Amanda Arista

Wow! 1 June has been and gone already — the year feels as if it is sprinting by!

Nonetheless, you know what the first of the month means: I’ve posted on Supernatural Underground (Which I have also been doing for eleven years, along with m’own blog, as mentioned on Monday.)

This month’s post is with fellow Supernatural Underground author, Amanda Arista, who writes two urban fantasy series: Diaries of an Urban Panther and the Merci Lanard Files.

Amanda writes heroines with strong ‘voices’, spins tales with a great sense of place, and rocks a pretty good mystery/thriller to go with her paranormal urban world and Wanderer (predominantly but not exclusively Shifter) societies.

Here’s a sample of what Amanda has to say in the interview:

“As I look back on what I have written and the stories that interest me the most, it is the universality of the traditions that interest me, where I find real magic and meaning in life. For example, every folklore has a Shifter story. Japan, German, Native American. There is a fundamental story about a person who slips their skin into another form. Some are the good guys and some are the bad guys. That informed the origins of my own story, that wanderers came first, before humans, and then humans spread out across the world telling the stories of these magical creatures. Again, it was all about finding something in the real world and building the magical explanation around it.”

There’s so much more and all of it good: just head on over to Supernatural Underground to read the rest:

Amanda Arista Talks the Magic In Her Diaries Of An Urban Panther & Merci Lanard Files Series

I am scheduling this post ahead of time, as we are currently in the middle of a Very Heavy Rainfall Event, with a state of emergency declared in the area where I am and the possibility of both power failure and evacuation on the cards. So I thought I’d get this loaded, no matter what occurs between my now (midday Sunday) and when this goes live at 6.30 am on Monday morning.

Aside from all of that, Monday 31 is the 11^th anniversary of my “…on Anything, Really” blog. (I don’t know if you’re thinking “wow”, reading this, but I sure am, typing it. 🙂 )

As it turns out, the blog is mostly about writing and books — including my books and writing — along with genre and its influences, as opposed to anything else, really. 😉

While this is unsurprising, in looking back over the blog I realized that it contains a considerable backlist of material on these key topics, much of which is still of interest.

I have begun tweeting posts from the backlist, with the more recent instances including:

• “Which Speaks, Book or Author?” http://helenlowe.info/blog/2014/06/12/which-speaks-book-or-author/…
  .
• One Day Out Writing — I Check In On A Favourite Cliche http://helenlowe.info/blog/2016/12/16/one-day-out-writing-aka-a-favourite-cliche/…
  .
• A Passion for Fantasy http://helenlowe.info/blog/2012/08/13/a-passion-for-fantasy/…
  .
• Hazards of the Writing Life http://helenlowe.info/blog/2016/05/20/hazards-of-the-writing-life/…

To mark the 11^th year, I will also be refeaturing some of the posts I think you may find interesting, aiming for at least one a month, but no more than four maximum.

Open for some serious worldbuilding business…

Just for fun, the tweets tend to be selected at random, but I *may* take a more thematic approach on the blog – watch this space to see how it all evolves.

I also want to say a big thank you to all of you for being part of what “…on Anything, Really” means, because I do think part of the blog’s vibe over the past eleven years has been one of community. I look forward to rocking on together. 😀

…& here, too, be dragons!

I was going to say “bookmarks” but in fact my assortment of airline boarding passes, supermarket dockets, old envelopes, and postits, with the very occasional actual bookmark, probably can’t be graced by that title.

Similar placemarkers do feature in books I’m reading as well (and sometimes remain there to be refound several years later), but the sheer number in my “working set” of The Wall of Night #1 – #3 is indicative of the work in progress.

In other words, if I’m referring back to earlier volumes, either to fact check and ensure consistency, or to ensure the right “echoes” are carried through into Wall #4 (The Chaos Gate) I usually deploy a placemarker — grabbing whatever comes most immediately to had — in an “X marks the spot” kind of way.

In this sense, the placemarkers also constitute an artefact of the writing life. 😀

Arguably, having quite so many of them does sometimes limit their effectivness. Then again, I have a pretty good idea of roughly where in a book the relevant passages or pages occur, and the placemarkers serve as a useful starting point, from which I can then work either forward or back.

Yes, the table of content may help, too, assuming I know the correct chapter title — but regardless, somehow it always feels more expeditious to use the placemarker navigation system, with the ToC as a fallback: which could be a case of “the heart… having…its reasons, that reason knows not of.” (Blaise Pascal, 1623 – 1662)

—

Inside the writing life

Previous Bulletins From Inside The Writing Life:

• A Little About The Writing Itself
• About Those Muses, Then…
• Naturally Self-Isolating
• Writing Novels, Posting Blogs
• Another Milestone Ticked Off
• A Game Of Two Halves
• Further Reflection on Writing Transitions
• Fun With Friends
• Those Moments Of “Grr-Argh”
• Sometimes It’s A Case Of “Oh Frabjous Day!
• “O Frabjous Day” Reprised
• Listening To The Silence
• Characters Behaving Badly

For those of you who are not on Twitter but are The Wall Of Night series readers, this probably counts as last week’s most significant tweet:

“Newsflash for #TheWallOfNight #readers — Malian has reached the Chaos Gate! Is this significant? Answer: THE CHAOS GATE is the #workingtitle for The Wall Of Night Book #4 … 😀”

It’s still not “the end”, but it is a pretty big sign post pointing that way – and a destination envisaged from the outset of the storytelling process.

There is still writing to do, so I couldn’t tarry, but as I wrote to Kate, the series’ editor, I did allow myself a “Snoopy dance” – and the tweet – by way of enjoying the moment.

And now, fully channeling the spirit of Mondays: onward. 😀

Harking back (again – because I did so on Monday as well 😉 ) to the May 6 post in which I discussed rereading books that count as very old friends, you may recall that the “old friend” in question was Patricia McKillip’s The Riddlemaster of Hed.

My favourite cover treatment — but not my edition!

I was still mid reread when I posted, but alas, when I came to the end of the book I discovered that time and not infrequent rereads have both taken their toll, because the last ten pages have completely separated from the spine.

Oh no!

Although I first discovered the series via the library, my editions (of the trilogy) are relatively early in its now forty-five year life, i.e. Riddlemaster (Book #1) was first published in 1976, and this was a 1985 reprint.

My edition. 🙂

I have had it quite a while, but am pretty sure it was acquired in the mid-late 1990s, at a then specialist bookshop in Dunedin (NZ) called (most fittingly) Bag End Books.

There’s a tribute site to Bag End Books here — check it out! Meanwhile, here’s a pic of the “other” Bag End: 😀

Bag End, Hobbiton

Although the book’s still in print it’s mainly available as an omnibus edition, so as I have the second and third books intact, I’ll probably see if I can repair my copy of Riddlemaster, since otherwise it’s in very good condition for a paperback.

On May 6 I mentioned rereading books that count as very old friends, which is something I like to do, despite the importance of keeping up with new books and titles, which is as important for authors as it is in any other field.

Conversely, I also believe it’s important to know what’s been written before, if only in order to know if “the new” is really all that new. O-o…

Needless to say, there is an awful lot pundits insist should and must be written now, which has in fact been done before if only one delves back – but that is another post again to this one. 😉

Today my theme is the somewhat eclectic array of older titles that have crossed my reading ken of recent times, originating in such diverse quarters as the back of the bookshelf (somewhat cobwebby, but hey, that’s what dusters are for!), the local hospice shop, the library remaindered table*, and the neighbourhood “book fridge.”**

I hope to share my “terribly important thoughts” on a few of them over the next wee while, with the foremost contenders being:

Amazons II – an anthology of original speculative stories about women warriors, edited by Jessica Amanda Salmonson, and published by DAW in 1982.

Maquis by George Millar, DSO, MC – the “first book of true war adventure to be published in England and America after the War (1945)”, it’s a firsthand account of the authors’ experience as an operative in Nazi-occupied France. My edition was republished by PAN in 1956 and was not, I gathered, quite so heavily censored.

These Lovers Fled Away by Howard Spring. Published in 1955, this novel (basically) follows four young men and those closest to them from the turn of the twentieth century through two World Wars to the period when the novel was written.

The Grandiflora Tree by Shonagh Koea. Published in 1989 by Penguin, this novel is the only one set in New Zealand and explores bereavement and how little we may actually know those to whom we are (ostensibly) closest.

I found each interesting, albeit in very different ways, so will be interested to see what you think when I post on each one – not necessarily one a week, although I shall strive for a reasonably prompt delivery on this post’s promise. 😀

—

*By way of an aside, I am sometimes surprised at the very good books that get let go via remaindered tables – to my gain, of course, since I snatch up any “finds”, although not without a qualm for what other reading “punters” will miss being wowed by in future.

** “Book fridges” first appeared in Christchurch following the earthquakes, one of the very many interim uses for lots were commercial buildings in particular had been demolished and would have otherwise remained empty and unused for years. Basically, the one in my ’hood is the shell of a commercial fridge where one can leave books or acquire them, as you will. They’re slowly going as the city rebuilds, which is a shame, as they’re a great way of recycling books.

USA

The About The Characters post series focuses on the minor characters in The Wall Of Night series, in large part because:

“I think it’s the presence of the smaller characters that “makes” a story, creating texture around the main points of view.”

~ from my Legend Award Finalist’s Interview, 2013

Initially, the series focused exclusively on characters from The Heir of Night, but now I’m continuing on with minor characters from both The Gathering Of The Lost and Daughter of Blood — in alphabetical order, by name, of course!

Currently, we’re traversing the “great plains” of “L” 😉

—

UK/AU/NZ

Liad: short for Liadinath, a farspeaker and knight-adept of the Derai House of Stars

He ran over their defenses, and recent events, again in his mind, but could detect no previously unseen weakness. And Tirael’s company, he reminded himself, also includes a farspeaker. The knight called Liad had contacted Stars when their company left the watchtower, which meant a relief force should already be on its way.

~ from © Daughter of Blood, The Wall Of Night Book Three – Chapter 51, Out Of Time

… or at least, proving singularly uncooperative.

I have vague recollections – without being able to point to specific examples, mea culpa – of other authors lamenting this phenomenon, which leads me to believe I am by no means the first to experience it.

It’s no secret either, that once begun, stories and characters tend to develop a life of their own – chiefly, imho, because both the narrative and the characters evolve as the story progresses. The characters respond to events, which leads them to change and grow, including in their subsequent actions and responses, hence the narrative also changing. Very like real people, in fact, and since they are real in the world of the story, it’s probably just as well that they do alter and evolve, even if it’s not always convenient for the author.

Or as Field Marshall von Moltke (I believe) said, “No plan survives contact with the enemy.” No, indeed.

Almost 100% of the time, though, the alteration proves beneficial to the story, even when a departure from the original plan. Almost as if the characters know a thing or two about themselves. Unfortunately that self-knowledge often evolves deep in the authorial subconscious and can take a frustratingly long time to work its way to the conscious “working face”: O-o!

USA

The most recent instance was of a slightly different order and involved the character of Thanir, a Darksworn antagonist that The Wall of Night readers will have encountered in Daughter of Blood. (Yes, he is in The Chaos Gate, but as he survived the events at the end of Daughter, I don’t think that’s a spoiler. 🙂 )

I have a pretty good understanding of Thanir’s backstory and – as I thought – his motivations, but those of you who recall his character will know that he is enigmatic at best. So on coming to the crunch of last month’s sequence, I discovered that his character was even more complex than I realized and his motivations equally challenging to unravel.

UK/AU/NZ

All of which lay at the core of my calling last month’s endgame sequence “a little tricky” – and what was in my mind, also recently, when I quoted Haruki Murakami’s: “My stories are always unpredictable to myself.”

Although when it comes to Thanir, I may also need to paraphrase Lady Caroline Lamb on the subject of Lord Byron. She declared that the famous (and infamous) poet was “mad, bad, and dangerous to know.”

Lady Caroline Lamb, painted by Sir Thomas Lawrence

The paraphrase, in this case, is that Thanir is “difficult to know”, although the Derai would probably fully concur with the “bad, and dangerous” part, too. 😀

It’s the author’s job, of course, to unravel the motivations of even the most enigmatic and difficult-to-know characters – and so unravelled they were, at least sufficiently to advance the story.

All part and parcel of the writing life, albeit requiring considerably more than a day’s work. 😉

—

Previous Bulletins From Inside The Writing Life:

• A Little About The Writing Itself
• About Those Muses, Then…
• Naturally Self-Isolating
• Writing Novels, Posting Blogs
• Another Milestone Ticked Off
• A Game Of Two Halves
• Further Reflection on Writing Transitions
• Fun With Friends
• Those Moments Of “Grr-Argh”
• Sometimes It’s A Case Of “Oh Frabjous Day!
• “O Frabjous Day” Reprised
• Listening To The Silence

Last Monday, I mentioned  “Loving the way the poems and books I heart always stay with me.”

And I know I’ve spoken in the past about the way books can be like old friends. You know, the sort where you can just be yourself, put your feet up, and relax into being companionable… (Yep, I am talking about books, but ’tis just as true of people. 😉 )

Another circumstance that directs me back to tried-and-true book friends is because, being in the endgame of WALL #4 (working title: The Chaos Gate), I am currently eschewing exploring new epic fantasies. I definitely want to keep the epic focus on the work-in-progress!

When it comes to the tried-and-true, I know I’ve mentioned Patrica McKillip’s The Riddlemaster of Hed in very positive terms on more than one occasion. A more recent “very good friend” is Martha Wells’ Murderbot series, which I’m happy to reread pretty much at any time. (And if you haven’t read either of these series, hie thee and read — how’s that for a recommendation?!) 😀 )

It was, however, The Riddlemaster of Hed that I picked up last week and began enjoying all over again. Knowing the entire three books very well by now, I felt a deep appreciation for the way Patricia McKillip sets up the story arc from the very beginning — although when reading for the first time, it may appear one is just getting worldbuilding and character ‘texture.’

(No, I’m not going to give detail or explain further, because that would definitely be MAJOR spoiler territory.)

There are plenty of gorgeous words, too. I particularly noted the following passage early on in my rereading:

“The sky darkened slowly as he and the harpist took the long road back to the city; on the rough horns of the bay the warning fires had been lit; tiny lights from homes and taverns made random stars against the well of darkness. The tide boomed and slapped against the cliffs, and an evening wind stirred, strengthened, blowing the scent of salt and night. The trade-ship stirred restlessly in the deep water as they boarded; a loosed sail cupped the wind, taut and ghostly under the moon. Morgon, standing at the stern, watched the lights of the harbor ripple across the water and vanish.”

It’s amazingly evocative and atmospheric writing. It’s also setting up the next action sequence at one level, while simultaneously “lulling” the reader at another. Do I appreciate the author’s craft? Yes, I do. 😉

Yet even with the most enduring of best friends, there can be the occasional wry moment. Part of the initial setup is the close family relationship between the protagonist, Morgon, and his brother (Eliard) and young sister (Tristan.) The book was also first published in 1976, forty five years ago now — and I did smile a little over the passage where, with visiting traders coming, Morgon tells Tristan that:

“…I simply want you to clear the tables, lay the cloths, reset them, fill pitchers of milk and wine, have them fix platters of meat, cheese, fruit and vegetables in the kitchen, braid your hair, put your shoes on, and get the mud off the floor. The traders are coming.”

Even in the mid ‘70s, known now as the decade the women’s movement really took hold, I suspect some authorial irony in writing that passage, with all the domestic work falling to Tristan’s lot. I also suspect that it would struggle to withstand beta reader and editorial review these days. Nonetheless, despite the gendered division of labour in Hed, the author also does a great job of establishing a close and believable family relationship between the siblings that is (also) integral to the rest of the story.

And as I’ve mentioned in other posts, when it comes to the second book in particular (Heir of Sea and Fire), and the character of Raederle of An, the Riddlemaster storyline doesn’t stay in that traditional space. In fact it was one of the first epic fantasies I encountered that not only introduced empowered and engaging female characters, but also included a major female point-of-view character in the series.

Besides, we are none of us without character flaws, so when it comes to friends, whether old or new, book or human, a little give and take over is probably what ensures the friendship endures. 🙂

Lee Murray

On Saturday May 1, I posted the fifth in this year’s Magic Systems in Fantasy series on the Supernatural Underground (SU) — this month featuring fellow NZ author, Lee Murray, talking magic and the supernatural in her short fiction and Taine McKenna series.

Lee is a multi-award-winning author-editor (Sir Julius Vogel; Australian Shadows), and a five-time Bram Stoker Award®-nominee. A third generation Chinese New Zealander, her work includes military thrillers, the Taine McKenna Adventures, supernatural crime-noir series The Path of Ra (with Dan Rabarts), and debut collection Grotesque: Monster Stories. Lee will soon take up NZ’s Grimshaw Sargeson Fellowship for 2021, for her poetry collection Fox Spirit on a Distant Cloud.

Just to lure you in ( 😉 ), here’s a wee taste of what Lee has to say in the interview:

“What’s interesting about horror, unlike fantasy and certain other speculative subgenres, is that it doesn’t have to incorporate magical elements at all. Horror, by definition, describes work that instills feelings of fear, the intensity of which appears on a spectrum that extends from vague unease all the way to bone-rattling white-knuckle terror. But the elements that make up our horror stories, the things that contribute to those feelings of fear, can either be anchored in reality or imbued with supernatural elements according to the needs of the story and the preferences of the author. For me, magic and the supernatural are a natural way to approach horror, partly because in New Zealand myth and monsters hover just beyond us in the shadows…”

Of course there’s more, and it’s all fascinating reading — so please do rock on over to the SU and check it out:

Lee Murray In Conversation on “Fear Beyond Boundaries” & Magic & the Supernatural in Her Writing

Enjoy!