancaster, Penn., but we actually met here in the mountains of Tennessee (Our fathers even attended the same Mennonite high school). We met at church through my husband’s formerly Amish grandfather, Amos Stoltzfus, who encouraged my family to visit. Grandpa Amos was a wonderful, lively man, and I partly based my character in The Outcast, Amos King, after him.

Four years ago, a family member told a true story about the power of desire that was left unchecked and how it trickled down through an Old Order Mennonite family, not only affecting that generation, but the generations to come. We were all sitting around the kitchen, and after the person finished speaking, I gasped, “That’s a book!” But I did nothing about it. At the time, I was writing Southern fiction and did not want to surrender to “Amish fiction”—a genre my father always told me I should write.

However, a few years later, I was on the London Underground when a tall, stoop-shouldered man in a black suit stepped on board. My best friend and I recognized him as the person who was friends with the woman who was allowing us to stay in her flat. On the subway, this unsung poet and prophet spoke into my best friend’s life. Then later, on the double decker bus, he spoke into mine. He told me I would give up the manuscript I was currently working on and begin writing again. I didn’t know I would listen, but when I came home, I could not hear anything else. I put my current manuscript in a drawer and began writing a fictionalized version of the story that had been told to me. I met this man in 2010, and the story ideas regarding my Plain heritage have not stopped coming in four years.

DF: How did you go about getting your work published?

JP: I had a rather unusual path. I met my agent, Wes Yoder, at an author reading when I was 25,000 words into the first draft of The Outcast. He asked if he could read the portion of the manuscript I had completed. I sent the polished version to him one month later. He told me he thought the story had potential, so I began to write as quickly as I could. I was expecting our little girl at the time; therefore, I knew I had a narrow window in which to finish the manuscript. I completed The Outcast in six months, and Wes and I had a two-book publishing contract with Tyndale House when my firstborn daughter was 12 weeks old. She is now almost 2 years old, and all I can say is that it has been a delightful, somewhat challenging but always rewarding, journey!

DF: What is your writing process? Is it structured or unstructured?

JP: I like to follow a loose synopsis but not an outline, and I guess I’m structured in the fact that I try to write and read every day. Monday through Friday, I get up at 6 a.m. and write in the living room with a cup of coffee. My daughter gets up at 7 a.m., so my husband prepares her breakfast and has some special time with her until he leaves for work around 8 a.m.

I do social media and respond to emails during her bath time, then I start writing again at 11 a.m. when she takes a nap, which sometimes last until 1 p.m. or—miracle of miracles!—even 2 p.m. I read at night, until 10 p.m., averaging about three books a month.

On the weekends, I sleep until 7 a.m., take a break from social media, and spend my daughter’s nap time working on blog posts or interviews, like I’m doing now!

DF: Your first book, The Outcast, was a best-seller on Amazon and was named to a bunch of different “Best of” lists in 2013. What was that experience like as a first-time author?

JP: I have been so touched by the support this debut novel of mine has received! More even than these wonderful accolades, though, countless times I have been moved to tears by messages from dear readers, who contact me to express how The Outcast’s story of heartache, forgiveness, and redemption has transformed their lives. This is truly what it’s all about. I pray The Midwife will touch their hearts to the same extent, as Rhoda’s story is just as personal to me as Rachel’s.

DF: You’re very active on social media, and you maintain a blog on your website. Do you find yourself using social media to interact with fans or just have fun? How has it helped your writing process?

JP: I am an extroverted, stay-at-home mom who lives in the mountains of East Tennessee. Needless to say, on a day-to-day basis, I don’t get to see many people beyond my family. The genuine interaction with my online reading community is surprising and priceless, and I truly love that aspect of my job.

However, social media can become a burden if you let it. You can spend so much of your energy and time establishing connections and marketing old content that you never have energy and time left to create new content. After 11 a.m., I unplug from the Internet and will check back in during the afternoon (around 2 p.m., after my second writing session) to see if I need to reply to any emails or messages.

DF: Your second novel, The Midwife, was recently released. Was the process for writing it any different than the first one?

JP: Oh, yes! I spent up to eight hours a day working on The Outcast, five days a week. I signed a two-book deal with my publisher soon after my daughter was born. Therefore, I started writing The Midwife when she was twelve weeks old. Without knowing it, I trained my newborn to be an insomniac with a voracious appetite, because I believed she would shrivel up if she didn’t eat every two hours. This made it rather hard for a while. But she started sleeping through the night around ten months and really got it down at one year (hooray!).

Through that difficult period, writing The Midwife was my tether. Sometimes, after supper, I would sit on the front porch and write while my husband sat inside, rocking our fussy child. I will admit that there were moments when I did not think I could do it, but that was when my husband, mother, or mother-in-law would come swooping in and make supper, fold laundry, or allow me to go to the library for a few hours to work.

Now that my daughter is 2 years old, it’s certainly gotten easier. My husband has his own business, and therefore can set his own hours; he often comes home early so I can have a few hours to write. Right now, I am writing on the front porch while my daughter naps. One of my favorite times of day!

DF: What is your advice to up-and-coming authors?

JP: Never, ever give up! That afternoon I met my agent, I was 12 weeks pregnant and had reconciled in my heart that it was time to set my writing dream aside. Here, little did I know that my future career was just about to begin! It is a dream come true to work from home and be with our daughter through every simple, exquisite moment. I know I am blessed.

DF: Name one random fact about yourself?

JP: I took mandolin lessons for 12 years, and I still can’t play.

To learn more about Jolina Petersheim, check out her official website, like her Facebook page, or follow her on Twitter @Jolina_Joy.

The Writer's Bone Interviews Archive

Dooty Calls: ‘Enlisted’ Showrunners Kevin Biegel and Mike Royce On Their Careers and Why You Should Watch Their Show

By Sean Tuohy and Daniel Ford

After Sean wrote his love letter to “Enlisted” last week, he reached to the show’s writers on Twitter to see how interested they would be in an interview.

Showrunners Kevin Biegel (also known for “Cougar Town” and “Scrubs”) and Mike Royce (also known for “Everybody Loves Raymond” and “Men of a Certain Age”—a personal favorite of mine) eagerly agreed to answer some of our questions even as they continued to fight hard to keep their show on the air.

The world needs as many well-written comedies as it can get, so do them a favor and tune in to “Enlisted” on Sundays at 7 p.m. on FOX. Biegel is also offering a steak dinner to any Nielsen family that tunes in. So there's that.

Daniel Ford: When did you two decide to become television writers?

Kevin Biegel: I'd always wanted to be a writer. I grew up making and loving movies, but never thought of it as a real profession. Early on after I moved to Los Angeles I got a chance to do roundtable punch up on some movies, and off of that experience I realized that I really enjoyed writing with a group of people like that. Television is pretty much that nonstop, so I decided to pursue it from there.

Mike Royce: I was a television-watching fool growing up and used to make Super 8 films with my friends during my tween/teen years. Then went to film school and started writing there but took a detour to be a standup comic during my twenties and much of my thirties. That led me back to TV writing when "Everybody Loves Raymond" offered me a job.

Sean Tuohy: Where did the idea for “Enlisted” come form? Was it from somewhere personal?

KB: It was very personal. I'm pulling stories and relationships from my life, my relationships with my two younger brothers, and also our feelings/my feelings toward the military because I grew up with it as a reality in my life. My father, grandfather, and uncle all served. I had written on “Scrubs,” and liked being able to write about specific character relationships that I was familiar with in a very specific workplace world.

ST: How did you pitch “Enlisted” to the network?

KB: It was basically as a workplace comedy, albeit a workplace you hadn't seen in a comedy for years. I was really specific about the characters, and also about the tone and feel of the show. I just wanted to ensure that they knew it was something big and inviting and joyous while also being serious at times—that it would shift from comedy to some more dramatic elements at times and then back to comedy. I really tried to show that they could co-exist like they had on shows I had always loved and that I hoped this show could be like in success.

ST: Sergeant Hill has PSTD, which is not a very funny topic, but “Enlisted” approaches in a real way. What research did you do in regards to PTSD? Do you think the show will help shed some more light on this issue? Have you had any feedback from members of the armed services regarding the show?

KB: We did a lot of research, talked to a lot of veterans and men and women currently serving. It was of utmost importance that we didn't fall into the harmful stereotype of "person back from war who is a ticking time bomb." That's not a fair view to take of men and women coming back from deployment, but it's one that a lot of shows unfortunately do because...well, maybe because it's easy, or maybe because they don't want to take the time to show a better, more honest portrayal for the majority of veterans. It's not funny, you're right, but we never intend it to be funny. We want it to be honest to the character, we want to be respectful of it, and we want to be able to address it in the middle of a comedy both because of the challenge and because it's the kind of show we want to make.

I like comedy that challenges me with more emotional stuff, that doesn't always just go "joke joke joke" and then you're done. We want to be funny first and foremost, but if we're going to do a show set in this world we have to address the tougher aspects of it. If we don't, I don't think we're doing a very good job. We've heard from a number of people in the military community, and we are absolutely humbled when they say that the show has helped them go get help, has helped them have a dialogue with their kids about their experience. That's amazing to us. Someone wrote the other day that “Enlisted” has started coming up in their group therapy, just as shorthand to talk about experiences that sometimes aren't so easy to talk about. That blows me away, and it makes me proud to be a part of the show.

ST: Did you receive any support from the Army?

KB: Initially we didn't, because they feared we were just going to mock them; that we were just another piece of pop culture that was going to make fun of them and their way of life. I think now that they see the comedy is coming from a group of people who have very personal connections with the military, they are more open to us in an "official" capacity. We had to prove ourselves, which is totally expected and cool. We should have to prove ourselves!

ST: “Enlisted” is part workplace comedy, part family comedy. Is it difficult to balance these two types of humor?

MR: You know it's funny because workplace comedies are about family in some sense...that group of people becomes a family. That's especially true in the Army—see the phrase "Band of Brothers." In this case we have the added dynamic of the Hill brothers working out their family issues but it just adds to the depth in my opinion. It gives us more places to draw from. I think given the chance to do future episodes we would delve into more family members of both the Hills and the other characters.

ST: Unlike other comedies that take time to establish their humor, “Enlisted” establishes it very well in the pilot. How long did it take the writing staff to discover the show's voice?

MR: Kevin established very specific voices for the characters right from the start. He is drawing from his own trio of brothers for Pete/Derrick/Randy so the back and forth and punching came right out of him. Command Sergeant Major Cody's voice also flowed right out of him, I don't know how but there was a specificity there that was hilarious and really clicked. Sergeant Perez’s badass quality too. Then our amazing cast took those words and their immense talent and took everything to another level. The other platoon members only had one or two lines in the pilot but they immediately showed off their many comedic talents (including some choice ad-libs) and we wrote to all that as quickly as we could.

DF: Workplace comedies used to be staples of the television landscape, but seem to be harder to develop audiences today. Do you think that trend will ever come back, or will these shows find a home on cable or online channels?

MR: There is a great flattening going on where most comedies draw similar numbers. Networks are trying to adjust their expectations. Comedies need nurturing and I think there's a slow recognition that it's okay to keep something that's doing "so-so" because today's "so-so" is tomorrow's hit in this day and age. That works better than constantly chasing “Big Bang Theory” numbers and ending up with even worse ratings than you had. And if you look at history pretty much every single mega-billion dollar comedy hit started out struggling.

DF: You've both been involved in great television shows with long runs, and television shows that were critically acclaimed, but struggled to find an audience. Has there been any point in your careers when you thought, "I need to do something else, I can't keep going through this."

MR: Everyday! But then I remember I have no other skills. I barely have these skills.

KB: Sure, then I see all the free food in the kitchen at work and I'm like, okay, this is pretty sweet. I should keep trying to do this. Work is all about free food, basically.

DF: What's the best part of working in a writer's room on a television show? What's one of the most memorable moments you had while writing "Enlisted" or any of your other shows?

MR: In a good group, you get to bitch and moan and celebrate and laugh your ass off. There's all these funny people around you making you laugh and then they pay you. It's honestly absurd (don't tell the studio).

KB: It's what Mike said. You get to hang out with funny people all day long, and thankfully they're all really kind and cool as well. We didn't hire one dick! I think as far as a memorable moment, I am kind of partial to that time we sat a table going, "Are we really gonna have a gun that makes people poo their pants? Really?" and then going all in.

ST: Is there any chance that “Enlisted” can live on while on another network?

MR: Yes! And that's all I can say right now. Well that and please watch our last four episodes, Sundays at 7 p.m. EST/6 p.m. CST.

KB: Tell every one of your friends to watch if they can, tell them to tell their friends, and if you can find a Nielsen family we'll buy them a steak dinner if they tune in.

DF: If this is truly the end for "Enlisted," at what point do you start developing a new idea for your next show?

MR: Pretty much now. I'm writing a pilot, but still focused on doing whatever we can for “Enlisted” first.

KB: Kinda always for me, actually. I love “Enlisted” with all my heart, but I'm a writer and I'm always working on something. I beat myself up a lot. I have to do it or I hate myself for not doing it.

DF: Name one random fact about yourselves.

MR: I have a full head of hair that I have hidden since age 25 under a bald cap.

KB: I know the name of every shark that swims in every ocean.

The Writer's Bone Interviews Archive

Hollywood A-Listers Join Forces With Young Storytellers Foundation to Encourage A Life-Long Love of Creativity

By Stephanie Schaefer

The creative arts provide fulfillment and foster imagination in kids young and old, however, unfortunately, the arts are typically the first classes to get cut by strict budgets in the public school system. If last week’s Reading Rainbow Kickstarter news was any indication, millions of Americans agree that literature opens the doors to a world of knowledge.

The Young Storytellers Foundation (YSF) aims to promote childhood literacy though the art of storytelling. This California-based organization uses tactics such as group exercises and one-on-one mentors to provide children in public schools the opportunity to write stories and see them brought to life through performances by well-known actors.

I recently had the privilege to talk to Pilar Alvarez, education director of YSF, about the powerful impact creativity can have on a child’s life.

Stephanie Schaefer: First of all, can you tell me about the mission of the Young Story Tellers Foundation?

Pilar Alvarez: Our mission is to inspire children to discover the power of their own voice. We do that through our main two educational programs, Script to Stage and Young Movie Makers. Both programs use group exercises and mentoring to provide under-served children in the public school system an opportunity to create stories and see them brought to life through performance.

SS: When was the organization founded and how has it expanded since then?

PA: YSF was founded in 1997 by a group of young film students who, in response to cuts to creative arts educational programing, decided to create a free and volunteer based program that they could bring into public schools. The organization began with our founders working with students at one public elementary school. This year our Script to Stage Program is currently implemented at thirty-two elementary schools. A few years ago we added another program, Young Movie Makers, which we have brought into four junior high schools.

SS: Do you think the push for STEM in public schools has taken focus off of writing and the creative arts?

PA: Not necessarily. Right now public schools are working hard to prepare their students to be career and college ready by applying their knowledge in an engaging and hands on way. The arts are a fantastic vehicle for achieving that. My background as a teacher is in theatre, which provides many opportunities for students to physicalize the concepts they are learning in other subjects. One of my favorite teaching moments was acting out the process of photosynthesis with a group of second graders.

SS: Can you describe the initiatives, such as the Young Movie Makers and Script-to-Stage program?

PA: Script to Stage is a nine to 10 week program where we pair fifth graders with mentors (mostly from the entertainment industry) who guide them through the process of creating their own screenplay. Each program has a head mentor who leads the sessions and group exercises that help facilitate the creative process. At the end of the program we bring in professional actors, that the students cast, who bring the screenplays to life at our Big Show.

Young Movie Makers is a program where junior high school students work in small groups to write, direct, shoot, and edit their own movies. Students have an opportunity to work creatively in groups and build their collaborative and communication skills. Each group is paired with a high school mentor who helps the group with their movie making process. It’s also a wonderful leadership opportunity for the participating high school students.

SS: I’ve read the YSF scripts often attract celebrity actors and actresses. Who are some of the well-name stars who have performed at the “Big Show?”

PA: Too many to name but a few of them include: Jennifer Aniston, Max Greenfield, Rashida Jones, Mindy Kaling, Ed Helms, Ben McKenzie, Adam Brody, Dustin Hoffman, Jonah Hill, Leighton Mester, and Casey Wilson. That’s just some of the talented actors who have worked with us. It’s a long list, my apologies to anyone left out. We’ve been really lucky to have many celebrities who see the value of our programming and help bring attention to our work by performing in our shows. We also do a Big Show once a year with members of the crazy-talented cast of "Glee."

SS: How can other, non-famous creative artists contribute to the cause?

PA: The heart of YSF is the amazing volunteers who work with our young writers as mentors by guiding them through the process of creating their own screenplays and actors who bring their stories to life. Our volunteer community is an amazing collection of generous and talented creative people. If anyone reading this is interested in mentoring they can go to www.youngstorytellers.com/mentor/. If you want to perform go to www.youngstorytellers.com/perform/. The application process is very simple, you can do it all on our website.

SS: What has been your most memorable moment working with the organization?

PA: I love watching our young writers at the Big Shows. The Big Shows are an amazing celebration of our talented writers and an opportunity for them to see their work brought to life. It’s difficult for me to pick just one moment because each student responds to that experience differently. It’s an amazing moment where all of their work comes to culmination. The students see their words brought to life and the impact that their script has on the audience. I hope that experience helps them understand that what they have to say and contribute can affect others around them.

SS: We ask all contributors to name one random fact about themselves. Do you care to share an interesting anecdote about yourself?

PA: The arts really saved me as a young adult. When I was in junior high school I had a really low sense of self. My self-worth was mainly dependent on peer approval; it was not based on my own skills and intelligence as a person. I couldn’t see past that moment in my life and so I wasn’t motivated to try in school. The drama program at my High School really pulled me out of that when I started acting in shows and had the opportunity to take on leadership positions. I felt successful and valued for what I had to contribute and as result started doing better in school and received a scholarship to a liberal arts college.

To learn more about the Young Storytellers Foundation, check out its official website, like its Facebook page, or follow the organization on Twitter @youngstory.

The Writer's Bone Interviews Archive

Heroine Worship: 9 Questions With Thriller Writer Seeley James

Seeley James

Seeley James

By Sean Tuohy

In a market place filled with similar plot lines and leading characters, it is always refreshing when you discover an original voice from an author who has a true desire to tell a real story.

Seeley James brought readers to the edge with his Pia Sabel thrillers and brought the fiction world a leading female character that broke the mold. James has never fit in to the crowd of standard thriller writers, always setting himself part by writing hardened thrillers with true heart to them.

He took a break from creating a new thriller to sit down and talk about his writing process, his passion for writing, and his future.

Sean Tuohy: When did you know you wanted to be a writer?

Seeley James: As long as I can remember. In school, I wrote what today would be called flash fiction: short, satirical reflections on school life. When teachers would assign creative writing projects, I would write a batch of them and sell them to my friends for $10.

ST: Your Pia Sabel thrillers are fantastic reads. Where did this idea come from and how long did you have the character of Pia before you started writing?

SJ: The character was inspired by the resilience of my first daughter. When I was 19 and single, I adopted a 3-year-old girl and raised her up (long, boring blog about it here). When she graduated to adult life, and my second daughter began to exhibit similar character strengths (I married at 36 and started over), I reflected on how resilient young women can be in the face of my many parenting mistakes. I started to write stories featuring a similar, but larger-than-life, heroine. At first I wrote YA stories about a teenager, but I never had the right voice for that genre, so I brought Pia Sabel up to age 25. That journey has been about nine years total.

ST: Pia Sabel stands out as a female lead because does not pine after any man nor does she whine about how tough things are. She is a very real and down to earth character. When can we see her again in a new adventure?

SJ: Thanks, that means a lot to me. I’ve just published the second novel, Bring It, Omnibus Edition, which consolidated six serials. I’d written the serials because many readers thought Pia was too aloof and should pine, etc. I used the serials to experiment with observing Pia through different lenses. Jacob Stearne quickly emerged as a fan favorite.

While the experiment took longer than I’d imagined or would’ve liked, I learned a good deal about how to present Pia. I’m now about a third of the way into a first draft of the third book and am pleased with the shape it’s taking. I think Blue Death (sneak peak) will achieve the voice and pace I’ve been working toward for a decade. I hope to have it published by the end of summer.

ST: What is your writing process?

SJ: That has evolved a good deal over the last couple years. I’m a trial-and-error kinda guy with a heavy emphasis on error. As I write this, I feel that I’ve hit the better scenario: I keep a fluid, light outline going in Microsoft OneNote that keeps my eight-sequence climax points in focus. I add, subtract, change that outline at the beginning and ending of every writing session.

I write in two-hour blocks, sometimes without moving from my chair (which causes stiff joints in these old bones), and intersperse those blocks with book marketing, wasting time on social media, mountain climbing, lunch with pals, bank robbing, and chasing women. I try to put in three to four writing blocks a day. I think it’s like playing the piano or soccer; the more you do it, the better you get.

ST: Do you do a lot of research before you start writing?

SJ: No. Not a ‘lot.’ I think deep research can be an excuse or a time suck, but rarely a good thing. Stephen King said he spent half a day doing a ride along with a cop and that was all he needed for the rest of his career. I read some name-brand authors who constantly fall into the research pit. They want to regurgitate every detail they’ve learned regardless of how unrelated to the story it really is.

Now that doesn’t mean I don’t believe in research. I do a good deal of research. However, that’s all based on my reading and writing. First, I read a lot of non-fiction. Last year, I read Ali Soufan’s Black Banners (a must read for every American citizen) and decided to make waterboarding a plot point in Bring It. So there was a certain amount of organic pre-writing research (I read plenty of other books that don’t inspire me, but teach me something).

As I wrote Bring It, I looked up memoirs of World War II soldiers who were waterboarded, diaries and court cases, treaties and historical documents, and so on. But I only looked up those texts that were directly related to the scene I was writing at that time. I might spend an hour or two on scene-specific research, but only if it is a critical element. In that case, the scene at the end of Episode III has garnered many accolades in reviews, so I think I got it right.

If you go out and research for days, you’re going to regurgitate extraneous crap that will bore the reader. If you already know certain amounts through your every-day interests, then the research is more natural and specific to the story. The readers appreciate that kind of research.

ST: The ebook market place is a great place for a new writer to publish their work, but how does a writer make their work stand out in such a crowded market place?

SJ: It takes time. The Kindle Gold Rush is over. You have to develop an audience, develop your writing to fit that audience, constantly hone your craft, and participate in genre-specific forums as a reader. If you’re not keeping your ear to the chest of your readers, feeling and hearing the heartbeat, you’ll never stand out. At the same time, you can’t pander to them. Readers don’t like weasel-writers, they like strong, confident, bold writers who know them well.

ST: What is your advice to writers who just starting out?

SJ: Humility is your friend. Listen, try, read, try again, study, try harder. Hire a content editor and a copy editor. Seek out harsh critiques and learn from them. No amount of marketing or advertising or word of mouth will sell a bad book. The art of writing is something we’ll never perfect but can always improve.

ST: If you had the chance to sit down and have a meal with fictional character would you share the meal with?

SJ: Hmmm, good question. I’d like to say something intelligent and witty, like Quasimodo before he pushed Frollo. But I like to be honest and I’ve spent a lot of time with one guy lately: Jacob Stearne, my new leading character. He constantly surprises me. He tells me a different story about his past every day. I have a whole childhood-Christmas-disaster story in my head even though our circumstances couldn’t have been more disparate. Most of these stories have nothing to do with the Pia Sabel novels so I’m always wondering why he brings them up. Maybe he thinks I care.

ST: What is one random fact about yourself?

SJ: Just one? How about a slew: I’ve never killed anyone with malice aforethought. I grew up in a tent in the desert. I hiked the Grand Canyon Rim-to-Rim in ten hours with a pack of young studs and out-paced the whiny, little brats by a long shot. I’m happily married but not sure my wife is. My friends won’t let me drive their Ferraris because of one simple effing miscalculation. I’m a huge fan of your site.

To learn more about Seeley James, check out his official website, like his Facebook page, or follow him on Twitter  @SeeleyJamesAuth.

The Writer's Bone Interviews Archive

Plotting With Disturbia Diaries Author Jennifer Fischetto

Jennifer Fishchetto

Jennifer Fishchetto

By Sean Tuohy

The word that best sums up international best-selling author Jennifer Fischetto is busy. She currently works on two book series and has another one in works. She pens the award-winning, and very fun, Jamie Bond series with Gemma Halliday, while also working on her own YA series Disturbia Diaries. Fischetto has grown in a well-known author thanks to the humor and original tone she fills her novels with.

Fischetto was nice enough to take a moment to sit and chat with Writer's Bone about her works, her writing process, and what the future holds for her.

Sean Tuohy: When did you know you wanted to be a writer?

Jennifer Fischetto: My mother read fairy tales to me as a young child, and as soon as I knew how to write, I began creating my own stories (although I may have heavily borrowed ideas from these books!). I wrote a lot in junior high, and then in high school. I was a part of a creating writing class. I knew then I wanted to be a writer. I didn't quite believe it was possible though.

ST: Do you remember the first story you wrote?

JF: The clearest one is from eighth grade. We had a writing assignment in English, and, of course, I went full throttle and wrote a story about a 17-year-old girl who hid the fact that her parents died in a car accident so that she and her seven other siblings wouldn't be separated. It was supposed to be a short story, but mine was much longer. I still remember the construction paper cover I created for it.

ST: What attaches you to the YA genre?

JF: There's something special about this age group. There's the confusion and vulnerability of not knowing who you are and where you fit in yet. And there are such limitations when you're that age; between parents, school, and not having the freedom you desire. It's a time of struggle, and writing about that conflict appeals to me.

ST: Your Jamie Bond series is a wonderfully fun series, where did the idea for ex cover model turned P.I. come from?

JF: Actually, this series is the creation of Gemma Halliday. I had nothing to do with creating Jamie's job choices. It was an idea Gemma had started some years ago, but couldn't find the time to write. She and I had originally connected through "Romance Divas," an online community of (mostly) romance writers. Gemma had mentored me back in 2007. Then one day, out of the blue, she messaged me, asking if I was interested in co-authoring this series with her. A lot of what happens in the books comes from my imagination, but Jamie, herself, is Gemma's baby.

ST: Do you do any research for your novels? If so, what is that process like?

JF: Because I write mysteries, most of my research stems around criminal law and police procedure. There is a wonderful Yahoo group, “Crimescenewriters,” that answers all kinds of police procedural questions, and Google is my best friend. But since I write cozies and romantic mysteries, as opposed to, legal thrillers, I don't need to know intricate details.

ST: What is your writing process?

JF: I'm a plotter, so my process usually goes like this:

  • Brainstorm idea: I'll get a snippet of an idea for a plot or a character and ask a lot of "what ifs." This is my favorite part of the process. 
  • Plot: I plot scene-by-scene in Scrivener. This can be minimal or very detailed. Even with these virtual notecards, I don't always follow it exactly. 
  • First draft: I tell myself to write fast and dirty, but that doesn't always happen. In the beginning of a story, I tend to go back and edit a lot, but by time I reach the middle, I lock up my internal editor and just move forward. I write in chronological order. I've tried skipping around and it just confuses me. I tend to hold a lot of information in my head. I make notes, but I prefer going my memory, if I can. 
  • Revisions: This is the fun part, making all those words pretty and cohesive. And then finally, I end with polishing/editing. 

Depending on which series I'm writing, I'll either hand over my portion of a Jamie Bond book straight to my co-author, or for my YA series, if time allows, I'll also have my amazing criticism group, "YAFF," take a look.

ST: Do you have a different writing process for YA novels and adult novels?

JF: I do not. Other than the stories themselves, I usually write every book the same way.

ST: If given the chance which of your characters would you spend the day with and what would you do?

JF: I'm currently writing the first book of a new series. It's about a young woman who communicates with ghosts, much like my YA series, but this one is more fun. Her name is Gianna, and she works at her family deli, which is a beacon for ghosts. For reasons she's not sure, the recently departed cross over through the deli. Gianna is a hoot, and a day with her would keep me laughing.

ST: What advice do you give to young writers?

JF: Don't quit. Keep trying. And believe in yourself. Always believe that you can make your dreams come true. It may take time, and it may not be easy, but it's definitely doable. And read, read, read!

ST: What is one random fact about yourself?

JF: I have double-jointed thumbs. Seriously. I can bend them backwards much further than most people. It's something I rarely think about now, but as a kid, my family would always ask me to perform. The circus side show.

To learn more about Jennifer Fischetto, check out her official website, like her Facebook page, or follow her on Twitter @JennFischetto.

The Writer's Bone Interviews Archive

Finding the Humor: 8 Questions With Comic Kelly McCarron

Kelly McCarron

Kelly McCarron

By Sean Tuohy

Funny, awkward, and adorable comedienne Kelly McCarron stands out in the comedy landscape by using her original voice to talk openly about her life. She's able to turn the most embarrassing moments in to side-spiting humor. You can purchase her comedy album "I'd Eat Both"  through her official website.

McCarron chatted with Writer's Bone about her beginnings in comedy and what the future holds for her.

Sean Tuohy: What drew you to stand-up comedy?

Kelly McCarron: I’ve been interested in a career in comedy since I was 16. I wanted to do sketch comedy. I read somewhere that if you want to write comedy, any kind of comedy, you should try stand up for a bit. I followed that advice and ended up loving it.

ST: What was your first experiences on stage like? Good, bad, or awful?

KC: I had three minutes and I didn’t suck. I was prepared to suck, but I didn’t. I think having had experiences being funny on stage in high school helped me.

ST: How long did it take you to develop your own voice as a comic?

KC: I think I’m still developing it to be quite honest. But there are certain things I’ve learned to always do. I always keep an adorable, upbeat demeanor about myself onstage, no matter what I’m talking about. I’ve learned that people feel sorry for me if I talk badly about myself. So if I say self-deprecating things with a cute tone of voice and a smile on my face, in allows the audience to relax and laugh along with me.

ST: A lot of comics use comedy to deal with some type of issue in their lives. Do you use comedy as a type of therapy?

KC: Of course I do! All of my comedy comes from a truth and sometimes that truth is painful. Finding the funny in a painful truth can help me get through it and move on. I’ve been using it in scripts I write as well, basing storylines off of my life. It’s very therapeutic.

ST: "Rejected: The Pilot," which can be viewed on your website, is funny and heartfelt. What is the backstory on this pilot? How long did it take from the time you had the idea till you film the first scene?

KC: The backstory is the story. I was in love with my best friend, another comedian, and I told him how I felt, and he wasn’t in love with me. Unfortunately, I didn’t have a crazy cousin to take me to a weird male strip club, but that’s where creative writing comes in. I did give a candy heart to a boy I had a crush on when I was in the fifth grade. Well, I was too shy, so I had a girl do it for me, and he did throw it on the ground. I started writing the script in the winter of 2011 and we started filming in March of 2013. I have a few more episodes written and a couple more in the works. I would love to have the funds to make more someday.

ST: "I'd Eat Them Both!" was your first comedy album and it's fantastic. Is there a second album in the works?

KC: Thank you! Technically, I suppose another one is in the works, as I am working on new material, but I’m not focused on a new album. I self-produced “I’d Eat Them Both!” and it took a lot of work. If I were to self-produce another one it wouldn’t be for a while.

ST: What does the future hold for Kelly McCarron? Where can we see you next?

KC: I’ve been working on a feature length screenplay called “Siblings.” It’s an odd-couple road trip movie about a brother and sister. I don’t have a relationship with one of my brothers and so I posed the question, “What if I had to drive cross country with him?” And so the idea for “Siblings” was born! I’ve been working on it for about a year now and I’m very proud of it and hope that it can get made!

Cover of McCarron's comedy album

Cover of McCarron's comedy album

ST: What is one random fact about yourself?

KC: I love chocolate shakes, I love hot chocolate; I will not drink chocolate milk. I know that’s weird.

To learn more about Kelly McCarron, check out her official website, like her Facebook page, or follow her on Twitter @kellybmccarron.

The Writer's Bone Interviews Archive

Flesh Addiction: 10 Questions With Horror Author Stephen Kozeniewski

Stephen Kozeniewski

Stephen Kozeniewski

By Sean Tuohy and Daniel Ford

Zombie private eye. Prohibition. Booze quenches his cravings for human flesh. Severed head as a partner.

Yeah, we’ll read that.

Horror author Stephen Kozeniewski’s Braineater Jones has one of those premises that can’t be anything other than wildly entertaining and terrifying. We’re eager to dig into it…wait…that came out wrong…

Kozeniewski put down the human arm he was devouring long enough to answer a few of Sean’s questions about his series, how his time in the military shaped his writing, and what's next for him as an author.

Sean Tuohy: When did you know you wanted to be a writer?

Stephen Kozeniewski: I've been writing since I was seven, and I started my first novel at 12. I know hearing that is usually a big turn-on, but sorry, ladies, I'm taken.

ST: You were in the military for several years. Did that affect your writing at all?

SK: Well, the most obvious way it affected my writing is that for several years I didn't attempt to publish. There's no rule that specifically states soldiers can't publish (for instance, Mikhail Lerma and Weston Ochse are both active duty horror authors), but I felt that the starkly political nature of some of my writing directly contradicted my obligation as an officer to remain apolitical. To put it simply: I didn't want anything I said to be misrepresented as something the Army said. So I held off for a few years, which means I missed the boom times of the 1990s and 2000s, but I think my writing is probably better for it.

ST: What draws you to the horror/zombie genre?

SK: I've pontificated elsewhere about the appeal/repulsion of the zombie genre, so I think I'll focus a bit on the horror part here. I actually recently attended Central Pennsylvania Comic Con with my fellow authors Mary Fan and Elizabeth Corrigan where we did a light-hearted "Battle of the Genres" panel. I, naturally, argued the appeal of horror over sci-fi and fantasy. I hope to do it again with a videographer present so I can just direct you to YouTube, but for now, to summarize my point, fear is the primal emotion. Not hope, not wonder, fear. Horror will always be able to strike the deepest chord with us of any kind of fiction because it strikes at the very core of our lizard brains.

ST: Braineater Jones is not your typical zombie book. Where did idea come from?

SK: The character name "Braineater Jones" actually pre-dated any sort of concept by many, many years. I had no idea who Braineater Jones was, but I knew that the name sounded great. I knew he had to be a zombie...but what kind of a zombie has a name? Then one day it occurred to me that Braineater Jones had to be a name for a private eye, and with that everything else practically spilled out of me: He was solving his own murder, it had to be during Prohibition, zombies needed booze to think, The Old Man sat in a vat of liquor, etc. etc.

ST: Braineater Jones is a zombie novel but feels very neo-noir. Was this done on purpose or did the story just come out that way?

SK: It was a deliberate genre mashup, à la Pride and Prejudice and Zombies or Abraham Lincoln: Vampire Hunter. At the time I thought it was unique and nobody could ever come up with such a genius idea as a noir zombie. But of course, since then I've discovered Dead Dick, Dan Shamble, Stubbs the Zombie, Matt Richter, etc. etc. I'm still, of course, very proud of my unique contribution to the sub-sub-genre.

ST: How long did it take to turn Braineater Jones from idea in to a novel?

SK: One month. Braineater Jones was a 2009 NaNoWriMo (National Novel Writing Month for the uninitiated) entry. I don't recommend the one-month process for every kind of novel, but Braineater Jones was intentionally stream-of-consciousness in style. I think that forcing myself to pound out whatever was in my mind day after day led to the wonky, skewed worldview that makes Braineater Jones what it is.

ST: What is your writing process?

SK: Well, I just described the abnormal writing process I used for my debut novel. Normally, I hunker down in my home office, light a candle, grab a cup of coffee or something harder depending on the time of night, and just pound away at it. The novel, I mean.

ST: What does your future hold for you as a writer?

SK: The good news is I just signed a nine-book deal with Permuted Press ("Yay! Hooray! You go, boy!")! So I'm locked in for about the next two to three years on some science fiction and vampire novels. But fans of my zombie work shouldn't fret! I'm already about a third of the way through the sequel to The Ghoul Archipelago, so look for that in the next year or so. I'm also working with voiceover artist extraordinaire Steve Rimpici and legendary animator Zee Risek to bring you a Braineater Jones cartoon series. It's still in development now, so I can't promise anything on the timeframe, but I do know that a successful existing property is easier to sell than an unsuccessful one so if you want to help, the best thing you can do is help me pimp the novel.

ST: What advice do you give to other writers?

SK: Don't take writing advice.

ST: Can you tell us one random fact about you?

SK: I once ate an onion like an apple to prove how tough I was.

To learn more about Stephen Kozeniewski, like his Facebook page or follow him on Twitter @outfortune.

The Writer's Bone Interviews Archive

Destroyer of Worlds: 8 Questions With Author Jacqueline Druga

Jacqueline Druga

Jacqueline Druga

By Sean Tuohy

Nuclear war, biological war, disasters. 

If you're going to keep yourself up at night reading topics like those, why not let best-selling author Jacqueline Druga guide your way through these deadly tales? 

Druga is the author of the Beginnings Series—which has swelled to 26 books and counting—and routinely plunges her characters into the apocalypse.

Druga was nice enough to swing by Writer's Bone's end of the world bunker to chat about her writing.

Sean Tuohy: When did you know you wanted to be a writer?

Jacqueline Druga: I went through different stages of writing. I started writing short stories and poems when I was about 10 years old. Then, when I hit my teen years, I started writing novels. 

My first one was an alien invasion novel, then I moved on to mystery romance. I have a bin with 18 manuscripts from my teen years. But…being a serious writer, that drive didn’t hit me until I was 30 and I just didn’t stop.

ST: Who were some of your early writing influences ?

JD: Writer Pat Frank. Pat Frank. Pat Frank. Major influence. He wrote a book in 1957 called How to Survive the H Bomb. Awesome book. Comical in some aspects. He also wrote the classic, Alas, Babylon

But the biggest influence in my life was Charlton Heston. I loved him. He made me want to create heroes. 

ST: You write in many different genres but mostly within the post-apocalypse genres. What draws you to these stories?

JD: I have been obsessed with the topic since I was a kid. Nuclear war, biological war, disasters. Some say it was my mother. Prior to my birth she was so afraid the world was going to end, that the doctor told her to get pregnant before she had a breakdown. She did. That baby was me. Her fear went away and it became my obsession. Sort of a maternal-fetal apocalypse transfusion.

ST: Your Beginnings Series is made up of more than 20 books. Do you plan on continuing the series?

JD: Actually 26, with an additional three sidebar books. And eventually it will end, but not in the next 10 books. I love the series. Live and breathe it. The characters in that series are as real to me as my family.

ST: Your novels are filled with wonderful and realistic characters. Are they based on real people?

JD: Some of them are. In my novel, Dust, every single person on her list is someone I know and I based my knowledge and friendship with these people to determine how they would end up in the apocalypse. Joe, the leader of Beginnings is based on my father. Actually, I wrote Silent Victor to create a character reflective and as a tribute to my dad. A way to keep my father alive in a way. In my mind, he’d never be gone as long as someone reads and loved Joe.

ST: What is your writing process like?

JD: It starts with an idea that doesn’t grow until I find the right song. Music is a major influence on my writing. I listen to the same song over and over. Usually I have only two to three songs per book. 

The Sleeper Series theme song is Fuel’s "Falls on Me." I believe I listened to it 347 times during Sleepers 4

But once I find the right song, the book takes off. I think, outline, then write the first chapter and every night before I close down, I outline the next day’s work. I write every day, midnight to 6 a.m. 

ST: What advice would you give to up-and-coming writers?

JD: After the initial stock advice all established authors give—which is read—I’d say...write. You want to be a writer you have to write. Every day, no matter what, no excuses. Don’t act the part…work to be the part.

ST: Can you tell us one random fact about yourself?

JD: I barely sleep and, aside from tons of Starbucks, I eat pickled green tomatoes for an extra boost of energy.

To learn more about Jacqueline Druga, check out her official website, like her Facebook page, subscribe to her YouTube channel, or follow her on Twitter @gojake.  

The Writer's Bone Interviews Archive

Unlocking The Mystery of Writing: 10 Questions With Author A.G. Riddle

A.G. Riddle

A.G. Riddle

By Sean Tuohy

In a marketplace crowded with countless ebook authors, one name stands out: A.G. Riddle, author of the award winning and best-selling The Atlantis Gene series. The well-crafted series explores the origins of mankind and is filled with great detailed research and edge of your seat action scenes. In my opinion, its is one of the best original ebook series currently on the market.

I sat down with Riddle and talked about the origins of his writing career and his future plans.

Cover of Book 1 of The Atlantis Gene series

Cover of Book 1 of The Atlantis Gene series

Sean Tuohy: When did you know you wanted to be a writer?

A.G. Riddle: I didn't grow up wanting to be a writer. I had a reasonably successful business career and was looking for my real calling in life. I thought that could be writing, but I didn't realize it until I finished my first draft of The Atlantis Gene. It was an amazing feeling—finishing and being proud of what I'd created (it's not a perfect novel by any means, but it was the best I could produce at the time, and that's how I measure success).

ST: Who were some of your early influences?

AGR: I loved sci-fi as a kid. I would watch and read about anything I could get my hands on. "Star Trek," "The X-Files," "Star Wars."

ST: What is your writing process? Do you have any pre- or post-writing rituals?

AGR: If I'm in the thick of writing, I usually read the previous few chapters and consult my outline, then get started. If I'm in the research phase, I look at the background and see what I need to fill in; it's a little more methodical then.

ST: How did you get started publishing? Was it through the traditional publishing road or did you go the ebook platform?

AGR: Ebook only. I really wanted to get my work out there to see what folks thought. I hadn't told anyone I was writing a novel except my mother and girlfriend. When the book became popular in the summer of 2013, I considered taking a traditional publishing contract, but I decided that I didn't want to give up the freedom of self-publishing.

Cover of The Atlantis Plague

Cover of The Atlantis Plague

ST: The Atlantis Gene is one of best and original thriller series to come down the pike in years. Where did the story come from? Had it been brewing in you for years or did it just come to you?

AGR: First, thanks! I spent almost two years researching and writing The Atlantis Gene. I started with a mystery that had always intrigued me: 70,000 years ago, the human race almost went extinct. From there, I did a lot of research and wrote a ton of background, pulling together several topics of interest for me (everything from Nazi conspiracies to Atlantis to autism research).

ST: The third part of your Atlantis series, The Atlantis World, will be coming out shortly; did you always know that this was going to be a series?

AGR: I had written the long-arc of a series, but I didn't know how many books it would be (or if anyone would turn out to read them). I had already started on the second book when The Atlantis Gene came out, otherwise I never would have been able to write and release the trilogy so quickly.

Cover of The Atlantis World

Cover of The Atlantis World

ST: Unlike so many thriller novels your series has well-crafted characters, do you believe having strong characters is the back bone to a solid thriller?

AGR: I do. I have to admit, I'm a sucker for a high-concept, plot-driven story, but what I really love is a character-driven story with some big ideas at the center. That's what I try to write.

ST: What is next for you as a writer, a new series or maybe a stand alone novel?

AGR: A new series. I've been working on it a while, and I still have a lot of work to do. And, I'll have a few announcements soon regarding the Atlantis/Origin mystery series.

ST: What advice would you give to up and coming writers?

AGR: Don't let anyone else define success for you. Figure out what you want from writing, then set your own goals (and adjust them based on what you learn).

Success to you might mean writing the book you want to write. Or it could mean earning enough money to take your spouse out to dinner once a month. Or making some list. Or selling X number of copies.

Take some time to figure out what's really important to you, and when you do, don't listen to anyone else. Success isn't a one-size-fits-all in the business of writing.

ST: Can you tell us one random fact about yourself?

AGR: I grew up in a small town in North Carolina with only one stop light.

To learn more about A.G. Riddle, check out his official website, like his Facebook page, or follow him on Twitter @Riddlist.

The Writer's Bone Interviews Archive

Oh Captain, My Captain: 9 Questions With Military Sci-Fi Author Jack Campbell

Jack Campbell

Jack Campbell

By Sean Tuohy

Jack Campbell is the true commander of military science fiction with his award-winning The Lost Fleet thriller series. The interstellar series follows Alliance Captain Jack Geary, who uses his knowledge and wits to command his fleet of ships through enemy space. Using his past experience as a navel officer and his love of true adventure, Campbell takes us through the inner workings of a commanding officer's mindset during edge-of-your-seat battles.

Campbell answered a few of my questions about the fleet, his characters, and the stresses of the writing craft.

Sean Tuohy: When did you know you wanted to be a writer?

Jack Campbell: I was very young, probably about 8 years old, when I first tried writing. I covered big sheets of paper with large letters, trying to tell a story about what we had done that summer. For years after that, I kept my stories in my head, but finally began writing them down again in high school. The less said of those efforts the better. Then came the Navy, which left little time for things like writing. But as I prepared to retire from the Navy, I finally started writing seriously after decades of thinking about it.

But as long as I can remember, I wanted to write stories.

ST: You were a naval officer for many years. Did this have any effect on your writing process?

JC: Perhaps not the process so much as the content and the art. I wrote a lot during my time in the service, mostly official things like assessments and analysis and reports. I learned to edit other people's work, which taught me how to edit my own. And I experienced so many different things, and met so many different people in so many different places, all of which contributed to what I could put into stories. The experiences that I gained, the things that I learned, made my writing immensely better. I also learned to stick with something until I finished it, and to try other approaches when my first attempts failed. Perhaps most importantly, I had to do and learn a lot of things that I never would have chosen to do. It's the things I learned that I wouldn't have chosen to learn that may be the most important.

ST: What led you to writing science fiction/military science fiction?

JC: My earliest reading was in things like history and juvenile biographies and mythology. One day I stumbled across The Mastermind of Mars in the school library and was amazed that someone had created a completely new history and new people and new myths in an imagined world. This was in the days when sci-fi ruled compared to fantasy, so I started reading more and more sci-fi. There were some brilliant writers, people like Andre Norton, Poul Anderson, and Leigh Brackett, who made me want to write stories like them. I'll never be as good with words as Poul Anderson, and I can only aspire to be as good with ideas as people like Andre Norton, but I wanted to try. And since my interests in history and biography often tended to military topics, and mythology is often about battles of various kinds, that led to an interest in using sci-fi to examine how future battles might be different from now, and how some things might not change no matter how much time elapses. My own Navy career had a lot of influence on my writing about military topics. It's what I know.

ST: The Lost Fleet is one of the best science fiction series currently, where did this story come from?

JC: Thank you! In one sense, the story is the culmination of my writing to date, the end result of what I have learned about telling stories. But the two big aspects of The Lost Fleet were years in the process of development.

Some time ago, another writer who worked in the “Star Trek” universe asked some of us other writers if a long retreat scenario was possible in “Star Trek.” We all agreed that it wasn't, because of the way “Star Trek” handled things like faster-than-light travel. Someone would either get away immediately or they would be trapped. But the question got me to thinking about whether a long retreat in space could work both as a story and as something that made sense in terms of the technology and everything else. The classic example (in every sense of the word) of a long retreat story is Xenophon's March of the 10,000. Could I use that example in a new way? That idea just sat there in my head for years while I waited for some ideas to try out the concept.

Another idea had also been sitting in my mind for some time, this one concerning a common myth in human cultures. That myth is the one about the sleeping hero, some ancient champion who is not dead, but is instead sleeping, and would awaken when most needed. In the West, the most well-known example of this is King Arthur. There is general agreement that these myths are based on real people, actual champions who had done important things in life, but whose accomplishments had been greatly inflated after their deaths. I couldn't help wondering what it would be like for such a person if they somehow did awaken long after their own time, only to learn that they were now thought to be some superhero who was supposed to save the day.

At some point, I realized that the two ideas fit together perfectly. The trapped fleet and the legendary hero who could save it. The hero was not the hero of the legend, but he had to try to be that person, because if he couldn't manage it, the fleet and the people who believed in him would be destroyed. That became the saga of The Lost Fleet and Black Jack Geary.

ST: Captain "Black Jack" Geary is a fantastic hero and strong leader. Is he based on anyone from your time in military?

JC: Geary is partly a composite of some of the best leaders I worked with, commanders like Captain Richard Hayes and Admiral Cathal Flynn. But he also has characteristics drawn from some historical figures such as George Washington and Joan of Arc. He isn't superhuman, and that defines him more than anything. He is human, as flawed as anyone, but he refuses to use his authority to his personal benefit, he won't reach for the power he could easily have, he does not consider himself special, and he has a strong moral center. He also has the strength of character to act decisively, to not give up, and to not reject advice from others. I tried to have Geary embody what Clausewitz (On War) described as both the first and the second kinds of courage; the first kind to act bravely in battle, and the second kind to do the right things off of the battlefield. As Clausewitz noted, the second kind of courage can be more important than the first. 

ST: The Lost Stars is a spin-off series from The Lost Fleet but from the point of view Syndic; what lead you to write this series and what challenges did you find writing from the Syndic's point of view?

JC: Two factors led to the creation of The Lost Stars. The first was that many readers had asked to know more about the enemy in The Lost Fleet books. I had tried to make it clear that the Syndics were not evil clones, but rather people of varying quality, even though all fought for a bad cause. Readers wanted to hear more about that, about the society that spawned the bad guys. The second factor was because I had originally planned The Lost Fleet to be only six books. But as the original series wound to a conclusion, there was a lot of demand for more books. There were plenty of things to write about, but I was worried about growing stale, about becoming worn out writing about the same characters. The Lost Stars was designed to give me something fresh to work with in the same universe, and even with storylines that intertwined with the continuing The Lost Fleet stories. Very different people facing very different challenges, and all of them seeing the universe in very different ways than Geary and his companions did. That has helped me keep The Lost Fleet: Beyond the Frontier books fresh as well.

The main challenge when writing from the Syndic point of view was to keep in mind that what they believed made sense to them. What they did was either (to them) justified, or necessary to survive. These are all people who have done some terrible things, but some of them had to be characters that readers would find sympathetic. They genuinely don't know or understand other ways of doing things.

Some of them want to do things differently, but have to learn how. And they have to live with themselves for what they have done. To some, that is no problem. To others, it is a major struggle.

ST: What is your writing process? Do you have any special rituals you have to do before you begin writing?

JC: The only special ritual is probably the same one shared by most writers—procrastinate by any means possible (I knew one writer who went to the dentist rather than work on a project). Beyond that, I need to be in the right mental zone. In classical terms, I need my muse to be present and active. If that inspiration isn't present, I have to try to get it active by whatever works. Maybe music, maybe playing short games, maybe doing some unrelated research or reading, maybe watching something. My muse (like most, I guess) cannot be forced to come on command. She has to be allowed to approach on her own terms while I'm thinking about other things.

ST: What advice would you give to up-and-coming writers?

JC: First, read. Anything and everything. Second, write. Don't just think about it, don't just focus on one project. Write and write and write. Then submit what you write. Don't keep messing with it forever, changing a few words here and there or dropping a comma. Send it off to someone. Aside from that, I think it is a good idea to visit local conventions where an aspiring writer can meet established, experienced writers who are usually more than willing to offer advice and will talk on panels about various aspects of writing and publishing. But at the end of the day there is no substitute for simply writing and writing some more.

ST: Can you please tell us one random fact about yourself?

JC: I was the armorer on the U.S. Naval Academy fencing team for four years.

To learn more about Jack Campbell, visit his official website.

The Writer's Bone Interviews Archive

Water Yourself Daily: Actress Erica Rhodes On Her Creative Process

Erica Rhodes

Erica Rhodes

By Daniel Ford

At 10 years old, I was awkwardly trying to make friends in elementary school.

10-year-old Erica Rhodes was sharing a dressing room with Allison Janney.

Rhodes, an actress best known for her work on “A Prairie Home Companion,” has barely taken a breath since her big break (which I guess you aren’t allowed to do when Garrison Keillor is your mentor), and has been featured in everything from a cult horror flick to a viral Web series.

I caught up with Rhodes recently and asked her about her early career, how she gets into character, and why it’s important to be creative every day.

Daniel Ford: When did you first realize you wanted to be an actress?

ER: I can't remember not wanting to be an actress. My Mom used to rent lots of old movies for me when I was a kid. I remember watching the Shirley Temple movies over and over thinking I could do that! But I think the moment I remember best is when I was 5 years old and I modeled a water bed. And I thought, "This is the life."

DF: You essentially grew up while working on NPR's “A Prairie Home Companion.” How did you land on the show and what lessons have you learned from Garrison Keillor and the rest of the cast?

ER: My mom is from the same hometown as Garrison Keillor (Anoka, Minn.). She is a violinist in Boston and asked Garrison to come and do a fundraiser for her Orchestra (the Pro Arte Chamber Orchestra of Boston). He kindly agreed. They got along very well and she invited him to see me in the Nutcracker (I played a party girl that year). Then we had dinner afterwards and the next day my Mom said he wanted me to be on his show. I had no idea what it was, but the next day I was sharing a dressing room with Allison Janney and performing in front of thousands of people. I have learned so much from Garrison and the rest of the cast Garrison has always pushed me as a performer and a writer. He has always believed in me. And he has taught me almost everything I know about comedy and performing for huge audiences. The rest of the cast also helped me every time I performed with them. Sue Scott especially took me under her wing a lot. Allison Janney taught me my first "vocal warm-up." I've also acted with Meryl Streep and Martin Sheen, so I learned how to hold my own with these great performers. I feel very lucky to have had the experiences I had on the show in so many different venues all over the country. It's really where I've felt the happiest over the years. Also whenever I have felt particularly low or frustrated with my career, Garrison has invited me back on the show. He has really been a lifelong hero of mine.

DF: Your career has spanned from cult horror films to award-winning indie films to television shows. Was your goal setting out to have a varied career, or did it just kind of work out that way?

ER: I think in the beginning, a performer wants to perform. So I wasn't very particular about what genre or format. But now I am choosing to go back to my comedic roots and just focus on that. Horror is fun, but can only take you so far. I would like to do more television in the coming years. That is what I am focusing on. Television and comedy.

DF: What’s your acting process like? How do you ease yourself into a character? What things do you think about or do while reading a script?

ER: Man. I used to do so much preparation and thinking. Now I try to think less and act on my instincts more. Because my instincts are usually closer to "right" especially for comedy. Now I just try to be myself and say the words or say my words. Just simply "be" I guess. And listen if it's a scene. And even in stand-up there is a lot of listening that goes on. For funny scenes, I try to find the funny moments between the obvious moments. I try to be surprising and unpredictable.

DF: You’ve been a part of three popular Web series—“Apt. 45,” “Upstairsgirls,” and “Sandy's Channel.” What attracted you to the roles and how was the experience different than working on a television show or movie?

ER: You've done your research! There's actually one more called “FourPlayinLA,” which my sister wrote. Apt. 45, I created with my friend Ileana Chan when I first moved to Los Angeles. I didn't know anyone and she was my neighbor. And we were friends from acting school in New York City. We came up with the idea of a newbie actress trying to get her non-actress neighbor into "the biz." Ileana did most of the work on that. But we co-created it and I starred in it. It actually helped me book “Upstairsgirls” which ended up being a much bigger Web series in the long run. I auditioned for “Upstairsgirls” and my role really wasn't invented yet. They were just looking for a "blonde" girl in her 20s who was good at improv. Sandy sort of evolved into the character after many episodes of experimenting and working off of the other actors. Sandy had a following so the producer, Scott Zakarin decided to have a spin-off channel just for Sandy. I liked working on web series, because I had a close and direct communication with the fans. But now I really prefer television and film, because there is usually a higher production value. Though I did learn a lot from all the hours I spent improvising and experimenting on the Web.

DF: What made you want to become a stand-up comedian and how has it shaped you as a writer and an actress?

ER: Stand up is very new for me. I've only been doing it for about a year and a half. But I am really enjoying it. I've always wanted to try it, but last year I felt frustrated with the audition process. And I wanted to take my career into my own hands. So it propelled me into stand-up. Because I have been performing since I was a kid, I really feel lost and aimless if I can't do it. It's truly what I feel most fulfilled doing. So I had to find a way to do it without someone granting me permission. I am also very lucky that my manager, Bruce Smith, is very helpful with the writing process. He reviews and edits all of my material before I bring it to the stage. I think I've grown so much as a performer and writer since last year. And I find it very rewarding to make something out of nothing. I learn something new every time I get on stage. So I am always growing as a writer and performer.

DF: You’re very active on social media. Do you find yourself using social media to interact with fans, test out material, or just have fun?

ER: I think I use Facebook for letting people know about my shows and maybe a little for fun. Twitter I use more for attracting fans and testing out short jokes. I read an article where Joan Rivers said if she were a new comic today, she would stay online all day every day, because it is such a good way to gain exposure quickly. So I do try to use them in a proactive way. Though occasionally I probably waste an hour or two here and there posting something stupid. Social media is a tricky thing to navigate. I'm still trying to figure it out. I wrote some jokes about it. Like, "My friends think I spend too much time on Facebook to get anything done in my real life, but my Twitter followers know how productive I am."

DF: If you could co-star in a movie with any actor/actress (alive or dead), who would it be and why?

ER: Peter Sellers! He was a comedic genius. I bet I would have learned a lot from him. I love him in every movie he was in, especially, “Being There,” one of my favorite films.

DF: What’s your best advice for up-and-coming actors and actresses?

ER: I always tell up and coming actresses to travel, travel, travel. That way I can have their auditions!

I'd say just make your own stuff as much as you can. Make stuff for yourself, make stuff for other people. Don't be a bump on a log. Do the Artist's Way and write every day. You're a creative being and you need to water yourself daily. So find ways for creative expression. Auditioning is just one way to get seen. Find the other ways, if that's not working for you. Also, it's really hard. Everything is hard. It's hard to get an agent, it's hard to book a job, it's hard to stay afloat. It's really, really hard. Give yourself credit for every little achievement. Don't look to others for approval. Give it to yourself. And mostly, take care of yourself as a person. As a human. Love yourself. Is that corny? Probably. But really. Figure it out. You'll be fine.

DF: Name one random fact about yourself.

ER: When I was a kid I took a gymnastics class once and I could stand on my head longer than all the other girls. I guess I have a flat head. I won a pack of gum.

To learn more about Erica Rhodes, like her Facebook page or follower her on Twitter @ericarhodes.

The Writer's Bone Interviews Archive

Just Play: 8 Questions With Singer/Songwriter Frank Turner

Frank Turner

Frank Turner

By Daniel Ford

If these aren't the perfect lyrics to sum up a 20-something writer/creative type in New York City, then I don’t know what are:

“Just give me one fine day of plain sailing weather/And I can fuck up anything, anything”

English singer/songwriter Frank Turner’s music is honest and personal—two qualities sorely lacking in today’s music scene.

Turner recently answered some of my questions about life on the road, his early influences, and how he is always striving to get better.

Daniel Ford: When did you first realize you wanted to be a singer/songwriter?

Frank Turner: Interesting question. Being a singer/songwriter, strictly speaking was never really something I thought about growing up. I wanted to be (and was) in a punk band. I guess when the wheels started falling off Million Dead, I had a little time to consider what it was I wanted to do afterwards. At the time, I didn't want to be reliant on other people as I was feeling quite let down by what had happened with the band, so doing things on my own made the most sense to me.

DF: Who were some of your earliest musical influences?

FT: As a kid, I was initially into Iron Maiden, Metallica, AC/DC, and stuff like that. Then, Nirvana hit me like a train, and pushed me toward punk stuff like Descendents, Black Flag, NOFX, and so on.

DF: How would you define your sound? How did you go about developing it?

FT: I don't spend time trying to define my sound, I just play. I don't really think about developing it, other than trying to be better at what I do.

DF: What’s your writing process like? Do you start with the music or lyrics? Do you prefer writing early in the day or late at night? Do you listen to music while you…write songs?

FT: I don't have a set process as such, other than the fact that I write on the road. Sometimes it's words first, sometimes music, and the best is when the two of them arrive at the same time. I don't listen to music as I write (wouldn't work!), but I do listen to a lot of music and I try to figure out songs I like, how they're constructed and so on.

DF: A good friend of mine demanded I listen to “The Way I Tend To Be” and it’s been on my writing playlist ever since. What went into writing and producing the album “Tape Deck Heart” and was the process any different than your previous albums?

FT: “Tape Deck Heart” ended up being an album about a breakup. I don't really sit around and plan what to write before, you know, writing it; I like to let stuff arrive in the manner of its own choosing. But I was going through some shitty stuff in my personal life and it naturally found an outlet in my songwriting. I wanted to write like I was totally unknown and no one would ever hear the songs. I think a lot of writers, at this stage in their career, get into second-guessing themselves, or trying to write to please various audiences, and I think that's kind of bogus, so I was trying to shut all of that out.

DF: What are the best and worst parts about touring? What are some of the more memorable moments you’ve had on tour?

FT: The best part is making the most of life, traveling, and playing music for a living. The worst parts are the toll it takes on your health, sanity, and personal life. It's not an easy way to be, in the long run. I've been touring pretty much full time for almost half my life, so it's hard to pick particular moments out.

DF: If you had to pick one of your songs that defined you forever, which one would you choose and why?

FT: It's not really for me to choose, I'd say; but I guess something like "If Ever I Stray" would be cool.

DF: What’s next for you? What’s on your bucket list for things you want to accomplish as an artist?

FT: Working on a new album, releasing the “Mongol Horde” (side project) album, festival season, stuff like that. There are plenty of things left on my bucket list; mainly songwriting-wise, I want to get better.

To hear more from Frank Turner, visit his official website, like his Facebook page, or follow him on Twitter @frankturner.

The Writer's Bone Interviews Archive

Don't Fight it, Feel It: 8 Questions With Aspiring Writer Jacqueline Kirkpatrick

Jacqueline Kirkpatrick

Jacqueline Kirkpatrick

By Daniel Ford

My friend, former co-worker, and fellow blogger Heather Kuka sent me an email a couple of weeks ago with the name of one of her writer friends and links to her published works. Heather tends to have great taste in literature and music, so when she recommends something or someone, I listen.

As usual, I wasn’t disappointed. I couldn’t email Sean Tuohy fast enough after reading the first line of Jacqueline Kirkpatrick’s entry in the literary journal Mason’s Road.

“At five I was abandoned on a doorstep in a trailer park just outside of Albany.”

That’s the kind of writing that gets you out of bed in the morning and reminds you that great writers make whatever writing process you have worth it.

Eager to hear more, I dashed off an email to Kirkpatrick, who was equally as excited to answer my questions about her life, writing career, and how she gets her work published.

Daniel Ford: Did you know at an early age that you wanted to be a writer, or was it something you grew into? Who were your inspirations?

Jacqueline Kirkpatrick: I was raised by two people that read every night. After dinner to falling asleep they both would read. To bond with them I had to read their stories. So I was raised by westerns. Mostly Louis L’Amour and Larry McMurtry. I think that to get their attention I had to do that. Around eight, I started writing silly stories about Native Americans, cowboys, and the wives left behind by men who were lawmen or outlaws. When I was about 10 my father got sick and it was around then I became more introverted and began to journal. I have about 22 years accounted for in very detailed journal entries. It was a coping mechanism then, and I still use it to process what I’m going through.

And while L’Amour, and McMurtry began my journey as a reader and writer, it was definitely Parker, Plath and Sexton that gave me the shove I needed to explore myself. They were these bad ass chicks writing about what they wanted, felt, needed, and hated. That openness really shook me. The rawness in which they wrote inspired me not only to write more expressively, but to also find more experiences to write about. And you can’t go and find more experiences without someone handing you Kerouac, Ginsberg, and Burroughs. So I began reading Dharma Bums and my then my heart exploded.

DF: Your entry with literary journal Mason’s Road describes how you were left on a doorstep in a trailer park near Albany at 5 years old. How did that moment, and the others you honestly detail in the piece, shape you as a person and as a writer?

JK: As a person, they shaped everything. My every action, decision, or lack of both, are directly taken from my memories and experiences. I’d like to say I learn from my mistakes but sometimes it takes two, or three, or 16 times for me to understand that I’m fucking up again and again. I think, for me, and many other writers that I know, writing is an organizational tool for our secrets. Organizing the memories, and the moments, help me to see where I am, and how I got here. I just want to work out my shit and do it as honestly as possible. It’s awesome if a reader can dig it, but I always start selfishly. It’s a high to write something down and be like, whoa, I get it now. Mind blown.

DF: Your writing is deeply personal. Was that your way of dealing with things that were happening to you? Why the impulse to be so honest in your non-fiction and poetry?

JK: Absolutely. My father died when I was a teenager, my mother went into a nursing home when I was in my early twenties, my friends were not sure how to help me, and neither was I. The only thing I could talk to was this other version of myself. The person no one meets. She’s my favorite listener.

DF: What’s it like being an MFA Creative Writing student? What kinds of things do you work on and what’s your writing process like? Do you listen to music while you write, or do you need complete quiet? Do you do any outlining?

JK: Prior to entering the program I was like Dickinson’s second cousin. Everything was boxed up tight in an attic. I was terrified of people reading my work. I was so scared they’d hear things, or see things, or know things about me that they could use against me. I have disgusting amounts of trust issues and it only felt like I was writing the weapons that would ultimately be used to kill me. But then, one day I just got really tired of my 9 to 5. I just wanted to sit around and talk about Kerouac, or Poe, or if my character was believable so I said “fuck it.” I applied to the program. Got in. and began to share.

I started writing fiction. I think, again, it was a defense mechanism to separate Jacqueline from the stories I needed to tell. But I’m a terrible liar and my classmates soon began to know that my fictional characters were all based on me. So I began to write non-fiction. And that’s become a new love of mine because I have these crazy layers of memory, and regret, and life things that I need to get rid of before I’m good. Or at the very least, okay.

I write all the time. At work during my 9 to 5, before class 5 p.m. to 6 p.m., notes and tiny poems during class 6 p.m. to 9 p.m., and sometimes all night if I’m alone. I think that writers, whether they are typing or putting a pen to paper or a napkin, are always writing. The wheels never stop. Stories are crashing into one another all the time.

I need music to write. If it’s silent I’m distracted by my own thoughts.My brain is really, really unpredictable when left to its own devices. Music definitely focuses me. I have setlists on my Spotify for stories I’m writing. If I’m writing fiction, one of the first things I ask myself is what would the character listen to? And I make that playlist. When writing non-fiction I have my own pile of tunes to go through pending on mood and memory. If I’m writing about living in Baja for a month I know I need The Tobassco Donkeys, The Old 97s, Lyle Lovett, and Sublime. When I write about my mother and father I need George Jones, Patsy Cline, or Ray Price. Memories were made while those songs played. To bring me back, it’s vital to have them or the story isn’t true for me.

Oh, outlines. I should outline. I want to. But I don’t. I think it’s something that I’ll need to start doing as I’m writing longer pieces, but as of now…I’m keeping that little technique in my back pocket.

DF: How do you go about getting your work published?

JK: I am such a crazypants about this. It’s stupid because I spent 17 years holed up inside myself, not letting anyone read anything, and now I’m all out and about submitting. Because I love reading, I think the best process for me in getting published has been following up on what I love to read. If I love a piece someone wrote I go to their website (if they have one) and see where else they were published. I make a list of those places and then I start stalking. I read what is being published, and I try to see, and sometimes feel if my piece would work there. Sometimes I think no. Sometimes yes. And I hit submit. And if I really love the journal, regardless of if I think a piece will fit, I take the chance. It’s exciting. There is a weird rush I get after every time I do it. I love it.

Another super big part of this whole process is networking. Tell everyone you know you’re a writer. Send pieces to friends. Ask for help editing. Get involved locally with writer’s groups, organizations for writers, or just start small and go to a reading. Listen. Say hi to someone else that’s there. Chances are they are a writer, or love to read, and both are amazing to have in your corner.

DF: What do you read religiously? Do you read on the Internet, do you have a stack of books on your nightstand, or do you have a Kindle? What are some of your favorite authors, writers, or columnists?

JK: I read as much as I can. Being back in school I actually read less, but what I’m reading now is more focused on what I want to do. Rather than rereading The Bell Jar or Tristessa for the 800th time, I’m reading work by folks who are in the pool that will become my competition. It would be a disservice to myself to not know what’s out there.

I read the most on the Internet. Mostly journals, and sites like this with interviews with other writers, as I want to stay current and perhaps get some inspiration. Being a writer can be so lonely because we’re fueling ourselves on our own self-made fires. So, sometimes it’s nice, and really comforting, to find some warmth at someone else’s fire for a while. My favorite authors are dead. It’s sad. But they are. I like the old school. However, I do have very big soft spots on my heart for Dave Eggers, Nick Flynn, Melissa Febos, Mary Carr, and Sparrow.

DF: What is your best advice for young, up-and-coming writers like yourself?

JK: Immediately I want to say: read. Because that’s what I’m told all the time. From sixth grade to yesterday the advice is always, read. So, I don’t want to waste my advice on something you’re going to hear forever and ever. My advice is said best by Sam Cooke: don’t fight it, feel it.

For years I worried that x, y, or z would read my work and judge it, or worse, judge me. I was constantly having anxiety that the reader wouldn’t get it. But now, fuck it. It’s who you are. It’s what you are. The only way it’s going to be home to you, and I firmly believe your writing is your home, is if you feel it. Be raw. Be honest. Be yourself. And when you hate yourself, tell yourself that you do. That’s okay too.

DF: Name one random fact about yourself.

JK: Every fall I go to multiple county fairs just to see the demolition derby. It’s amazing. Go. Go to the demolition derby and you’ll understand.

You can find more of Jaqueline Kirkpatrick’s work through the following links:

The Writer's Bone Interviews Archive

Write the Best Thing You Can: Chuck Sambuchino On How Writers Can Improve Their Work

Chuck Sambuchino

Chuck Sambuchino

By Sean Tuohy

Are you an aspiring author frustrated by the publishing process?

Join the club.

However, there are plenty of agents and consultants out there willing to take the time to help up-and-coming writers fulfill their dream of being published.

One such person is Chuck Sambuchino, editor and published author who runs the Guide to Literary Agents Blog. Sambuchino answered some of my questions about the publishing biz and how writers can refine their writing processes.

Sean Tuohy: When did you know you wanted to be a writer?

Chuck Sambuchino: From when I was about 20 years old. I wrote a one-act play that won a contest at my college, and was produced. I also wrote some op-eds for my college paper that got attention. Once I saw that writing could actually get into the world, and not just remain a Word file on your computer, I was basically hooked. I suspect it's the same for other writers, as well.

ST: What is your writing process? Do you have any special rituals you have to do before you start writing?

CS: I have no process whatsoever. I just write whenever I have any time throughout the day, and tend to do things just before the deadline. Fiction writers have their own unique processes, and that makes sense because each day requires concentration and creation. Because I write nonfiction, it's all a matter of carving out time whenever I can—that's the key. Many people will say, "Oh, I have no time to write. Where does the time go??" But I personally know exactly where the time goes, and don't blame anyone but myself for when I don't produce enough.

ST: You have written in nearly every category; books, magazine articles, plays, and many other formats, what is your favorite format to write?

CS: Probably books, because they have the widest reach. Plays are great, especially because they are my fiction outlet, but they are extremely limited in terms of how many people see them. You can be all the way across the country and see your book in a bookstore. That's quite a thrill.

ST: Where did the idea for How to Survive a Garden Gnome Attack come from?

CS: I was thinking about a movie called “The Full Monty,” which is a U.K. comedy. In the movie, there is a quick, hilarious scene with a garden gnome. That got me thinking about garden gnomes, and how terrible and tacky they were. The more I dwelled on them, the more creeped out I became. I started to wonder if they were peeking in the windows at me right that moment. Then it hit me: Certainly if gnomes scare me, they must scare others. That was the genesis of the book.

ST: There are so many changes going on in the publishing world right now, how can a new writer stay ahead of the curve in this ever-changing market?

CS: On one hand, educate yourself and understand what opportunities exist in terms of self-publishing and e-publishing, because those growing channels may be right for you. On the other hand, don't worry too much about the changes, and continue to focus on the basics:

  1. Write the best thing you can. 
  2. Build a platform so you have some ability to sell your own work when it is released. 
  3. Keep writing and producing content to give yourself the best chance of success.

ST: In this new digital age of publishing do new writers still need an agent or publisher?

CS: Yes. Nowadays, there are two publishing paths you can choose: traditional publishing or self-publishing. If you decide to seek the traditional publishing route, you absolutely should seek an agent, because an agent fights to get you the best deal possible. The path of self-publishing has its merits, but I personally stick with traditionally publishing, and have enjoyed it.

ST: What are some of the most common errors you see in new writers’ work?

CS: New writers submit their work before it is ready. They need to recognize that the revision process takes time. It's a matter of sanding off many rough edges. New writers also have a bad habit of telling, not showing in their writing. Lastly, they don't have the best ability to self-edit their own work. As a freelance editor myself, one of my biggest tasks is showing writers where to cut.

ST: What advice would you give to up-and-coming writers?

CS: Educate yourself. Every hurdle you come across has been jumped by many before you, and those successful writers can explain how they conquered a problem and found success. Besides that, I would encourage people to get out to a writers conference. Conferences are the place where you educate yourself, charge your batteries, make writing friends for life, and meet agents and editors.

ST: Can you tell us one random fact about yourself?

CS: Last summer, I took up competitive gaming for retro video games from my childhood. It's going well, and I currently hold world records for games such as “Contra,” “Street Fighter 2,” and “Bubble Bobble.”

To learn more about Chuck Sambuchino, visit his blog or follow him on Twitter @ChuckSambuchino.

The Writer's Bone Interviews Archive

Who Watches the Screenwriters? 11 Questions With Script Consultant Linda Seger

Linda Seger

Linda Seger

By Sean Tuohy

As we’ve mentioned on this website numerous times, a great editor can make a world of difference for an emerging author. The same rules apply to screenwriters.

Linda Segar, author of several how-to books for budding film scribes, has been in the screenwriting consultation business since 1981. According to her bio on her official website, she has consulted on more than 2,000 scripts, including more than 40 produced feature films and approximately 35 produced television projects.

Segar’s mission statement is to “identify, analyze, and help solve elusive script problems while nurturing your creative process.”

What more can an up-and-coming screenwriter ask for?

I was lucky enough to ask Seger a few questions about navigating the screenwriting process and she gave scriptwriters plenty of helpful advice.

Sean Tuohy: How did you become a screenwriting coach and consultant? What is the backstory?

Linda Seger: Out of desperation! I was so well educated that nobody wanted to hire me, and I wasn't a corporate "type." I could see that there were so many scripts that didn't work, and I had developed a method as part of my doctoral dissertation about what the elements are that make a good script. I tried this method on some scripts that didn't work, and found that it pinpointed the problems very well. So, I placed an ad in the Hollywood Reporter and started getting clients. Then I went to a career consultant, Judith Claire, to figure out how to make this a full-time business. The plan worked, and I've been doing this now for more than 30 years.

ST: What is the most common error that you see among first time screenwriters?

LS: It used to be an inability to structure the script, but now it seems to be a lack of focus, which is related to structural problems.

ST: As far as style goes, who is the most original screenwriter, in your opinion?

LS: I think the Coen Brothers have a marvelous sense of style, and I'm particularly fond of “Fargo.”

ST What is the best way to learn the art of screenwriting?

LS: Write. Read books. Go to seminars.

ST: Do you believe it comes to some naturally or is it learned over many years?

LS: It is learned over many years, although some people have more natural talent than others. However, if they don't work at it and keep learning, they're still not going to become a great screenwriter.

ST: Has there been any screenwriters or scripts in the past ten years that have really wowed you?

LS: Absolutely! One of the best screenplays I've ever worked on that left me breathless is stuck in "development hell" in a studio. I have just completed working on a screenplay from a first-time writer from Austria. She amazes me and I love this script and hope she sells it. I recently worked with a Canadian on a first-time script that began as a muddle and has really found its way. I'm so impressed about where she's come through a process of about five drafts. I worked on a script years ago that left me breathless. I think the writer became ill, and I haven't heard from him in many years.

I have worked on many, many scripts that I think are really terrific, and I wish they'd make those into films instead of some of the others that are made.

I can't disclose the names of any of these, but I worked on several scripts that were made into films that I think are quite wonderful. One, called "Courting Chaos," has been winning a number of awards recently in film festivals, and two others were made in Italy that I'm very eager to see. They are titled, "Last Summer" and "Anita B."

ST: What is the most difficult part about writing a full length screenplay?

LS: Having a writing discipline and being willing to continually learn about the art and craft of writing.

ST: What do you believe is the most difficult part about making a good story into a great screenplay?

LS: Knowing the craft of writing so you know what you are doing.

ST: What are some of the first things you notice about a script when you are analyzing it?

LS: I can tell if it's great writing on the first page, but it might take me many pages to realize that what doesn't look like good writing actually has tremendous potential. My job is to bring out that potential in the writer and make that the best script it can be.

ST: What advice would you give to a first time screenwriter?

LS: Write and write some more, and write some more! And if you find great joy in writing, then continue writing. If you don't find joy, then stop.

ST: What is one random fact about yourself?

LS: I live in my dream house, a 1921 log home, in the Rocky Mountains of Colorado.

To learn more about Linda Seger, visit her official website, like her Facebook page, or follow her on Twitter @Linda_Seger.

The Writer's Bone Interviews Archive

Veterans Writing Project Arms Vets With the Tools to Tell Their Stories

Veterans Writing Project Arms Vets With the Tools to Tell Their Stories

Although great literature allows readers to escape, writing can also help us make sense of reality. For many, journaling is a healing process and the ability to craft your own narrative can be especially empowering. With these goals in mind, former soldier and a Foreign Service officer Ron Capps founded Veterans Writing Project (VWP), a D.C. based non-profit that helps veterans tell their stories.

Melody, Rhythm, and Words: Singer-Songwriter Jeff Tuohy On the Importance of Perseverance and Work Ethic

Jeff Tuohy

Jeff Tuohy

By Sean Tuohy

The best singer-songwriters are fearless types that wear their hearts on their sleeves and throw the rules out the window to express true emotions. Jeff Tuohy (no relation) is a standout musician that is making a name for himself by adding heartbreaking truth to each song. Tuohy bounces from poppy fun to dark depths with each changing of the track. We’re comfortable saying that Tuohy is one of the best up-and-coming singer-songwriters in North America. I got lucky enough to ask Tuohy a couple questions about songwriting, the creative mind, and how he develops his truthful lyrics.

Sean Tuohy: When did you know you were going to be a musician?

Jeff Tuohy: It was apparent from the start. Allegedly, I would hum and sing gibberish in the crib. Hours were spent dancing and singing along to Creedence Clearwater Revival, Michael Jackson, ABBA, and Neil Diamond in the basement of our first home. At age three, my parents enrolled me in a Dalcroze program at Fairleigh Dickinson University. The following year, I was studying cello via the Suzuki method.

ST: At what age did you start writing your own music?

JT: My mother recalls a particular instance when I was a toddler: I was in the back of our 1984 Toyota Camry Wagon improvising a song about her attending craft fairs.

In middle school, I recorded melodies with lyrics onto cassette with a player I received for my First Communion. The songs I remember were called "Shedding a Tear For You" and "It Is The Thought That Counts."

By high school, my friend Colin and I started dabbling with 8-track recorders. My first "real band," Little Rich Boys, recorded a six-song, studio album called “The Man Responsible” sophomore year.

ST: You have wonderful lyrical expression. Was this something that came naturally to you or developed over many years?

JT: Thank you. Looking back, my early, lyrical work was pretty general. Its greatest attribute was honesty. I've dived into specifics as I’ve matured: imagery, synonyms, alliteration, playing with verse, not rhyming, etc. I'm not above using a thesaurus or rhyming dictionary.

Natural talent only takes you so far. You need to take the gifts with which you are born and refine them. Inspiration is a gift. Manifesting and making it accessible is a cultivated craft. It's a constant work in process.

ST: “Bourbon Street” is such a rewarding song. What is the back-story behind it?

JT: There is a question often asked of composers as to whether they believe songs come from themselves or somewhere else. “Bourbon Street” felt like the latter. It had an immediate, blatant attitude and was the boldest move I had made following my instincts.

I debated releasing it because its style was such a contrast from the rest of my catalogue. Oddly enough, it’s the direction in which my new music is going. It complements my theater background, influences, and overall demeanor as a performer.

ST: What is your writing process for a song? Do you start with a beat or the lyrics?

JT: The concept typically comes as a package—melody, rhythm, and words.

The initial lyrics provide a way to retain the idea, but frequently indicate the direction of the composition's story. Then the distillation begins. Melody is of the upmost importance to me. There’s an epidemic of its non-existence in mainstream music.

After that, it's free play. Discipline has been a weakness. I've read stories about songsmiths like Leonard Cohen waking-up at 6:00 a.m., showering, dressing in a suit, brewing a cup of coffee, and going to it as a day job. That would send me off my rocker. I'm a token extrovert. Solitude sends me climbing the walls. However, it is such an integral part of the creative process. I have to work myself up to sitting down and “diving in,” which is strange because as soon as I do, it’s fruitful.

ST: What are the most difficult moments of being an artist? At the same time, what are the most rewarding moments?

JT: The business aspect used to be the hardest part. Creators have a burning desire to share their talent and there are people who take advantage of that. They will offer "exposure" or let you know how many people are out there doing the same thing. Don't put up with that bullshit. Educate yourself about the business. Don't assist in perpetuating opportunists—if it’s not a mutually beneficial relationship and sharing in the risk-reward cycle, then it’s not worth it.

The best part is connection: relating to others and providing a fulfilling experience. True communication.

ST: As an artist what changes have you gone through since your first album, “Breaking Down The Silence,” and do you think they reflect on your second album “Cocoon?”

JT: I just finished Iron John by Robert Bly. It’s a brilliant book. There’s an excerpt discussing how young artists have a habit of “showing their gold too early.” “Breaking Down The Silence” had some of that going on—the notion that everything I produced was worth sharing. Some things are best kept under wraps.

With “Cocoon,” I held myself to a higher standard: considering if what I was “saying” was worth audiences hearing. Inherently, new experiences begin to stimulate your work and psyche, which hopefully makes for more interesting content. I think that happened on “Cocoon.”

These days, I’m striving to go a step further: developing a distinctive sound. Miles Davis said, “Man, sometimes it takes a long time to sound like yourself.” For me, this is true. It’s tempting to emulate composers and performers whom you admire. Finding your own voice takes diligence and courage.

I plan to continue writing in various genres. I don’t like discarding ideas that have potential. That having been said, I’m aspiring to be more selective with what I present in performance.

ST: Given the chance, which singer-songwriter would you love to work with?

JT: Danny Elfman would be a solid choice given my current direction. Tom Petty is someone for whom I have a tremendous amount of respect. I could learn a lot from him.

Producer-wise: Questlove or Mark Ronson. Their beats and organic production technique put modern spins on classic, vintage vibes.

ST: What advice would you give to up and coming singer/songwriters?

JT: Talent is half the battle. Perseverance and work ethic are equally important artistically and economically. If you’re in it for accolades and money, pick something else. Do it because you love it and are moved to create. Then, go out and share it with the world.

ST: Can you tell us one random fact about yourself?

JT: I’m a first-degree black belt in Tae Kwon Do, member of Actors’ Equity, and have loved the distant smell of gasoline since childhood.

To check out more of Jeff Tuohy’s music, visit his official website or follow him on Twitter @J2EMusic.

The Writer's Bone Interviews Archive