My Biggest Early Influence, aka Navigating the Hurricane

This week's topic is talking about someone who was a good influence on you early in your writing career (aka, someone you're thankful for).  I'm going to cheat slightly here, and pull out a piece I wrote when I was asked to do a bio for one the guests of honor at ArmadilloCon, who coincidentally, is exactly that person in my life.  (Plus, it's the holidays, and I've got plenty on my plate, so I'm allowed a bit of a blog-cheat.)

---

I’m in a car in the middle of nowhere on a deep, deep back-country road. Flash floods and washed out roads have forced my journey home off the main highway, and then off the side road. I’m literally in a moment one plot-point away from being a horror movie cliché. But it’s cool, because I’m riding shotgun with Stina Leicht.

All right, here’s the sitch: We were both on panels at ComicPalooza in Houston, scheduled for a last-panel-of-the-con slot at 5pm on a Monday. My wife had to drive home early, so I asked Stina for a ride back to Austin, and she was happy to oblige. So we get into Locksley—her blue Miata—and hit the road. Problem: there’s been serious flooding in Austin, and the heavy storms are making their way to us. Our respective spouses are texting us, “You might want to stay in Houston” messages. But we’re both thinking A. the storm is coming to Houston, so that’s not a better choice and B. no, we want to get home. And this is Stina Leicht I’m with. She’s navigated the choppy waters of the publishing industry, including the implosion of her first publisher, and came through with two Campbell nods and brand new flintlock fantasy series hitting the shelves. Rain ain’t gonna stop her.

The first time I saw Stina was ten years ago at the ArmadilloCon Writers Workshop, my first time attending it. I was sitting in the room, surrounded by strangers and feeling a bit intimidated, especially with that panel of professional and experts at the front of the room. And then this woman walks—nay, strides—into the room like a gothic warrior intent on conquering. But, you know, cheerfully. She walked right up to that panel of experts and said hello. And I thought, “I don’t know who this woman is, but she’s clearly the champion of this workshop.” I was right about that—she finished up the con weekend getting a manuscript request from the Editor Guest of Honor. That’s not something that happens very often. Actually, having been involved in the workshop in varying capacities for the last decade, I don’t think it’s happened since.

Stina took over coordinating the ArmadilloCon Writers’ Workshop shortly after that, which is how I got to know her. In running the workshop, she repeatedly showed her dedication and commitment to learning as much as she could about her craft, and then turning right around and sharing what she learned.

So, back to riding through that storm (spoiler: WE LIVED)—we just about made it to LaGrange when our phones lit up with TORNADO WARNING SEEK SHELTER. Stina pulls us into a gas station for a few minutes while we check the radar. The worst of it is just ahead of us, and past that? Clear sailing. If we just get through it.

Stina’s car, Stina’s call: “Let’s wait for the rain to be less… horizontal.”

Fifteen minutes later, gravity starts behaving again. We push through the downpour and past the other side. The sun is setting ahead of us, filtered through a heavy blanket of orange clouds and lightning across the sky. It’s a gorgeous alien horizon, and we talk about Ray Bradbury’s All Summer In A Day.

Then everything stops dead. The highway is flooded, and the troopers tell us to turn around. When asked for the best route to Austin, we get a shrug. I go into navigation mode and find us an alternate path that, near as I can tell, is clear. Rural country highway, but it’ll get us there. There’s already been hell and highwater, so we press on.

See, that’s the thing about Stina. She charges full-tilt. She’s not fearless, but rather looks the fear in the eye and beats it. She stood at the Gates of Mordor—or rather, the gates of traditional publishing— and proved her worth. But then she turned around to those behind her and said, “Hey, look, it can be done. Come on!” That’s what she did running the Workshop for seven years. And after a couple years of reading my stuff, she said, “You don’t need to be taking this workshop anymore. You should help me run it.”

She knows that the real secret—the honest to goodness this-is-how-you-do-it secret to succeeding in this business—has nothing to do with special clubs or handshakes or having the right cousin. It’s about doing the best damn work you can do.

Take her first two books—Of Blood and Honey and And Blue Skies from Pain. She didn’t just say, “I’m going to write about Ireland in the Troubles, so I’ll watch In The Name of the Father and get to it.” No way. She did the work. She read primary sources. She emailed people who lived through it. She took classes in the Irish language. She did everything in her power to make those books right. That’s how she works. They don’t give two Campbell nods to just anyone.

So, our country highway was also washed out. I figure out a new route to get us around that, but we are going deep into Nowheresville with this detour. Now it is totally dark, and the cell reception is spotty. We’re a breakdown and castle away from Rocky Horror territory, which we comment on. Then we miss a turn, leading us to a dead end where we see a sign that makes us both burst out laughing.

GRAVEYARD

We turn back around at get back on track, eventually getting to a clear part of the main highway and back to Austin. Three hours later than we originally had hoped, but no worse for wear. We had gone through the gallows humor phase of our trip by that time.

“I mean,” I said once we were in the clear, “If we had died together, it would have boosted our careers. Well, at least mine. I’d have been the Ritchie Valens to your Buddy Holly.”

Fortunately, you’ll have Stina Leicht around for some time to come. Even still, you might want to pick up Cold Iron and pre-order Blackthorne now. 

Early Influences

The obvious answer to this weeks question is: my first editor. But, because I have previously posted about what I learned during that time, allow me to step back even further, to a time before writing was a career and lingered still in that space where hopeful peeople stash their dreams.

My senior year of high school I returned to public school after six years in a private religious school. It was at this time that I met Mr. Grandy, my creative writing teacher. It was a great class; instead of the standard English class with increased difficulty offered at the private school, I finally had a class where what mattered was applying what I had learned bby diagramming all those horrid sentences.

It lasted only the last semester of the year, but it was the best part of school. We wrote and made a movie, we followed class prompts for assignments, and we got to work with fiction. The teacher took note of my work which tended to be much longer than the assigment dictated, and after we talked some he asked if he could take a look at what I had written. Delighted, of course, that someone wanted to take a peek at my words, I said yes.

This was the first time someone other than family or friends had read my work, and since he was a creative writing teacher I figured he knew what he was talking about, so when he came back with nothing but encouragement, I was happy, stunned, and motivated.

That stayed with me for years.

Before my first book was released, the publisher sent me two advance copies. I jumped through some hoops but found and contacted Mr. Grandy. It had been 17 years since I'd last seen him, but he remembered me and he agreed to meet me at the local Barnes & Noble. He brought his wife. I brought my mom. I gave him one of my two copies, signed on the thank you page where his name was first. We had a fantastic time that evening, talking, catching up. It meant the world to me to share one of my advance copies with him because he was the first person who made me feel like I really could do this.

I will always be grateful that he went the extra step and took my work home to read over the weekend. He didn't have to do that, but because he did and because he encouraged me, I held on to that.

I hope you all have a wonderful Thanksgiving with your nearest and dearest, and I hope that you remember those who encouraged you and that you take it upon yourself to offer genuine encouragement to others.

Blessed Be.

Early Influences: The Naysayers

The person(s) most influential on my early writing career:

The Naysayers

I've met a lot of them. Some of them were probably spot-on about my questionable talent. A few were just assholes. Most likely didn't care enough have a thoughtful opinion. "Can't" is easier than "can." "No" is more convenient than "yes."

Alas, I'm stubborn. I was raised by an awesome family who said I could achieve anything I set my mind to.

Nannynannybooboo. Sticks & stones. I'm not giving up. 

All I needed was a clue. I'd happily work to earn success. I would learn. I would improve. I would do what it took to get what I wanted. Still will. Still do.

Somehow, I'd managed to get a degree in English Writing without learning a damn thing about the publishing process. (This was in the days long before the Internet and Self-Publishing. Back when personal computing was breaking into the mainstream.) Query letters? Synopses? Pitches and hooks?  I didn't get those answers until I joined Romance Writers of America (RWA). Gods bless 'em, they were the only group who accepted unpublished, utterly clueless aspiring authors into their ranks. They gave me the information I desperately needed, supplied avenues for networking, and set me on a path of continual learning to improve my craft.

It's been a while since I've penned a romance, but the generosity of the Romance community is something I still hold very dear.

Hat tip to the naysayers. They'll always be there. Pushing me to be better. Ensuring I enjoy every moment of proving them wrong.

The most influential person in my early career.

There are at least fifty, all for different reasons.

So today I pick one and I'll explain at the end of my tale.

The first professional convention I ever went to was the a meeting of the Horror Writers of America. It was the same year they became the Horror Writers Association, but that didn't happen until later in the weekend.

It's Thursday night or Friday night. I think Thursday. Keep on mind this was a loooooooong damned time ago now, and I looked around a room full of authors that I had read and admired and was terrified. Seriously. Who the hell was I to talk to the likes pf Peter Straub, Rick Hautala, Charles L. Grant, Chelsea Quinn Yarbro, all of whom are in the same room with me and chumming it up? Awestruck? Maybe. But mostly I was terrified. Somewhere around that same convention was John Carpenter. John-Freaking-Carpenter!!!!

So, yeah, I hugged the wall, helped myself to a diet drink and and observed the people around me, absolutely overwhelmed.

A man a few years older than me moved closer and asked me my name as he offered his hand. I shook his hand and told him who I was.. He was diminutive next to me, but let's be fair, a lot of people are. I was taller, probably weighed twice and much and I couldn't have been more grateful to someone for speak to.

For the next ten or fifteen minutes we chatted, and I relaxed and the next thing I know, this gut with longish hair and a beret and casual clothes is leading me around the room and introducing me to people I never thought I would be in the same room with and they are, as a whole, treating me with respect and and courtesy.

And when it's done and I'm suffering from a case of too much smiling because, damn, I met some really cool people, the man shakes my hand again and says "My name is Charles DeLint, Jim, and it's really nice to meet you."

Charles-Freaking-DeLint. Another writer I never expected to meet. Another writer I had had admired while reading several of his books, for his eloquent prose and amazing stories. Turned out he was an amazingly nice guy, too, who was kind enough to spend a few minutes with a nervous wreck and to make sure he met everyone and felt at home.

Believe me, he was amazingly influential on my early career.

I've tried to live up to his example at every convention. Be gracious, be kind, be welcoming. It hurts nothing and you never know....

Keep smiling and have a great Thanksgiving, folks.

I am often reminded how much I have to be grateful for.

The Right Words at the Right Time - Supporting Newbie Authors

THE CROWN OF THE QUEEN will be available as a stand-alone novella on November 22! (You can preorder now at Amazon, Kobo and Smashwords.) If you already have FOR CROWN AND KINGDOM, this is the exact same novella in that duology with Grace Draven. You can get mine alone for $2.99 or both of us for $3.99. A deal, either way!! If you haven't read it, THE CROWN OF THE QUEEN takes place between THE TALON OF THE HAWK and THE PAGES OF THE MIND. It's told from Dafne's point of view and bridges the events in the aftermath of TALON and sets up her book, which is PAGES.

Our topic this week is "The person(s) most influential on my early writing career."

This is like picking literary influences - there are so many!

But it's been fun to contemplate, thinking about those very early days in my late twenties, when I finally realized I wanted to be a writer instead of a scientist. It was really difficult for me to tell people about that.

Because, well, it sounds silly, right?

In telling people I wanted to write books, I felt like every other person who's ever made noises about "someday writing that novel." And, to be frank, many of the people I talked to about this enormous pivot in my life plans pretty much nodded, smiled, and blew it off as so much wishful thinking. Those were the nice ones.

My PhD adviser - with whom I had a contentious relationship at that point as I struggled to complete my degree - said, "I think writers need a lot of self-discipline, to work steadily on projects over time - are you sure that's for you?"

Ouch.

Others were kinder, but "helpfully" presented statistics on the impossibility of such enterprises. One friend, however, one of my sorority sisters from college, sent me two books on writing. She probably went to a bookstore and asked for something to send a budding writer, because they're two of the classics. More important, she sent a note with them that said, "The only people who are annoying because they talk about writing a novel are the ones who never do it. I know you will."

That meant everything to me.

I could go from there, to those early classes and the various writers who took their time to teach me - because the list is long of teachers who did so much to help me along, which is part of why I teach, in turn - but it was the people who gave their whole-hearted supported who made that initial difference.

It's easy to crap on someone else's silly-seeming dreams. Of course they don't have the writer's discipline yet. That comes over time. Of course the odds are stacked against making a living as a writer. They're even higher for the person who never actually writes the book.

So, this goes out to Sandy Moss, who sent me those first books and - most important - the faith at exactly the right time.

Turns out, you were right! As always.

Much love to you, too, in TTKE.

Fuel for the Fire

I love all of this week's posts. Excellent, thoughtful, high-minded reasons for writing. I wish I could jump on the band wagon. But I can't. Cause I stand firmly on a line. It reads 'CRAZY'. Allow me to explain.

You know when you think you're alone and you aren't just talking to yourself, you're having entire conversations? The voices in your head are addressing you and it would be super impolite not to answer back? Only you do so aloud and it turns out you weren't alone and now everyone is looking at you like you belong in a straitjacket?

What?

Only me? Damn. That is totally why I write. Why I have to write. There's a throng in my head. I mean, sure, we all know we have voices residing in the gray matter. Mostly the voices of our parents and other loved ones, right? Most of us can still hear Mom telling us that if we keep making that face, it's going to stick that way. Those are the normal ones. The expected.

That's not all that goes on for me. It's crowded upstairs - crowded with a bunch of people and voices whose names and faces I do not know and never have known. From time to time, one or two edge out of the crowd, pull me aside, and they tell me who they are. From that point, I have no choice. If I don't start writing, I'll be on my way to an involuntary hold in a psych ward some where because those voices will not leave me alone ever again until I get their story down.

I get that this sounds like hyperbole and I can see you rolling your eyes from here, but I swear this is a thing. I can call my mother. We'll be chatting about everything under the sun BUT writing and out of the blue, she'll say, "You aren't writing, are you? I can hear it. Get off this phone and go work before it gets any worse." Every single time, she's right. There's a pressure that builds up inside - a little like that Alien movie - something trying to claw its way out through my sternum. It isn't comfortable. The only remedy is to get words down. Get a story on a page.

That's the fuel. And so long as I use it wisely, I avoid psychoactive medications and I eventually get a book out of the deal. So while I'd love to tell you I have some great intellectual drive or will of iron that gets from Chapter One to The End, it's more a feeling of responsibility to those voices inhabiting my head because each individual in the crowd is awaiting a turn - a chance to come to life on the page.

So maybe, the real truth is that the fuel for writing is as much a god complex, an over developed sense of responsibility and stunning hubris.

Or I'm just nuts.

What Fuels The Words

I've been talking the past few weeks about driving forward, about the endurance, doing the hard work. That's really the only way books get written.  So then when the next question comes and it's, "So what drives you to do it?", I have a hard time answering.  Because, to me, it's almost like "why are you breathing oxygen?"

In the latest episode of Westworld-- without giving serious spoilers, when confronted with why he's done the things he's done, he answers, "I just wanted to tell my stories".  I feel very much the same way.  I know the stories I want to tell, I'm never plagued by writers' block, at least on a macro level.  (On a micro level, I sometimes don't know how a scene is supposed to work, and that's frustrating.  Sometimes a project isn't quite coming together and gets put to the side... but there's always more projects in the works.)   

Of course, right now I'm in a position of privilege.  I'm writing books that are already under contract-- doing work that I know where it's going to go.  Back when I was writing books without an agent or a publisher?  There I was fueled just by the fire in my gut-- that I had to tell the stories of Maradaine, and get it out there in the world.  Someone once told me that writing novels was a thing you only did if you can't imagine not doing it. I think that's about right.  And I'm still not satisfied.  Each novel, I'm hungry for.  

And I bet you are as well.  So get down to those word mines, and get to work.  No one else is going to do it for you.

Inner Drive

Last evening, my family went to the movie theater to watch the filmed version of the National Theater's production of Hamlet, starring Benedict Cumberbatch. (Amazing. Go see it if you have the chance.)

It was not a live feed, but it lost none of the live theater vigor and momentum that a film simply cannot reproduce. Film is distanced by editing and changes of scene and setting, but in theater they do all that right before your eyes, right now. The actors and crew work magic and transport you from your seat to another time and place. They sing, dance. They deliver lines as if they've just revealed their deepest heart and you weep with them. I've worked around theater. I've been to some big productions. I used to play in a rock band. Live performance can transmit an enormous amount of energy between performers and audience and back again.

My son, who was a good kid drifting through his youth as many kids do, decided a few years back that he wanted to try acting. I encouraged it. He landed a decent role in the smaller of the local theather's next production. He was amazing...line delivery, at ease on stage. And that kid blossomed. Grades went up, confidence increased, and he stopped drifting. He had realized he had a motor and could decide exactly where he went and how fast. He learned he was in control of his life.

Much has occurred since and now he's about to embark on a role in a web-series. He is beyond excited. So am I.

I knew seeing this stage play (even tho filmed) would be good for him. At intermission we talked and it became clear that he had just realized the bar could be set much higher than he had previously thought. Do you have any idea how awesome it is to see a kid's eyes sparkle because he's humbly admitted to you that he knows he has a lot of work to do--and is eager to get started?

That kid works out regularly. He eats right. This has influenced me; I've lost fifteen pounds so far.

I recognize his inner drive. It brings joy to my heart. All I have to do is encourage and support him, scope out the next steps, shine the light on them and get out of his way. He wants to do it. He is willing to work. He is willing to learn. He makes every effort to be prepared for the next opportunity as he climbs.

I was like that once. I'd drifted.... Good at art. Good at writing. Really good at playing music. I decided to focus on the band. As a seventeen year old girl who had been playing guitar for a year and could rock on-par with local fellas of twenty-one to twenty-five who'd been playing for six or seven years, a chick who could play the solos but tended toward more melodic emotive notes than the blazing jibberish so many did...I had something. I had talent and drive inside me. I played for hours and hours every day because I wanted to.

But I didn't have parents who understood how good I was or who had a clue how to help me be what I wanted to be, even if they had wanted that life for me -- which they didn't. They permitted me to be in a band and rehearse and play in the bars, but they set up road blocks as well. Eventually, my fire for that turned to embers. I allowed it, influenced by family ties and a near-deadly experience with electricity. Besides, too many people (read as too many attitidues + too many decision-makers + not enough of my interests) needed to be involved and it wasn't sustainable without total support.

But words...I didn't need three other people to be on board with the story to write it. I didn't need to use the car to go write. If I was up late writing, my folks didn't have to wait up for me.

I allowed their path for me to become mine. It failed. After I'd tried it their way, twice, I did what I had originally wanted to do. I went to college, but I did it as a mother of four and still managed to graduate summa cum laude. I've had six novels published by a major NY house.

I'm not done yet.

My drive is still on. My motor is churning hard and there's fuel a-plenty to burn.

Recognize that thing you do that gives you some joy. You know, that thing you do for you, the thing you're passionate about, the thing you've worked hard to nurture your talent around. That thing you willingly give your 'free' time to, it's your thing. Like the energy transferring from actor to audience and back, when you do your thing, you feed your fire and that fire feeds you. Be willing to work and learn. Be willing to fail and try again. Make every effort to be prepared for the next opportunity that comes. Never give up. The pursuit gives you not only joy, but personal character.