Author Spotlight: ANDREW RICHARDSON

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For this month’s Author Spotlight, I’m happy to focus on author ANDREW RICHARDSON, whose latest book The Faerie Handmaiden of Annwyn was just released (today), adding to his already impressive list of published fiction in several genres. Congratulations Andrew on your latest release!

Andrew lives in Wiltshire, England with his wife, a rescue cat, and a son who occasionally pops home from university. He’s within easy reach of Stonehenge and other historical places whose regal solitude provides a clear mind for working out plot difficulties and story ideas. And with a background in archaeology and having worked on sites in England, Scotland, and Wales, it’s not surprising that much of his writing reflects this interest and experience. Most of Andrew’s published work falls in the horror or historical fantasy genres.

Synopsis of The Faerie Handmaiden of Annwyn:

Dancing with her friends in the mortal realm, Penni, the fairest Tylwyth Teg, has no idea of what she will unleash by disobeying the law. A mortal attacks the handmaidens and blocks Penni’s return to Annwyn. Banished for breaking the law, Penni is forced to take refuge with Pelling, a mortal, and his family.  Penni and Pelling find love and marry, despite his brother’s hatred of the fairy folk. He wants to sell her – Tylwyth Teg slaves fetch a princely price, a great temptation for a poor farmer. The couple moves to the capital of fifth century Wales where King Maelgyn rules. Subjected to prejudice and cruelty, they are trapped in the bitter struggle between Christianity and the Old Ways of paganism. Accidentally burnt by iron – the fairy folk’s greatest fear – Penni seeks sanctuary and a cure in Annwyn. Can their love surmount the differences in cultures and religion? Can their marriage survive their separation?

I talked with Andrew about details of the mythology surrounding his new book and other aspects of his successful writing career.

Can you talk about the mythology of your new book and what inspired you to write it? 

One of my passions is sixth century Britain (The Age of Arthur), particularly north Wales where I studied the period at university, and another interest is north Welsh myths and legends.  ‘The Faerie Handmaiden of Annwyn’ combines the two.  It follows an ageless story about a man who married a fairy.  I set it in sixth century north Wales so I could include some of the period’s events and people, particularly the colourful King Maelgwn who is a fascinating character with countless myths and legends surrounding him.

Tylwyth Teg (fair folk) are the Welsh equivalent of fairies and feature a lot in Welsh stories.  Their kings and nobles appear in a lot of different places – even Shakespeare – so it was fun including some often-used characters around Penni, the story’s main focus.  The original is set in the Nant y Betws, a stunningly beautiful Welsh valley I know well, although sadly the meadow where the fairies danced and where Penni met her husband is now a sewage works.  Annwyn is the traditional Welsh Otherworld where Tylwyth Teg live, and while there’s no obvious sign of an entrance in the Nant y Betws these days, walking through the valley it’s easy to imagine the fair folk watching from behind one of the ancient field walls.

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You have an impressive list of publications, and even more impressive is your experience writing in very different genres. Is there one genre you feel more at home with than others? 

Horror and historical fantasy are the two genres I work in most and I enjoy each equally.  As a generalisation, horror stories tend to be relatively simple and linear, while fantasy has a more complicated structure and needs subtle sub-plots.  I like being able to just get on with a horror novel without having to plan too much, but on the other hand historical fantasy is more rewarding when it comes off because of the extra work involved.

Which genre made the biggest impression on you as a child and as a young reader?

My parents don’t like horror or anything remotely dark, so I wasn’t brought up with it.  That led me to wonder what it was all about when I was in my teens so I read a couple of horror novels (James Herbert’s ‘The Rats’ was my first) and I was fascinated not so much by the horror itself, but by discovering a genre I hardly knew existed.  In my teens and early twenties I read as much horror as I could get my hands on, so the structure of horror stories slowly sunk in which is why my first writing attempts were in the genre. Historical fantasy came a little later with my interest in Arthur’s period.  I wanted to see how different authors explained some of the more improbable elements of his story.

For novice writers wanting to break in, what are some of the industry “rules” about writing historical fantasy? Are there any challenges, or else any advantages to writing in this genre that you might not have in other genres?

The usual rules for writing fiction apply, like strong characters and imaginative plots.  An important ‘extra’ is to know the period because although you’re writing fantasy you’re also writing history, so you need to get the clothing, habits, beliefs, and the like right.  That’s why my fantasies are set around Celtic Britain; the time and place has always fascinated me and I feel comfortable setting stories there.

 An advantage of writing stories set in a period where there are hardly any written records is that events and characters are often very shadowy.  This gives writers a wonderful opportunity to interpret what happened, and the people involved, in the way they want or the way that fits best into the story, which is great fun.

How and when did you start writing books and who was your most important teacher or writing-mentor?

My wife works shifts, and when our son was born in the mid-nineties I wanted a hobby to keep me occupied in the evenings after I’d put him to bed.  I’d always enjoyed writing at school so I decided to give fiction a go, and loved it.

I’ve never had a formal teacher or mentor but after writing for a few years I met both Phil and Carole.  Both are an invaluable help in terms of critiquing early drafts of my work and giving moral support when I’ve needed it, and have become very good friends as well.

What else do you have brewing at the moment and do you have any future publications lined up?

I’ve just finished a horror about a group of archaeologists who uncover an ancient goddess, which is looking for a publisher.  It’s not a fresh idea so while I’m happy with it I’m not sure anyone will want to take it on, but it’s in the sort of 1980s fiction I grew up reading and it was rewarding to do a homage to the style.

I’ve also started work on a fantasy/horror about changelings.  Changelings were babies believed to be fairy children swapped by malevolent fairies for human babies in the night.  I’m writing about what might happen if this still took place in the modern day.

Is your latest book a standalone or part of a series?

It’s a standalone.  I’ve never written a series, I’m itching to try something different by the time I’ve finished a novel.  And my first interest was horror, which isn’t a genre lending itself to series so I’ve never really thought about it.

Thank you, Andrew, for joining us this month and sharing your writing experience and inspiration with us!

Learn more about Andrew here:

 

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Would you like to be featured in an Author Spotlight?

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Whether you’re an experienced, mid-career book author or you’ve just released your debut novel, Spotlight features are a great way to launch a new book, broaden your exposure as a published author, leverage the networking power of social media and, ultimately, drive more potential book-buyers to your Amazon or retail book site to increase sales.

The process is most effective if a post is published immediately after the release of your book, so readers can learn about you as a writer, read about your story, get interested in your main character, and then go directly to your Amazon page.

So far I’ve covered fiction and nonfiction, and I’d welcome any genre, as well as short story collections or poetry. Traditional, small press, agented, unagented, and self-published authors are all welcome.

If you’re interested in being featured in an Author Spotlight on this blog, email me at lisamarietowles@gmail.com, give me a few weeks’ lead time, and send me the following:

  • High quality photo of your book cover and head shot photo of you
  • Synopsis and the first few chapters of your book
  • Your bio and a press release (if you have one)
  • Publishing info

I’ll go through your materials and email you a list of interview questions. Feel free to check out my prior Author Spotlights to see how they’re formatted and structured.

And once the piece is finalized and published, you can use the URL to your heart’s content. Share it on Facebook or any social media site, or post it on your own blog or author website. WordPress is mobile-optimized, so your post should display well on an iPhone or similar device.

The writing path is difficult and solitary, so writers need each other for support and encouragement. Writing a book is a REALLY BIG DEAL, and getting it published is a huge accomplishment! I want to help you celebrate the success of your book release to encourage you to a) keep writing and b) help other authors by encouraging them. You can do that by taking the time to review books on Amazon and Goodreads, attending book-signing events, retweeting posts on new releases, and celebrating their successes. Comment here or email me with questions, and see you on the trail!

 

 

 

 

 

 

 

 

Author Spotlight: DIANA DUFF

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The genius of Diana Duff’s writing is its elegant simplicity. “It seems such a strange thing to be doing, I thought, however ordinary the surroundings: waiting in a coffee shop in Oxford Street with the London traffic roaring outside, for my mother, whom I would not recognize when she finally arrived.”

With a path that led her from South Africa to Ireland, Uganda, Kenya, and Tanzania, Ms. Duff’s page-turner memoir, Leaves from the Fig Tree reads more like an adventure novel, submerging us in the vastly different worlds she has known with a story of isolation, travel, rebellion, love, and freedom.

At age 2, she was transported from South Africa to her family’s historic estate in rural Ireland, County Cork, in a Victorian estate called Annesgrove (originally Ballyhimmock), built in the 1700s.

A descendant of the brother of the Earl of Annesley, Diana’s pedigree isolated her as a child within the rigid confines of Victorian life in rural Ireland, with no siblings or other companions except a series of ill-equipped governesses, juxtaposed with the expansive freedom and wild magic of the Africa that called to her again and again.

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I talked with Diana from her home in Johannesburg about her story and her writing path:

You were quite the globe-trotter! You went to Kenya from Ireland at age 18, then stayed in Kenya and Tanzania until you were 30, when you went to South Africa. What do you remember most about Africa in your early days there? There was a freedom there that allowed people to live an eccentric way of life doing their own thing. During that time, it was not a very structured society, and it was a fantastic place to live. People were really individuals, they didn’t try to fit into any social system or way of behavior, and they didn’t need to. Kenya was my freedom.

How did living in the midst of the Mau Mau rebellion in Kenya impact your view of the world? I was so young, I didn’t really appreciate the dangers. But we certainly lived in the middle of it all.

In thinking about writing mechanics, is there one thing that you consistently see writers getting wrong? Nowadays there is a tendency to overdo the shock tactics, and maybe that’s required the way the world is now. It seems that authors feel pressured to write about sensationalist topics rather than writing what they feel strongly about, what moves them. And those books aren’t like art and it’s less of a pleasure to read them. In Isak Dineson’s Out of Africa, for example, you can really see the people, you can feel them.

Which is your preference for the books you read – fiction or nonfiction? What are you reading currently? Though I read mostly fiction now, I’m also reading Heat by Ranulph Fiennes and The Story of an African Farm by Olive Schreiner.

Since you’ve seen so much of our world, what do you think is most different about it now compared with when you were younger? Politics, power and money seem to be the ruling factors today. A drive towards material wealth takes all the color out of life  and is not at all appealing. But there are still magical places in the world. Where I work, we have a lovely Moonlight Market – an evening, outdoor organic market with organic foods and lots of gems and minerals, which attract amazing people with amazing stories. Stories are the common thread for me, for everyone.

Everybody’s interesting. Every single

person has got a story to tell.

At age 85, Diana still works – at Bryanston Organic Natural Market, an organic outdoor market and gem and mineral store, where she meets fascinating people every day. “Today I met a man who’s building a life center on Green Island (Queensland), I met two Americans, someone who’d gone to Malaysia on a canoe trip, and someone who’d been gored by a hippo.” And she has written another story (fiction this time), which takes place in Tanzania.

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Diana’s book, Leaves from the Fig Tree is published by Rebel e Publishers in Kindle, paperback, and other digital formats and can be purchased on Amazon.

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Thank you for reading! If you’ve enjoyed this post, please Like or Share it with other readers and writers 🙂

Defining (or re-defining) Success

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How do you stay motivated to write when you keep sending out query letters, manuscripts or chapter submissions and getting back form rejections or radio silence?

Let’s take a step back and look at how you currently define “success”. Is an actual publishing contract or agent representation the only way you’ll feel successful as a writer? If so, you’re not alone, this is a very universal goal among writers at any stage. But your unfailing ambition and persistence could be preventing other smaller (and maybe more likely) successes.

Success comes in large and small packages. How it’s defined is deeply personal…and you can change your definition anytime. I recently received an un-rejection by a reputable literary agent in a personalized (not form) email, and to me this felt like my manuscript sample had caught enough of their attention to ascend to a senior editor. Though that editor ultimately passed, they included a note that my story sounded intriguing and that they liked my character’s voice. I defined this response as success (a small one, yes). But if you spend all your time and energy trying to catch big, trophy fish, your artistic heart might starve in the process. In the same way that we take vitamins to supplement the nutrients we don’t get in our diet, a steady feed of small successes will keep you inspired through the process and help you to keep writing!

Aim high; aim low. Of course continuing to target major New York literary agents, as well as publishers directly, is the best chance of getting your work seen by the industry’s primary decision-makers. But with so many major publishers requiring submissions only through agents, you can boost your chances of visibility by including smaller, independent publishers, as well as newer literary agents who are just starting to build their list of clients. New agents are more likely to take a chance on a new literary voice than an established agent. Or if print publishing isn’t your only desire, you might consider a strictly-digital ePublisher. Certain ePublishers, such as Witness Impulse (a division of William Morris) balances their lack of offset printing with massive distribution and huge potential visibility.

Due diligence. Regardless of who you send your work to, keep your submission strategy simple. Go to the publisher’s or agent’s website and read their submissions guidelines, their specific directions, and follow them. Edit your query letter and your manuscript sample right before you send it. Yes, even though you’ve edited it a hundred times already. Resist the urge to include any additional content that wasn’t specifically requested in the submission guidelines. Keep track of your submission with names, dates and results.

Personalize. In the same way that us writers hate getting form-rejections, acquisition editors and literary agents have repeatedly reported that same complaint. An agent doesn’t want to feel like a number – like you’re paging through the Literary Marketplace and mass-mailing the same generic package to everyone. And I’m by no means knocking mass-mailing. I’m saying it’s advantageous to personalize a submission as a means of making an agent or editor feel…well…special. If you haven’t met the agent or publisher you’re querying, research them, learn something about them. Educate yourself about what books they love, where they’re from, what inspires them. Find a conference where they’re speaking and be there. Don’t fake a connection – make one.

Tactics. Here are a few ways to keep focused on your ultimate goal of landing a publishing contract while keeping your mind sharp, opportunities open, and muse fed:

  • You make direct contact (and get a direct response) from a literary agent via Twitter inviting you to submit
  • You learn of a new agent in New York who’s seeking manuscripts in your genre and you send them a query
  • A traditional publisher has now opened submissions directly to authors instead of only through an agent
  • You send a query letter and your recipient asks to see a partial of your manuscript (yeah, baby!)
  • You write a short story and get it published in a literary journal. If you can boost your publishing creds while finding a book publisher, all the better. The same goes for publishing a book review, or being asked to be a guest blogger on a writing blog
  • On your submission tracking list, create a separate section for Successes and list them separately, in bold, in a different color ink to call them out.

One final tip: not if but WHEN you do connect with a literary agent or book publisher who offers you a contract, check out Preditors and Editors to vet them first, read about their reputation, their contract, and feedback from other writers.

How do YOU define success in your writing career? Do you have other ways of keeping yourself inspired and motivated on the path towards publication? Please share your comments with me here, and thanks for reading!

 

 

How do you deal with rejection letters?

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If you’re a serious writer who’s either published or working to get published, you’re not new to the dreaded rejection letter. They’re as ubiquitous to publishing as milk to the coffee industry. What happens when you get one of these in the mail?

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Do they cause depression?

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Rebellion?

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Anger?

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For some highly enlightened souls, rejection letters cause them to revise their manuscript and even create a new story twist or plotline that they hadn’t thought of before.

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Some truths about literary rejection letters:

  •  They are a sign of courage that you were willing to write something worthy of market value, polish and perfect it to industry standards, and put it before someone else’s eyes to be judged. Don’t discount this aspect, it means something.
  •  They are unbelievably common among all of our industry peers – from John Grisham and Dan Brown to J.K. Rowling. Depending on what you write and which market niche you’re approaching, the odds of getting a query or manuscript accepted by either a publisher or agent are unmistakably low.
  •  It’s not personal. Unlike relationship rejection, literary rejections are solely based on your manuscript and project, not you as a person. When you can think of it in those terms, doesn’t it become a bit more business-like, impersonal, even clinical?
  • They don’t mean you’ll never get published – just that it hasn’t happened YET.

Picture yourself at a job interview. You’re highly skilled in your field, have some polished work samples and business references with you, but you somehow don’t make it to that second interview. Why? There could be a thousand reasons, and mostly they’re all because you and your skills just simply aren’t the right match for the position. This mismatch concept holds true in the literary industry as well. You’re sending your unique manuscript to a complete stranger and hoping your project and vision will track with what the agent or publisher is seeking for their client list.

Let’s step back a moment and take a look at this literary agent. And let’s assume you’ve done your research and confirmed that this particular agent is interested in acquiring manuscripts within your genre and they’re considering taking on new clients. And let’s say you’ve worked with an industry mentor to perfect your query letter, you have your manuscript formatted perfectly, and have gone through three editing rounds to fix any grammatical errors. The thing is, even if all these bases are covered, there are still lots of other variables that can influence whether an agent selects your manuscript over someone else’s. Like what?

  • Gender – Not you, your protagonist. The agent might be looking for fiction with a strong female protagonist and yours is male.
  • Voice – They could be looking for third person POV and yours is first person.
  • Length – Your manuscript could be too long or short for the existing market of your genre.
  • Subject matter – Some agents are seeking stories consumable by a wide audience. So if your book has a super edgy theme and touches controversial topics, they might opt to pass.
  • New or published writer – Some agents are eager to hear from fresh industry voices; others only want to work with established and previously published authors.
  • Setting – Some want domestic stories, yours might take place in Paris.

And these are just a few! I know, it’s enough to make you go insane. But you’re not expected to mold your manuscript to every single thing a potential agent or publisher could possibly ever want. The platitudes are true – write what you love. The good news is that there are lots of publishers and literary agents available in every genre, more every day, and lots of them are looking for new writers. Where are they? Check here.

Too often, an agent will reject a manuscript because it lacks the specific WOW factor they were looking for. That doesn’t necessarily mean they didn’t like it and that it’s not good. Because the industry landscape has changed so drastically in the past few years, they’re forced to be even more selective with the types of projects they invest in. In other words, if an agent can’t immediately see the potential for revenue in your book, they’re likely to pass even if they otherwise like your story, your writing, and everything about you. Money isn’t all that matters, but it definitely matters.

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Emotional Intelligence

Rejection letters are a great reminder that we must constantly keep our thoughts on the right track and stay in a positive and inspired space when it comes to writing. DON’T wallpaper your office with rejection letters! The last things we need as writers are negative reminders. Observe your reaction to your last rejection letter. Did you use it as fuel to grow deeper into your craft and commitment to success? If not, it’s okay, there’s time to work on this. And it IS work and no one’s more worthy of that work, time and energy than you are. For more reading on creative resilience, check out this great article from Lifehacker.

Focus on Inspiration

What inspired you to write your book in the first place? What kinds of books and writing continue to inspire you? This is the fodder for your creative expression and it must be positioned on a pedestal because it’s the most important aspect of your writing relationship. You see beauty around you, kindness, amazing human stories. Whatever it is that drives you to your keyboard or your journal, hold that in your heart as your primary focus. Post pictures of that inspiration in your writing space, your desktop, as reminders of what motivates you and what drives you to succeed over and over despite the odds.

Self-Publishing

The publishing industry has shrunk, or grown, depending on your perspective. And the changes are vast. 31% of all e-book sales are from self-published authors. Why do some writers turn to self-publishing as an option? There are lots of advantages, such as royalties. The royalties are typically way higher than traditional publishers (though no advance), and it’s a super quick turnaround to see your work in print (generally 30 days as opposed to 15 months). As you’re not working with a literary agent to sell your manuscript, there’s no middle man to take a 15% cut off your royalties when they start coming in. But there are offsets, too. Self-publishing can be expensive ($500 – $5000 per book), and there’s a lot more work you’ll need to do to push your book into the commercial marketplace, like arrange for distribution, marketing, advertising, editing, cover art, and layout.

Check out these famous, best-selling books and authors that were initially rejected by (in some cases, many) publishers or agents:

  •  J.K. Rowling for Harry Potter and the Philosopher’s Stone
  •  Jack Canfield for Chicken Soup for the Soul
  •  C.S. Lewis for The Chronicles of Narnia
  •  Dan Brown for The Da Vinci Code
  •  J.D. Salinger for The Catcher in the Rye
  •  Margaret Mitchell for Gone With the Wind
  •  Alice Walker for The Color Purple

There’s more here

What does this tell you? You’re in good company for one thing. Rejections give us an opportunity to re-examine what we’re doing…any why. If making money is why you write, self-publishing could be a great option for you. If you’re a compulsive storyteller hell bent on finding a traditional publisher or agent, then sink your teeth into that path and persevere and don’t let anyone tell you otherwise.

There are many forms of success – how do you measure yours and what’s your benchmark? If you’re new to the writing path, maybe finishing a novel is a worthy pursuit right now, or you might want to publish 5 books a year, or earn enough to quit your day job. A stack of rejection letters means you’re engaged, working, and investing time and energy in your success and future. Don’t let them derail you; instead use them as a necessary tool of the trade.

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What are your rejection war stories, or successes that started as rejection letters? Please share!

Inside Voice

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Did you choose your protagonist or did they choose you? If you’ve got a novel in-progress, how did you come up with your main character? Sometimes mine come to me while driving, when my brain is active but my creativity is dormant. I also get name ideas from watching movie credits, and sometimes I hear a name so extraordinary that the evolution of the character and their attributes unfolds on its own. Kermitt Rictose, who was a stunt person in one of the umpteen Die Hard movies. What kind of character would emerge from a name like that? An older gentleman, affluent, entrepreneur, lives at the top of a hill in a gray, monolithic house. Too stereotyped? Okay, he’s a rock singer living on a houseboat and mows lawns for a living.  Kermitt the go-getter.

Tell me everything you know about your current protagonist. I’m sure you know their physical attributes, how they look, dress, walk. But do you also know what they love, what they loathe, and what they fear? What keeps them up nights, and what drives their obsessions? If you don’t know, here are a couple of ideas.

You could just…ask them. That’s right – create a sort of back and forth interview of your character, asking them about their favorite foods, favorite color, the car they drive. It’s more challenging than you think, because it takes not only creativity but courage to really make this exercise work. What you’re doing is tuning your senses inward and bringing the act of listening to a new level. I find it takes a certain willingness to surrender before your character really starts talking to you. And they will, and when they do, you’d better be listening. No, there’s no medication that can be prescribed for this affliction. It’s called creativity and there is no cure.

Another way is by mapping your characters to actual film stars.

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I find that writing realistic dialogue requires me to not only know my protag’s inner and outer personalities, but also how they express themselves and interact with other people. So I model them after an actual actor whom I’ve seen in films. In the book I just finished writing, I modeled my homicide detective after actor Timothy Hutton in his latest series, Leverage.

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I’ve been watching Hutton since 1985’s The Falcon and The Snowman, where he portrayed an unlikely 19 year old American spy. And after twenty plus years of movie fandom, I feel like I know him. I’ve watched and studied how he behaves, reacts, his expressions, body language, and from that rich dataset I can infer how he would talk to his departmental underlings, the Medical Examiner, and my protagonist.

Sometimes I print photos of all my celebrity-mapped characters and tape them around my monitor, where they serve as a sort of visual Greek chorus. Other times, I tack them to my white board all in a cluster. The idea is to know and study these people, constantly. And even if they’re imaginary, they must at least be real to you. Having a face to build upon makes them broader than one-dimensional. For me, it helps bring them to life.

When it comes to your personal writing practice, you are the pilot and, generally speaking, there is no co-pilot. So you can do whatever you want, draw on any tricks of the trade, and don’t be afraid to go deep with your characters, even if it means, on occasion, talking to yourself.