books/stories do you have lurking under your bed?
finish the Keystone, Lodestone, Clarion series (I say series instead of trilogy
because I have this horrible feeling that, as I write book two, ideas are
emerging and the third book story is mutating and I’ll have to commit a Robert
Jordan and expand the scope. We’ll see.)
idea’s good, but I was too immature as a writer to pull it off: it suffers from
the lack of a direct and strong antagonist, and the protagonist doesn’t have
the “transformative journey arc” through the tale, things like that. That’s the
book I want to be my Magnum Opus; I’m a stronger writer now, and understand the
plumbing of fiction much better—and I’ll be even better by the time I’m ready
to write it. Probably 2015.
a space opera, and I’m researching the Roswell saucer-crash myth on the side: I
want to give that a kick-ass literary treatment and bring all the Roswell mythology
together the way Justine Cronin did for vampires in The Passage. I have enough
to keep me busy for the next half-dozen years, at least.
busy. How do your juggle a writing schedule?
requires 24/7 availability. I’m away from home 13 hours each day—I leave at
5:30 am to drive to the train station, and get home at 6:30 pm. Fortunately, I
get about 90 minutes of train time every day, and that’s where I do a good
chunk of my work. We have an arrangement at home: I get Monday, Tuesday, and
Thursday evenings to write after dinner—so I usually manage an hour or two
before I get tired–and a half-day on the weekends. During the summer, I teach
scuba a few times a month, which eats up most of that weekend. Let me get up on
a soapbox for a minute: Despite my schedule, I still manage 500 to 2,000 words
a day, so I have no sympathy for aspiring writers who say they don’t have the
time—make the time if writing’s important to you.
the best and worst part of being a writer?
the keyboard from you and type their own behaviour and dialog. I spend time
detailing and developing my characters on the side so that they each have a
unique and recognizable voice. (I think that shows very clearly in WHE.) A side
effect of this is that they’re on automatic when I start writing and it’s fun
to watch. The worst part? Do I even have to say it? The marketing. The
continual, shameless marketing. I’d love to just write and have a machine do
that work for me. (Yeah, you know who you are.)
Do you start your
projects writing with paper and pen or is it all on the computer?
I’m a digital guy. I do a “Snowflake“ process—write down the one-sentence blurb, expand that to three sentences describing the three-act structure with gating scenes, expand those to paragraphs, write a detailed outline of each, then break down to scene level in Scrivener. Describe each scene: POV, goal, conflict, purpose, outcome. Then write scene by scene. Once that draft is done I shuffle the scenes to their final order then finish up the final drafts in Word.
goals when you sit down to write such as word count?
words per week. I don’t always hit it, but the important thing is to set the
bar and keep reaching for it until the story’s finished.
and content, and she’s sharp and brutally honest—she pushes me hard. I spent a
long time looking for the right fit in a long-term editorial relationship; I
wanted to preserve the tone and voice of my work over the course of a career. She
was recommended to me by a client of hers—a fiction author who happens to be a
professional editor!–that’s how much respect her peers have for her. She
misses nothing from copy edit perspective, but also asks questions like “How
can the sun reflect off their badges? I thought the sun was behind them. Just
how far can a bowman shoot one of those arrows? Better research that.” She even
called me out on the specs of a handgun. She hunts down every cliché, semicolon and
long sentence, but yet preserves my own unique voice. I self-edited The Winds
of Heaven and Earth about eight times before I passed it off to her—I thought,
“Ha! You won’t have much work to do on this one,” yet it took us about 10 weeks
of back-and forth to polish it off. I call her “Bexter” because she kills prose
that doesn’t deserve to live. The Winds of Heaven and Earth is a stronger work
because of her, and I’m a better writer because of her. I wish she’d let a few
semicolons slip by, though.
poach her! What is The Winds of Heaven and Earth about?
pregnant wife, and struggling with the events he finds himself and family
caught up in—and what he’s required to do to resolve them. It’s a mashup of
contemporary and epic fantasy, with a leg in our familiar modern world, similar
to what Stephen R. Donaldson did with Thomas Covenant the Unbeliever and Roger
Zalazny’s Chronicles of Amber.
there are elements of the magical and some nasty otherworldly creatures and events
to deal with, but they augment and color the story; they don’t dominate it. And
the magic has a plausible root in science and physics, as does the magical
realm he eventually finds himself in.
The book has a heavy nautical theme—by design, but more than I expected
when I began; probably 70% of it takes place on islands or on the sea. The
trilogy has a planned transition in settings and themes, from sea and island in
the first to mountain and forest in the second to a great deal of desert in the
When I finished the first or second draft of the novel, I took a step
back I saw how watery it actually was and began mining novels that had similar
“man on quest with a nautical themes” for suitable epigraph materiel, and I
came across the perfect fit: Moby Dick. The epigraph that opens the book is
from that work, and the title is derived from it. And it’s thematically
perfect: a soul being driven about without mercy by the whims of “the wildest
winds of heaven and earth.” There are also some tensions and conflict between
love and duty driving the story—and that is a conflict that does not close out
until the last instalment.
main protagonist, Jordan Parish. Who is he exactly?
is homage, BTW, to the late Robert Jordan, who set the bar for the epic fantasy
genre with his Wheel of Time series. RIP, Robert.) Jordan derives from a
wealthy aristocratic North Carolina family, but he’s a bit of rebel. He doesn’t
want to grow up to be his father, who he sees as meandering through life on the
coattails of his inherited wealth. He disdains his family’s money and influence
(though he’s quick to use it when he needs to), is a bit of a potty mouth and
is about as impatient and quick to anger as one can get. He wants to make his
own mark on the world, not be viewed as a rich kid that had everything handed
to him. Jordan’s just as pissed off about finding out he was born with some
special abilities as is he about being perceived as a Richie Rich. But he is spoiled:
He’s used to getting his way, and is stubborn as a mule. When things go against
him he lashes out at whatever’s around him and runs roughshod over everything
and everyone, feelings be damned. But he’s persistent, and this stubborn
doggedness and iron will are the traits that pulls him through the story. And,
like all good protagonists, he has a character flaw to overcome in order to
achieve his goal—his anger and impatience stands in the way of everything he’s
trying to recover: his missing wife and child.
characters perceive him?
mind–and will pee in the pool with no regard, shame or apology. There are
several scenes early in the book where he’s trying to get information about his
missing wife and he just runs roughshod over people who are actually trying to
help him; he’s only interested in a narrow range of response that fits his
needs. He’s not interested in your Auntie Nellie’s health and he’ll tell you
that. His friends are mortified, and sort of give him WTF looks and try to
clean up behind him. Jordan meets several people along the way who try to
mentor him or give advice; it’s only as things really come crashing down before
he gives them serious consideration and begins to modify his behaviour. The
characters in the story fall into three categories when it comes to their
outlook on Jordan: they either pity him, despise him, or want to use him.
Unfortunately, Jordan tends to treat all three types the same.
pointing out his flaws. He might have a bit of tunnel vision and tramples the flowerbed
at times—but after all, wouldn’t you be pretty sharply focused if you were
following a metaphoric thread through a maze to find your family? You have to
acknowledge that he has a fire under his arse. His wife vanishes two days after
they announce their pregnancy—that’s at her six week mark.
(The next few sentences might be considered
very vague plot spoilers, so readers may or may or may not want to avert their
By the time he picks up her trail
he realizes that it’s close to her due date—and if she’s alive she’s giving
birth in a pretty treacherous environment—while some dangerously powerful
people are jockeying for dibs on his kid. And there’s a *lot* of shocks as he
digs into the past of the wife and family he thought he knew. Melanie wasn’t some woman he met as an adult,
fell in love with and married; Jordan and Melanie grew up together on adjacent
properties. He knew her from the time her family adopted her at eight years of
age. Thought he knew her. So to uncover
rocks and shine lights in cracks and find things wiggling there as he
frantically searches for her . . . yeah, he’s a little edgy. Mix that with his
temper . . .
Love and loyalty drives him; and those are
admirable qualities. Blunt dogged loyalty that seems to invoke the same in
others. He collects a supporting cast of
some pretty heavy hitters in the course of his travels, people who wake up one
day to scratch their heads and smile and find that they have been drawn along
in his wake by his persistent dogged loyalty and the way he keeps picking
himself up and dusting himself off each time he’s knocked down. He inspires the
same loyalty in others that he displays for his family. I should have categorized the three types of
outlooks on Jordan as: his friends who are mortified by his behaviour at times
but understand it, the enemies who oppose him, and those who want to use him.
biggest wish or desire?
Melanie. But before she went missing, it was simply to carve out a spot
of his own in life with his smarts and the sweat of his brow, settle down with
Melanie and raise kids. By the end of the story . . . well, some of those
wishes and desires change, and I can’t give away spoilers. But the bar moves
around a bit.
about himself if he could wave a magic wand?
handicaps him. It’s established early on in the story that a martial arts
teacher helped him construct a place in his head he calls “The White Room”—a
place of calm and serenity he pulls himself into when he needs to drop his
baggage and focus. But he has to really want to go there. Jordan actually does
sort of have a magic wand: at first he doesn’t know how to use it, then he
doesn’t want to know how to use it—but by the second book of the series he’s
generating concern that he’s treating the shiny new hammer a bit cavalierly and
without regard to its consequences.
Jordan Parish’s wife Melanie disappears a few days after the couple announces
their pregnancy, everyone assumes the motive is ransom. But six months pass
with no demand, and when the FBI discovers the only clue to her disappearance,
a missing family heirloom worn by Melanie on the day she vanished–with
Jordan’s blood on it–the investigation turns to the temperamental and volatile
Jordan mounts an investigation of his own. What he discovers about the
adopted Melanie’s hidden past plunges him into the world of mystery and magic
surrounding their families. And when Jordan and Melanie’s brother Chase
pursue strange assailants into a mysterious storm, Jordan is cast into a realm
where he finds his child at the center of a struggle for power surrounding the
culmination of a centuries-old Prophecy.
contemporary genres in the tradition of Stephen R. Donaldson’s Thomas Covenant the Unbeliever and Roger Zalazny’s Chronicles of Amber.