Category Archives: Interview

Five For Writing – Lauren Stone

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This week’s Five For Writing is a day late, for which I apologize, but I promise you it’s worth the wait. Today’s guest is Lauren Stone, narrative lead on the Division franchise and doer of All The Things story-related for Ubisoft. Her credits are diverse enough to include both Rainbow Six: Siege and Eagle Flight. I had the privilege of working with Lauren on The Division 2 and she is smart, fast, funny, and sharp. But enough of me talking about her; here she is in her own words.

1-What says good game writing to you?

Good game writing to me is narrative that supports, enhances and elevates the experience. Anything that helps support and build the world, the mechanics and the player experience is good game writing to me. Whether that is a piece of UI Text that gleans clarity or a cinematic
that makes you cry.

2-How do you keep a story like The Division’s going years after release?

By focusing on character. Though we may be almost 6 years past the original release of Division 1 we haven’t even spent a full year in the world in terms of the story’s timeline. We have really only made it to late-August in the currently released content and October in the new novel that is coming out in February 2022. The majority of our story is told in the past and through flashbacks in the form of audio collectibles and active missions. It’s been 6 years for us but only 10 months for our characters.
As we explore new regions, we meet new people and all of those people have rich histories and backstories that made them who they are and how they react to the situation at this point. We get the privilege of learning more about established characters by meeting people we’ve never met before and getting their perspective on the state of the world and what our characters have represented to them based on how they have been treated by agents of the Division or individual interactions with our established characters. We will be learning more about many of our established characters in future content releases over the next year and I’m excited to see how the community responds to the new information they get about these people they think they already know. The funny thing about people is we are always much more complicated than expected and unless you directly ask someone why  they do a thing and they answer honestly, you can never truly understand someone’s motivations or reasons for behaving the way they do. As long as people are complex and your  characters are built like real people, you will never run out of potential stories you can tell about them.

3-You help coordinate novels based on Ubisoft IP. What makes a good transmedia novel in your
opinion?

One that respects the source material but explores different types of stories that work better for the medium. We get to be more internal in a novel. We get to focus on motivation and character in a way that you can’t really explore in the game without it feeling cheesy or like the writer is trying too hard to be clever. My favorite things about transmedia is that it allows you to engage in the world in ways that are suited to the medium. What works for film does not always work for a novel or an audiodrama, what is perfect in a comic doesn’t always translate to the game. If your world is rich you can make a piece of art in any medium. My weird dream that will never happen because I am a musical theater kid would be to make a Division Musical with Lin Manuel Miranda, my original dream before getting involved with transmedia was to have him get into a booth and just freestyle rap about the state of the world and be an NPC in a safehouse near Broadway. That Lin was just a person who survived and tried to keep making art. This is my weird fantasy that will never happen, but, eh, weirder fantasies have become reality and sometimes throwing things out into the universe can result in the world echoing back, “yes please, I want to have that.”

4-How do you instill narrative in a game like Rainbow Six: Siege, that doesn’t have the sort of
structure that generally allows for narrative development.

The same way I approach all narrative design. I look at the constraints as opportunities. All we have is barks, which means all we have is character. We have ambient audio to build the map, we tell a fixed story in the map. We use the art to build the world. We use the textures and marketing to ground the characters. Multiplayer live games in general are not built to tell a single player narrative experience. That is not the goal. A lot of the stories in games that are traditionally elevated as being amazing are really screenplays with combat beats. The richest and most complex stories are in games that are much more complicated than that. But I think people still expect the game to fit in a screenplay format, especially for award shows. We need to retrain people on what qualifies as story. It’s not just the cinematics. Especially when you can hold A to skip. It’s the content you engage with regardless of how expensive or long you engage with it. The small moments are the things that people remember. The weird lines and characters or a stunning piece of art. A moment that is real and evocative and makes you feel something and helps you better understand the world is a great piece of story, even a piece of graffiti that lets you know the True Sons are here, get ready, can be a wonderful and necessary story that helps the player engage more fully with the world.

5-What are you looking forward to seeing in game writing as we go forward?

I’m looking forward to people respecting barks. Respecting the Menus and HUD. Respecting each other’s work. I’m looking forward to the future where we realize everything matters and everything is worth focus, attention, energy and consideration. Every person in your world from the studio to the characters is deserving of having their humanity and contributions seen, celebrated and respected. I’m looking forward to people realizing that game narrative is a viable option to tell story, to build a career, to create stability and art. I’m looking forward to more people learning how to use the constraints as opportunities.

Thanks so much to Lauren for her time and thoughtful answers, and check out her work on the ongoing saga of The Division.

Next week things are going to get a little crazy – I’m interviewing…an editor.

Five For Writing – Jesse Scoble

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Jesse Scoble has the singular misfortune of being a good friend of mine. A Chief Narrative Designer at TenCent, he’s done stints at Ubisoft (HyperScape, Assassins’ Creed: Odyssey, Far Cry 5 and others) Wizard101, Webkinz and more. He has contributed to Beyond the Wall; The Bones; co-edited two short-story anthologies in the  Silver Age Sentinels TTRPG setting; and co-edited James Hsu’s Humans of Magic. A resident of Montreal, he wants you all to know he makes a mean mojito.

And so without any further delay, I give you the multitalented Jesse Scoble:

1-What’s it like putting together a narrative for a game like HyperScape that is by definition non-linear?

I see you want to start with a softball question. So. Coming to HyperScape (Ubisoft’s near-future, dystopian battle royale), we believed what would differentiate us from an already crowded field would be to have a strong story. Some games have virtually no story, or maybe they have a framing story (say a modern warzone) but have no real sense of character, while some have incredibly rich characters (Apex Legends, Overwatch) but relatively thin plot. We wanted to have all of that.

We needed to create a new world – and elected to set it about 30 years in the future, in 2054, which wasn’t necessarily realistic in terms of the virtual world – the eponymous HyperScape – and then come up with an overarching storyline that would drive the world forward. Much of that centered on the company that created the HyperScape, a global megacorporation called Primsa Dimensions, and the creators of the company, genius inventor Mathieu Eiffel and his savvy business partner, Dr. Ivy Tan. The machinations of Prisma Dimensions would be the engine that drove the story.

In terms of the “framing story” – and what I mean by that is essentially a narrative explanation for the battle royale concept – we chose to embrace the battle royale game concept directly, and define it as an extreme sport in the virtual world of the HyperScape. In the dystopia of 2054, it was the most popular way to gain fame and fortune. The characters would fight and kill to try to get ahead, but as it was just a virtual game, then there was no problem seeing someone “die” or for various characters to fight each other even though they were friends or on the same side outside the game.

Finally – and perhaps most importantly – we wanted the characters to have depth and flavor, and to have strong ties to the world of 2054. We wanted to have a large and ever-expanding roster that would let us create characters from all sorts of different backgrounds and walks-of-life, and we’d show how these characters evolved from season-to-season as the plot of the story moved forward.

Another core challenge was that, unlike a AAA console action/adventure game (say Assassin’s Creed or Far Cry or Spider-Man or Witcher or whatever), players would only get tiny snippets of the story. There wouldn’t be traditional quests and we’d have very few cinematics. We had to be smart in figuring out how to relay the story in a way that would be comprehensible to those who only lightly skimmed the surface but would have strong connections for those who wanted to dig deeper into the lore.

Our team also had a robust transmedia approach (can I still say “transmedia” in 2021? Whatever.): we had a deal with Dark Horse to create a HyperScape digital comic; we also worked with a great 3rd party company to create a couple of short animations, our “HyperScape Stories” that spotlighted characters like Ace and Basilisk; and of course we had our internal team building season trailers, in-game cinematics (such as the End of Season 1 event), and so forth. 

Finally, the narrative and art team worked closely to create a dozen collectible “memory shards” that would be revealed over the course of the season. Each one had a piece of micro-fiction and an awesome piece of custom art, like a comic splash page or wallpaper screen. These really told the crux of the season’s story, allowing us to get into characters’ heads, feel the flavor of the world, and also conveyed the big moving pieces of the plot.

This meant a LOT of planning: how much info could we write into a character’s bio in the store? What would be consistent and change between different skins? What bio info would change from season-to-season? When was a character/skin going to be released DURING a season? What order would the memory shards be released? Could we do environmental storytelling on the game map that would link to the fiction? Where would the trailers or short movies come out? How do we tell an engaging story in the comic that links to everything else, but also feels self-contained? 

And – as you well know – in video games everything is always at a risk of moving. Things get delayed. A feature won’t work. Marketing throws you a curveball. 

In the end, we made mistakes. Lots of mistakes. But we also succeeded to hit many of our goals, and learned a tremendous amount in the doing.

2-You have an extensive track record in tabletop RPGs. Ever thought about going back and doing more TTRPG work?

Yes, but no. It was extensive at one time, but I’ve been playing in the video game playground for three-quarters of my career now, so it feels like I haven’t done much in that space for ages. Hell, I worked on the first Game of Thrones RPG that was so long ago it was BEFORE season 1 of the HBO show.

TTRPGs are fun, but a helluva lot of work, in terms of research and organization and presentation. It’s hard enough putting together a halfway decent game for my local group, let alone something that’s publishable quality.

I’ve gone back to the well a few times in the past semi-recent years. I was a consultant on the short-lived Marvel Heroic RPG (from Margaret Weis Productions), with some luminaries in the industry, and that was a treat. I was invited to contribute to two different projects – one was a setting for Robin Laws’ DramaSystem called Narcocorrido; and then I revisited some of that material “through a neon lens” for Mark Richardson’s neocyberpunk RPG, Headspace (Carteles Unidos, in the Dystopian Dreams supplement), both of which were obviously inspired by my time living in Austin, TX. I’ve also contributed a few essays here and there, and co-edited a series of interviews with top-tier Magic players for a good friend.

These days, due to limited time and focus, I need to be really intrigued by a project to carve out the time for it. It either has to be a project where I have a lot of creative freedom and some degree of ownership, or something that is just so cool I can’t say no. That said, I have yet to actually do anything official for Dungeons & Dragons or Warhammer 40K, two IPs that I’d happily make the time to delve into (just throwing that out there in case the universe is listening).

Oh, and I have a brilliant idea for how to make an RPG out of HADES, the superb rogue-like from Supergiant games, in case anyone knows anyone over there.

3-What’s the most challenging aspect of game writing for you?

All of it? I realize that’s a useless answer. 

I think it’s trying to impart the “perfect picture” in my head to paper, and then have the rest of the team understand it. It’s so elegant and clear in my mind’s eye (well, hardly ever that, but it’s certainly better than whatever I end up scrawling on the page), and there’s so much of a gap that is created between the act of putting pen to paper, and then again between the person reading it and implementing the ideas. And this gap widens when dealing with challenges of language and distance.

At their worst, when gameplay and art and recording limitations are all dragging you down it can feel like the death of a thousand cuts. But the corollary is that when it all somehow hangs together – when the gameplay supports the narrative (and vice versa) and the art is glorious and the voice acting adds that je ne sais quoi nuance, it can create a magical experience for the player. And I live for that.

4-What’s your favorite part of the job when it comes to game writing?

Seeing these fifty(thousand) different moving parts that like-as-not won’t fit properly together or work well together or might not even work at all somehow come together miraculously and gel. It’s seeing those scribbles on the screen become real and extant, in a way that makes people engage and act. It’s creating both the big moments and the small moments, and when it works it makes people feel something. That’s the heart of it.

In particular, hearing/watching actors take the words on paper and breathe life into them is a kind of magic.

Perhaps most importantly, it’s getting to work with some incredibly smart, bright, funny, kind, talented and clever people.

5-You’re working on your first novel. How has that experience been different from game writing?

What do they say? “Writing is the easiest thing… you just stare at the blank page until your forehead bleeds.”

It’s… hard. I look back at random Facebook memories and realize how bloody long I’ve been on this road, and there’s no real end in sight (I keep thinking I see light ahead, but I’m pretty sure it’s just an oncoming train.)

First, because I can’t do anything simply, I decided for my first real attempt at a novel to co-write it with a close friend. And that’s been great. Also hard as sin. But having two heads to process ideas, encourage and cajole when the other side just doesn’t want to pick up a pen, bringing far more ideas and experiences than a single person – it’s like working with a teensy-tiny team. (Well, not “like.”) 

(And we have a third friend who has been the alpha reader for all of our ideas throughout this long and twisty process. Having a ‘built-in’ story-editor, of sorts, has been a godsend.)

But it’s hard. It was a big idea (for me, at least), and structurally complicated, and cutting edge – several and more years ago when we first thought about it. And the future doesn’t hold back. The realities of online culture, and such like, keep moving and evolving in ways I wouldn’t have considered. It’s not dated – yet – but if I don’t hurry up and finish it, it soon will be. 

It’s also very lonely, despite having two friends involved so closely. And it’s hard to know what the right paths are for the characters, at times, to get to where I want to get. 

It’s taught me a lot about organizing my work and ideas, outlining and structuring a story, and developing character voices. Not all of which I’ve mastered yet, despite professionally writing for too many years now. And, as mentioned, a whole lot of time has passed since we first conceived of this story. I like the characters too much to want to abandon them, but it’s hard to say how and when I’ll finish this story satisfactorily, even if just for a limited audience.

A huge thank you to Jesse for his thoughtful and engaging answers. Tune in next week when I’ll have another writer in the hot seat!

Five For Writing – Alex Bledsoe

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Alex Bledsoe’s Tufa novels are some of the finest modern fantasy out there. If you haven’t read them, they’re a treat and you owe it to yourself to pick them up. He also was part of the collective that wrote for Transgressive Horror: Reflections on Scare Films that Broke the Rules, which is where our paths crossed. He was kind enough to sit down for five questions about the Tufa novels, vampires in Memphis, and why all horror movies are transgressive. Without further ado, I give you Five For Writing with Alex Bledsoe.

 

1-What’s the appeal of transgressive horror films for you?

All good horror films should be transgressive in some sense; it’s in their nature. The point of horror is to expose the viewer to images and ideas they would never encounter elsewhere, and to show the embodiment of those images and ideas as realistically as possible. The German cinemagoers lucky enough to see Nosferatu on its first release would have considered the vampire as a transgressive figure, a visual representation of something that broke so many social rules. 

Really, a non-transgressive horror film can’t be very horrifying, like the endless PG-13 teen “horror” films released since the turn of the century. I’ve always thought all horror films should be rated R, because even if it’s *not* overtly violent, that threat should hang over everything. A PG-13 rating is a comfort blanket, and even if some of them can be quite good, they’re never truly horrifying.

2-What impact does your home base in the Smokies have on your writing?

Technically I’m from the other end of the state, close to Memphis, but my dad’s family is from the Smokies, and I’ve visited there many times. I’ve used the South as the setting for both of my past horror novels, as well as my upcoming one; although I’ve lived other places (I’ve been in Wisconsin for the past 18 years), the south is the one I most deeply understand. I think that’s why I keep returning to it as a setting; I don’t feel qualified to write about anywhere else, unless it’s a total fantasy setting.

3-You’ve got a series of vampire novels set in Memphis. What inspired you to turn vampires loose there?

It’s a city I know, or rather used to know, pretty well; my novels are set in the mid-70s. Plus it’s not over-used in horror fiction like, say, New Orleans. Memphis has a unique history, and since the novels deal with racism as well as vampires, it seemed like an ideal place to set it. I chose the year 1975 because it was before the publication of Interview with the Vampire, and thus was still the era when vampires were scary.  

4-Your Eddie LaCrosse series is fantasy noir. Why mix those two genres?

I wanted a way into a fantasy story that allowed a greater identification with the characters than I was seeing in the fantasy I read: too many unpronounceable names, too much emphasis on world building, not enough emphasis on character. I thought that the works of writers like Chandler, Parker, and Vachss did a great job of also taking you into worlds (a.k.a., crime) you might never visit, but they did it with an immediacy I wanted to claim. Plus that tone made it more fun to write. 

5-The Tufa novels feel deeply personal. Where did they come from, and will we see more of them?

They grew out of stories I heard from my dad, about a strange group of people who lived in the Appalachian Mountains. The part that intrigued me was the idea that these people were already here when the first European settlers arrived. That was the starting point, but of course I made up my own group so I could give them a magical backstory.

I felt six books was enough to say what I wanted, and anything past that I’d be restating things. But who knows? If I get a new idea, and there’s a publisher interested in it, it could happen.

Many thanks to Alex for his time and for gently correcting my mistake about his home base – that’s what I get for reading an author bio too quickly. You can find him online at his website, and on Twitter.
Next week I ring in the new year with an interview with game writer Jesse Scoble! Until then, have a happy New Year!

Five For Writing – Maurice Broaddus

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If you don’t know who Maurice Broaddus is, you haven’t been paying attention. An award-winning writer and Afrofuturist, he is as prolific as he is acclaimed. Equally adept at horror, fantasy and science fiction, he is the author of the upcoming Sweep of Stars. And now, it is my pleasure to give you Five For Writing with Maurice Broaddus:

1-How exactly does one pimp an airship?

I got one word for you: spinners.

It’s all about massive spinners.

2-What role do you see yourself playing in the Afrofuturism movement going forward?

I’m just happy to be a part of the conversation. Right now, I’m all about the intersection of the art being the vision casting and the community putting those visions into practice. And then that practice creating new art and vision.

3-You started in horror as “The Sinister Minister” and have gradually transitioned to science fiction. What led to the change, and are you ever going back to horror?

Therapy.

I realized that I was using horror to process my anger. Anger at all the evil in the world, the history of brutality against my people, all of the oppressive systems. Science fiction became me giving myself permission and room to dream about possibilities. So I was writing from a different mental and spiritual place (future hope).

That said, I have two horror stories coming out this soon, one in Weird Tales Magazine and the other in Classic Monsters Unleashed. Turns out, there’s still room for me to be angry about stuff.

4-Religion is a strong theme in your life. How do you see it affecting your fiction?

Basically, I believe we’re in a Story, written by an Author, who is wooing us to connect with Him.  It’s a tale of people, who were created (in God’s image), meant for great things (to join in with that Author in a mission to redeem the world), who sometimes encounter things which interfere with their journey:  sometimes themselves, sometimes others, and sometimes An Other.

Faith is never easy and I tend to have more questions than answers.  I think that’s the most critical part of anyone’s spiritual journey, walking that line of tension between holding on during times of doubt and questioning.  I think one of the best ways to explore that tension is in story. (The Bible does it too:  the Book of Job was probably the first book written and it’s all about faith, doubt, and frustrated questions.  And the first postapocalyptic story I encountered.)

I like to think that I write from a place of faith in practice. I was volunteering at a homeless teen ministry called Outreach Inc. That became the inspiration for my first novel trilogy, The Knights of Breton Court, a retelling of the King Arthur mythos through the eyes of homeless teens in Indianapolis. I guess you could say that in some ways, I’m working out my own spiritual journey in front of my readers. And sharing my nightmares.

5-You do a lot of community outreach. How is your writing bound up in that?

For a long time I struggled with the notion that “I’m only a writer, what can I do?” and, if I’m completely honest, used it as an excuse to do nothing. Art lifts community. Story creates identity. If we don’t control our own narratives, others certainly will. Our communities are more self-sufficient, more capable, than the dominant narrative wants to portray. Through art, through writing, we can catalog the positive things happening in our neighborhoods, we can make the invisible visible, and be the change we want to see. Through art, we resist.

These days, I am the Kheprw Institute’s resident Afrofuturist. Basically, think of it as strategic foresight planning through an Afrofuturist lens; visioning rooted in black history and culture to create a vivid picture of what the world could look like. Afrofuturism is the marriage of my faith, my social practice, and my writing. To me it looks like dreaming alongside community, highlighting my neighbors and their work (through a magical lens, for example, Ache of Home. The dreaming impacts the work, the work impacts the writing, the writing impacts the dreaming, and so it goes. I can’t wait to see what folks think of my next novel, Sweep of Stars, because these days, I’m dreaming of the stars.

Huge thanks to Maurice for taking the time to answer the questions! You can find him online at his website.

Wishing a very happy holiday season to all and sundry, whatever you celebrate. I’ll be back next week with another interview, and things will keep rolling into the new year!

Five For Writing – Bill Bodden

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Bill Bodden says on his website that he likes really nice cheese, so of course I’m going to like him. He’s also an accomplished tabletop RPG writer with a foot in the fiction world, and we’ve shared a table of contents twice, most recently in Transgressive Horror: Reflections On Scare Films That Broke the Rules. So without further ado, here’s Bill Bodden:

 

1-What’s interesting to you about transgressive horror?

So much of current horror media involves buckets of red corn syrup or ‘torture porn’ – a la the Saw series – that something different is a welcome change for me. I like the transgressive horror idea because so much of horror is about expectations, and when you challenge those expectations you add a greater element of the unexpected, which for me makes horror both more powerful and more thoughtful.

2-We shared a table of contents in the anthology HAUNTED. What inspired your story there?

The Original Ghostbusters film was my inspiration for my story “A Quiet House in the Country”. I wanted to write about people doing serious investigations of hauntings using tools and technology that actually exists – not done for laughs. Lo and behold, Reality TV took that idea and ran with it, and the various ghost hunter shows on several networks have been very popular for years now.

3-You’ve written for a wide variety of tabletop games. What’s your favorite and why?

My favorite to play is Charette and Hume’s Bushido. It uses a system very similar to D&D, but I love the setting of mythic/feudal Japan. A VERY close second would be Call of Cthulhu. As far as writing for a game, I’ve enjoyed writing for D&D in the Scarred Lands setting. I appreciate the world-building that’s been done there. I’ve also enjoyed writing for Onyx Path in the World of Darkness Universe. Next up, I’m hoping to have some community content available for Call of Cthulhu in 2022.

4-What does someone going into tabletop game writing need to know?

Two big things. First, the pay is low, and the vast majority of contracts are work-for-hire, which means once you get paid, you don’t own the rights to anything you’ve written on that project. Also, no royalties – you’re paid a lump sum upon completion, and you’re done. One expects low pay on first starting out, but the problem is it doesn’t improve much.

Second, you’re writing in someone else’s world: their world, their rules. You have to take constructive criticism well in any situation, but in game writing, you need to not love your baby so much that you’re unwilling to make changes that are required of you.

5-You’ve done both game writing and fiction. Which do you prefer, and why?

It’s a tough call. I enjoy gaming, and when it’s my turn to GM for our group, I like to write adventures that engage the players with more than just hack and slash, although there’s still plenty of that. Sometimes, those adventures are good enough that I want to clean them up and publish them.

In writing fiction, you have a bit more freedom, but at times it can be harder for me to focus – like a kid in a candy shop, I sometimes don’t know where to start (or when to bring it to a close!)

If I had to choose, I think I prefer writing fiction simply because I have greater latitude to explore themes and ideas that intrigue me.

 

Big thanks to Bill for taking the time to answer the questions! You can find him online at his website, on Instagram and Twitter, and at DriveThruRPG. Photo credit for Bill’s portrait is to Amy Atalla Hill, Shine Photografx.

Next week Christmas arrives early at Five For Writing with an interview with the renowned science fiction, fantasy and horror author Maurice Broaddus. Tune in and check it out!

Five For Writing: Mur Lafferty

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Mur Lafferty needs no introduction, but I’m going to introduce her anyway. The award-winning host of the I Should Be Writing podcast, she is also the proud owner of an Astounding Award and a noted editor as well. From the humor of the Shambling Guides to the deep space thrills of Six Wakes, she has been a versatile and skilled storyteller. And now she’s consented to answer five questions. Without further ado, here’s Five For Writing with Mur Lafferty:

1-You’ve won a giant pile of awards for your writing and podcasting. Where do you keep them all?

You’re setting me up for a massive hubris fall, aren’t you?
Back in 1998 when my husband and I bought our house we discovered a corner at the top of the stairs that jutted out, creating a small, pleasant shelf. I told Jim that it was the “hugo shelf.” Did I ever think I’d actually put one there? Heck no. But there it sits now, with some other awards around it and hung on the wall above it.

2-Six Wakes is probably your most critically acclaimed work. What was the inspiration for it?

I love stories where people are deep in the void of space. I had been wanting to write a generational spaceship story, but unlike others I had read, I didn’t want the people aboard to gradually lose their memory of why they were there, or even knowing they were on a ship. So I tried to figure out how I could use the same crew generation after generation without bringing in space elves or space vampires.
Then, while playing the spaceship sim game FTL, I noticed the cloning tech that you can put in your ship would not clone a crew member to make more of them, but only cloned them when they died, so cloning was a way to boost immortality. I hadn’t seen cloning treated like that before, and it got me thinking. Eventually I put the “cloning to live forever” idea with the “same crew drives the starship” idea.

3-You did the novelization for the Han Solo origin movie. What was it like to take on that challenge?

It was exciting and a huge honor. People think that the novelizations are just churned out retellings with deleted scenes, but more often than not, those expanded scenes were added by the novelist. For Solo, the scene where Han and Qi’ra hide among in the vat of eels was a deleted scene, but the scenes of Chewbacca taking over Lando’s bathroom (and his rare hair products), and the real reason L3 consented to upload to the Falcon, that’s canon that I wrote.
I discovered partway in that the novelist has a unique opportunity by presenting a different point of view. I was trying to figure out how to write a scene that had already been written in the script, and then written in the middle grade book (which was nearly finished by the time I started the adult novelization). Every character does the same things in all three tellings, so how could I make mine different but still the same? I realized presenting a different POV would show the expected scene, while making it feel new and presenting new information.

4-You’ve also done a Minecraft novel. How did you come up with a story for a game that doesn’t really have a story?

I get asked this a lot! Minecraft was super easy to write for specifically because the game doesn’t have a plot. You can put whatever story you want in Minecraft with one overall rule: the story must follow the rules of the game. I was constantly checking what items or food could be built with what materials, what monsters were where, etc. My biggest hurdle was that I wanted the mysterious journal writer to be terrible at mixing potions, so I had to look into potion mistakes more than potions that helped.

5-You’re an award winning podcaster. How does the podcasting intersect with  your writing?

I wouldn’t have the career I have today without podcasting. Being one of the first in the space allowed me to build an audience and to interview authors and network (I had no idea I was doing the networking thing, fwiw). I started publishing my own fiction via podcast and I started knowing more and more people at conventions as I set up interviews. Those two things finally helped boost my career toward getting published.
I’m not saying I wouldn’t have eventually been published otherwise, but I met my first editor while I was in line for a drink at a private party. I had gone to the private party as the +1 of the writer I had interviewed earlier that day, and he was at the con alone, so he offered me his ticket. Networking is like being tall and playing basketball. Can you build a career without networking? Sure! Does it give you a boost if you can network? Definitely. This is why I encourage all baby writers to get to cons, or at least virtual cons, as soon as they can (taking into account pandemic, money, bandwidth, etc.)
Huge thanks to Mur for sitting down for these! You can find her and her multitudinous projects online at the Murverse.

Five For Writing – John Goodrich

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John Goodrich is a a man who knows what he likes, and what he likes is giant monsters. An authority on kaiju, he’s also an accomplished fiction author, with titles like Hag and  to his credit. He lives in Vermont, which is possibly the last state that Godzilla would destroy if given the chance, and he was kind enough to sit down for five (plus one bonus) questions. Here’s Five For Writing with John Goodrich:

1-Why the obsession with kaiju?
Godzilla made a real impression on me when I was young. Kids live in a world where many people are larger, and stronger than them, with often unguessable motives. So kaiju were very much fantasy fulfillment, someone who was bigger than the adults around me?
 
1A-What about giant monsters speaks to you?
Their general don’t-give-a-shit attitude in regards to architecture and infrastructure. Also that often, in a film, the very common plot resolution of ‘shoot it’ or ‘bomb it’ doesn’t work, so another plot solution has to be found.
 
2-Why would a toddler take up a life of crime as a hitman?
When someone, even if they are very young, has a very specific set of skills, how else are they going to earn money? My protagonist was barred from the usual legal gun-using professions. He barred from police work because of the height and age requirements. The same for the military. What choice did he have but to turn to a life of crime?
3-You play a lot of roleplaying games. Has that influenced your writing at all?
Absolutely. Sitting at an RPG session listening to how other people perceive their characters is a great mine for characters who don’t think like I do. Further, my first articles were published in role-playing magazines, and several of my stories have been published by Chaosium, who produce the Call of Cthulhu role-playing game. I’ve learned a lot of history to give my games more credibility, and that often finds its way into my fiction.
 
4-You live in Vermont. What impact does that have on your writing?
Leaving New England for eleven years and then coming back has led me to a greater appreciation for this part of the country. New England has a history of hidden sin and judgment, of old stories like Old Slipperyskin, the bear that walks and talks like a man. Also, the summer of 1770 when northeastern Vermont was overrun by a wave of worms that ate all the wheat and corn.
 
5-You’ve written for a couple of anthologies centered on the Lovecraftian Mythos. What’s the appeal for you?
The unknown. Vampires, werewolves and ghosts have some pretty strict rules about how they operate and can be destroyed. You can defy those rules, and plenty of writers have, but they have to be acknowledged in some fashion. Lovecraft’s creations are a total curve ball, the scary unknown something we don’t understand. There’s a thrill reading something that is that unknown, and a real pleasure in writing something so strange.
 
That’s all from John. Thanks to him for taking the time to answer! Next week, my interviewee is someone who needs no introduction, but I’ll introduce her anyway – the mighty Mur Lafferty! See you then!

Five For Writing – Lucien Soulban

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What is there to say about Lucien Soulban besides the fact that he’s got one of the coolest names in the game writing industry? Well, I could go into his extensive video game credits (Watch_Dogs 2, Rainbow Six: Siege, Far Cry 3&4 and many more) or I could talk about his tabletop RPG writing (such as Orpheus, or his extensive work on Mutants and Masterminds). Then again, I could mention his fiction, or I could just say that he’s one of the most talented writers I know and someone I am proud to call a friend. So it is with great pleasure that I give you Five For Writing with Lucien Soulban

1-What are the differences for you between writing fiction and writing games?

Ooof, you’re really starting with a “no-easy-answer” right off the bat here. This question has so many moving parts… and you’re smirking. I know you, Richard, you know this isn’t easy to answer and you’re smirking because you’re pleased with yourself. Okay, brother, bearing in mind there’s so much more I could be sharing….

Writing games lies in “interesting” and fluid territory because it’s constantly at the mercy of the technology and business models that drives the industry, and narrative has to adapt alongside it. Fiction is at the mercy of its publishing mediums and distribution networks, but aside from adjusting voice and content to cater to more modern audiences, it’s got its methodology pretty well nailed down, while videogames have to change the very way in which they tell stories.

When narrative became a serious component of production teams, we looked to Hollywood to define our goalposts, but it was mostly linear storytelling. Open world and persistent open world shifted that model again, and then battle royals and team-based shooters and monetization* shook the trees even harder. It was difficult enough that some big companies decided that “single-player games are dead….” Each time the industry re-oriented itself, it’s demanded a near polar shift in narrative structure to adjust and reprioritize what story means in those instances. And writers have to prove adaptable in a way that isn’t demanded of fiction writers (and before anyone flies off the handle, yes, fiction writers have a changing and volatile landscape to contend with, but imagine if the very way you wrote and told stories had to change as well).

On the whole, however, there are some elements that never change despite our fluid craft. Very few mediums allow for the exploration of character like fiction does because fiction gives you access to a character’s thoughts. Videogames need to jump through a few extra hoops to do that, and often getting access to a game character’s thoughts eventually betrays the narrative integrity of those thoughts because they’re coupled with artificial gameplay components: “Where do I go next?” “There must be an axe around here to kill that boss,” “hmm, a puzzle. Maybe the answer was something I read earlier,” etc. 

In short, any item of investment to make narrative work in a game comes with a price tag, and often times, the only way to justify that price tag is by linking it back to gameplay or level design. Thus, our subtext is dominated by contrivance. What fiction can do with a deft and authentic hand, videogames have to work at to create the authentic inner world of their characters.

In today’s market, however, where video game writers have an easier time over fiction writers is that we don’t need to brand ourselves or to pitch work with an eye on creating a full-on IPs. All that stuff is already frontloaded for us. We have marketing teams that do that and our branding and IP is generally built around gameplay. We have a relatively quantifiable customer base that lets us know how many units we can sell and whether they’re into the content we’re creating. Sure, it means steering said content in specific directions to accommodate the brand, but it doesn’t all fall on our shoulders. The burden is shared and even alleviated thanks to the experts we work alongside.

Naturally, that dovetails nicely into the big difference between writing for games and writing fiction… persistent group input. Writing fiction, you’re in this wonderful little bubble, working on your own stuff until it’s done and until you’re ready to share it. Video game writing is constantly scrutinized and evaluated whether you think it’s ready or not. In fiction, the job of the first draft isn’t to stand up to scrutiny… its only job is to get written. The precision comes after that. The story and the novel come after that. Hell, I even read once that Pixar doesn’t know the final themes of its movies until the first draft is written. In video games, a complete first draft of the script isn’t an option. You’re getting feedback from the moment your writing is put to the page, and everyone has an opinion. Everyone. Every. One. If you ever suffered from imposter syndrome, imagine that inner critic has an external chorus verbalizing some of your worst fears about yourself and your ideas. It’s an ongoing battle as people are constantly pointing out the very issues you’re struggling to prognosticate and solve. 

*Caveat time… this isn’t about the storytelling methods being used by Indie studios, but rather what Trip-A and Quad-A games chase as money milking ventures.

2-You started in tabletop RPGs. What did you take from that experience that has helped you in your other writing endeavors?

There’s a high degree is intersectionality between every writing discipline you tackle and its application elsewhere. That’s the nature of writers, right? Cannibalizing knowledge to Frankenstein ourselves? Learning playwrighting in university and continuing to read movie scripts and plays helped me create better scenes for games without relying on camera shots to convey a moment. Working on tabletop RPGs, however, taught me a number of valuable skills, whether I was an editor, a developer, or a writer.

The editor part was I got my mistakes out of the way by practicing on poor RPG writers before I learned what not to do (seriously sorry, White Wolf writers… didn’t intend to sharpen my blunt skills on your sharp talent). It gave me the skills to provide proper feedback to my team… telling the writer what they needed not only to adjust the material at hand, but to change their approach for the future. It also taught me how to keep my ego out of the way and not advocate for rewriting text in my own voice.

When to comes to video games, the lesson learnt from my tabletop years was to leave space for the player. The player matters and is often an unspoken protagonist. It’s an oldie but a goodie in terms of examples, but nobody talks about their gameplay experience in relation to the character. Nobody says “Master Chief jumped out of his Warthog and threw a sticky grenade on the bumper so it exploded inside the bunker.” ‘I’ the player did all this, and the player will recount that story as “I jumped out and I threw a sticky grenade.” 

That means whenever I craft narrative in video games, the player’s experience is foremost in my mind. They are the people who will own the protagonist, not me. So I have to consider how to create stakes that motivate protagonist and player alike. I have to create antagonists that reach through the screen to threaten or discomfort the player somehow without triggering them with bargain basement stakes. The situations have to be understood and universal for the players. And then all that feeds back into my own fiction as I engage with the reader of my novels. How do I tell the story beyond the protagonist’s experiences?

Finally, as a developer, working on games taught me a lot about world building. A universe with its unique “physics” must exist beyond the backdrop of the levels your players are racing through. Not only do they need to understand how that world can exist, but you need to find elegant ways of making that universe relevant and cohesive but without drowning them in exposition. You need to find tricks to impart and reinforce that universe’s logic through passive means until the player/reader absorbs it all through things like subtext and mood and characterization. Fiction writing can help in this way, through principles of how and where to weight your descriptions, but tabletop design creates the most solid framework for creating a world with movement rather than a world frozen by the shutter. Naturally, what you can apply to video games and tabletop games as world building elements, you can then apply to fiction… the cohesion over overarching logic. 

3-Have you ever thought about going back to tabletop? Why or why not?

HA! Did I leave and nobody tell me? I still do work for tabletop games when I can, though I stepped away from contracts during COVID. Working for a video game company that was 3 hours behind me, finishing later in the evening to accommodate their work hours, and then decompressing two feet away from my workstation was mentally and emotionally exhausting, and I quickly recognized the dangers of doing additional contracts during quarantine. But yeah, I love tabletop games and it remains at the heart of who I am as a geek. Writing for tabletop games is not only familiar territory, but it’s also an exercise in joy for me. I get to create something without constant supervision or scrutiny, and I have time (within reason) to craft something that is more or less intact and cohesive before anyone lays eyes on it. Most importantly, I get to write up to my audience, assuming for complex decision-making and theory crafting and reading comprehension. It’s not to say that games or fiction dumb things down, but there is the reality that you’re opting for a wider market share and that market share is in the millions of players. That changes how you make the material accessible and the requirements behind suspension of disbelief. That said, tabletop games (especially as a freelancer), is definitely a hand-to-mouth existence, and me still writing for that industry is definitely an exercise in privilege. I do it because I can afford to do it, because of video games. I know far too many people scrambling and struggling to make ends meet with freelancing, so if I had to do it for survival, my answer would likely be different.

4-You’re currently working on a Dungeons and Dragons video game. What’s your favorite D&D monster, and why?

I know you, Dansky. You want me to say Neo-otyugh, but I refuse. Mind Flayer has always been my favorite. From the moment I saw the image of an Illithid, it stuck with me as this frightening opponent and it resonated with me as the first creature of true horror I’d seen in D&D. Sure, dragons can breathe a variety of cool elemental attacks and are scary, but the Illithid was the first creature for me that stepped outside of that Judeo-Christian mythology box and became something sinister and terrible. That also explains why my runner-up critter is a Beholder. Sadly, in the competition, the Beholder lost out in the Swimming Suit portion of the competition, so the Mind Flayer gets the coveted crown and scepter.

5-Back in the day, we got in trouble when I asked you about gay leading characters in AAA video games. Where do you think we are now compared to then?

Hooboy, we did, didn’t we? We upset some people’s misperceptions about themselves on that one. I was off about the timing when I said it would be about a decade, though I got the Naughty Dog part right as being one of the companies open and unapologetic about their leading character being LGBTQIA+. And I have to give mad love and props to Square Enix for their “Life is Strange” series. I think when it comes to characterization, story, and overall quality of writing, their benchmarks are miles ahead of many narrative-driven games. I keep thinking back on that moment, however, on that question you asked and the situation I was in at the time. You think that when shit hits the fan, it’s all coming from one direction, but nope. One fan, multiple poop trajectories, and a lot of bruised egos.

There was a lot of positive LGBTQIA+ representation already when I made the comment, and I should have caveated my response in regards to the work already being done out there. That’s obviously not where the majority of flack came from, though. Some folks were definitely not happy with my answer, either because I pulled the curtain back on the “wizard” or because I refuted the active spin doctoring or because folks thought I was shitting on their good will; recent news articles and revelations can speak more about the realities of all that if you know how to read between the lines. 

So, compared to then? We’re far more ahead of the curve then I expected. Companies that led the charge on representation haven’t collapsed back in upon themselves in failure, and in succeeding, they’ve emboldened the more risk-adverse among their peers. I’ll be honest… I do worry that some companies in and out of the industry are just doing this to get on the bandwagon, to cash in on a cause that’s been deemed “safe” or acceptable. I hope they understand why proper representation matters instead of painting by the numbers, but kudos to those genuinely working towards it. My paranoid brain keeps waiting for the other shoe to drop, on that pendulum to swing back hard, but… I think it’s no longer a matter of when will we see this or that. The dam’s broken wide open, and now it’s a matter of reach rather than “will-it-won’t-it.”

My final answer… we’re in a good place, but it’s still precarious. Some people get why representation matters, but I think the harm will come from companies buckling and back peddling under the complaints and orchestrated bad-reviews campaigns, or those companies waiting on their inclusion dividends to pay off in sales.

Huge thanks to Lucien for giving such thoughtful and generous answers, even if he doesn’t like neo-otyughs. (Don’t know what those are? Don’t ask.) Until next week, then, when I’ll sit down with John “Deathginger” Goodrich. See you then!

Five For Writing – David Niall Wilson

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This week’s Five For Writing is with writer, editor and publisher David Niall Wilson. The founder of Crossroad Press, David is also an acclaimed novelist, he’s a multiple Bram Stoker Award winner and former president of the HWA. His newest novel is Jurassic Ark, and he was kind enough to take time from his various projects to sit down and answer some questions. There’s even some bonus content at the end.

So, don’t let me keep you from the good stuff. Here’s Five For Writing with David Niall Wilson:

1-We first met when you were writing White Wolf tie-in novels. was it fun to play in
someone else’s sandbox, or was it restricting?

I really enjoyed writing for White Wolf, as well as Star Trek and Stargate. I learned a great deal, though I admit, my personality grated with it a little. A lot of the ideas I liked the best never got picked up, and several times I was told a thing was not right with the rules of the game, when I’d scoured those rules in the information given to me and found things that were obscure, but there. It was much later that I actually read the rest of the books (when we published them at Crossroad Press) that I got more of a feel for how the different clans had acted in other novels, and I understood the sort of “disconnect.” White Wolf wanted me to write within the formula, and I wanted to find all of the things that were loopholes in it.I think, in the end, that we came to a pretty good middle ground. I never knew the figures, but I know The Grails Covenant was always popular (and still is). One of my favorite books is still the Wraith novel I wrote that you edited. I know it was very different from what was expected. I also know because of it I now publish Johnette Napolitano’s journals, so I’ll take that as a win. Also, we’ve stayed in touch, the two of us, and that is very much a win.

Writing your own work and writing for hire are different animals. I’ve also done ghost writing, which is even more stressful. All of it helped me develop my own style and voice. And, as a later question in this interview might reveal, I owe a lot of my work to White Wolf, at least tangentially.

2-You’ve published multiple short fiction collections, as well as numerous novels. Which form do you prefer, and why?

When I stared writing, I had a hard time reaching 2500 words. Short fiction was all I thought about, and I lacked the commitment and confidence to tackle a novel. As time went on, and as I started getting published, the stories grew longer. Part of it was the incentive of being paid by the word, and part of it was just that my writing was growing and expanding. Things missing from earlier stories matured in the later works.

One of my favorite stories about my career is that I’d sold a vampire novel to a small press publisher, which helped to sell a Star Trek on a pitch, then sold a trilogy to White Wolf, but I’d only written the one vampire novel, which got canceled and sold to a different publisher later on, at that point. The pressure was on.

I love a very good short story. I despise bad ones. I have started writing more short fiction again recently, but for years, every story I started turned into a novel. It might be a curse. Several of my novels (including that first vampire novel) began as novelettes or short stories. It all sort of blends together, when I try to nail it all down, and now even the bulk of my novels connect, cross-over, and seem to be one huge story.

I don’t prefer either format, but I am most comfortable writing novels. That was not always true, so I am working my way backward. I have a story upcoming in an anthology from Cemetery Dance, “Hickory Nuts and Bones” that might t be the best I’ve ever written. Cliché as it will sound, it’s a process. They are all as long as they need to be, and if I write them too short, they bother me until I fix it.

3-You basically described your anthology project from 2020, Voices in The Darkness, as a middle finger raised to a bad year. What was the experience of putting that together like?

I was in a sort of writer’s block at the time. The whole experience of the former administration, diving into the depths of the pandemic and 2020 should have given me time and inspiration for writing. I had all the extra hours I needed. I wrote… very little. I finished a novella I liked that came out in an anthology, and I poked at two novels, but itfelt empty. So, having published a magazine back in the day, I put my editor's hat back
on.

I knew if I opened the floodgates, it would drown me, so instead I picked my authors. People I knew I could count on. I explained to them that I wanted to create something in 2020 that was worth remembering. And they got to it.

The book is very good. Maybe not exactly what I thought it would be, but in some ways a lot more. There is no theme. The final story, by Brian A. Hopkins, who I have been luring back into writing where he belongs, is absolutely fantastic. I met new authors. I read their books. It helped me, even as I worked on it.

The stories are so different it’s hard to explain how they work as a whole, but they do. I’m very proud of that, and through the editing, and the work, I got back down to my own writing, finished the story I mentioned above that sold to Cemetery Dance, and moved on into 2021 completing Jurassic Ark.

4-These days you wear two hats: writer and publisher. Which do you prefer, and why?

Writer, by a country mile, but that’s maybe an unfair question. As a publisher I’ve had the opportunity to make people happy. I’ve helped revive careers. We’e brought countless books back from obscurity to new generations of readers. I love that we do that. The only thing I don’t love about it is that it eats so much of the short remaining time I have to write my own books and stories.

It’s a very difficult balancing act. At times, it seems impossible. I’m getting a handle on it again, though. Simplifying, streamlining, and carving out time for what matters. I feel as if both of the two hats are vitally important to me now, and they keep me hopping, for sure. Someday, if the stars align, I’ll be able to pull back from the day job to only write and publish. That would be simpler, but I just don’t make enough at either of the things I love to comfortably do that so far. It’s frustrating, I admit. Publisher’s Weekly almost always loves me. Most of my reviews are very positive. The readership has never really come back. I had a period where I did not write much because my life wasmessed up, and so, the readers moved on. The fight to get them back is real (lol).

5-Jurassic Ark: How many dinosaurs is too many?

This book was a revelation to me. Back during the former guy’s regime, my wife and I wrote a book together. Remember Bowling Green: The Adventures of Frederick Douglass- Time Traveler. It was a parody of several gaffes by Trump and his administration involving a non-extant tragedy in Bowling Green, Kentucky, and Trump saying that Frederick Douglass was “doing great things.” It was fun, and funny, but not deep.

Later that year I saw some articles about the guy in KY who created a Noah’s Ark theme park. There were cardboard cutouts of dinosaurs. I thought I’d write another parody where it was 6000 years ago, like the Creationists say. Men and dinosaurs sharing the world. Then I started to write.

Noah’s story is full of a very long list of moral questions. His family, the way he treated them, the way the story ends. It’s a very human story. What ended up happening, as I wrote, was that they came to life. They started to matter. I studied. I bought books on Jewish folklore.

Jurassic Ark is, in my opinion, one of my best books. It’s age appropriate down to teens, I’d guess, but complex enough for adults. It addresses issues and questions I had no idea would be a part of it. It even has a subtle nod to the Irish Rovers, for thosewho get the reference. I hope people will love it. But it DOES have dinosaurs. It has giants, and magic. It’s an adventure, with some romance… we’ll see what the world thinks.

FINAL NOTE: I thought I would see something to bring me to the explanation I mentioned above about how White Wolf influenced my career. My series, “The DeChance Chronicles,” was partially inspired by the desire to write something similar to the World of Darkness novels, but without boundaries. At least two of the stories were rejected by White Wolf along the way and modified to my own world, but a lot of the work I did for White Wolf gave me the skills and mindset to make it all work. Writing truly is a journey, and thanks for the opportunity to sit back, think, and write about it.

 

Big thanks to David for taking time to answer these questions. Check out his books at his website and don’t forget to visit Crossroad Press, home of my upcoming novel Ghost of a Marriage.

Next week brings an old friend to Five For Writing. Novelist, RPG writer and video game writer extraordinaire Lucien Soulban will be strapped in for what promises to be a very special edition of the series. See you then!

Five For Writing – Bridgett Nelson

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Bridgett Nelson is this week’s guest on Five For Writing. A rising star in the horror field, she made a splash with her debut reading at Scares That Care ’21. A former nurse, she’s got an ambitious slate of projects lined up, but she’s not so busy that she didn’t have a few minutes to spare to answer five questions. And so I give you Five For Writing with Bridgett Nelson:

1-Your first reading was the opening reading of a major horror convention, Scares That Care. What were you feeling going up to the podium?

I did, indeed, have my very first reading at my very first in-person horror convention, Scares That Care ‘21, and I guess you could say Todd Keisling and I “opened the show.” Shortly before our allotted time, I was standing at the lectern in the conference room, chatting with Todd, as more and more people wandered in and took a seat. And not just any people either. Oh, no. Long-time, fan-favorite horror authors like Jeff Strand, Bob Ford, and Stephen Kozeniewski (not to mention my Bram Stoker Award-nominated partner, Todd) were all there. I was definitely feeling my newbie status. Thankfully, Todd was an amazing partner, very sweetly introduced me, and paved the way for a successful reading. Even still, as I walked toward the podium, my heart was racing, my hands and knees were shaking, and my skin was clammy. I found myself leaning hard against the lectern for support. My voice trembled on and off through the entire fifteen-minute reading. Public speaking is not a strength of mine, and putting myself out there as a writer, for the very first time, certainly added another layer of vulnerability.

All this to say…
Drunk. I felt drunk. 

2-Your reading featured a very memorable sequence involving cannibalism and some severely gnarly toes. What inspired that?

It’s a longstanding family tradition of mine…

Seriously, it wasn’t inspired by anything other than, “What would be a vaguely funny and disturbing body part to force a woman to eat at gunpoint?” Rotten toes, for the win!

That scene unexpectedly got a big audience response. Several people who attended my reading still tease and joke with me about it to this day. For those who weren’t at Scares That Care, the story is called “Reflections” and you’ll be able to read all about the gnarly toes very, very soon. You can also hear my trembling voice reading the story to you on the Necrocasticon podcast.  

3-You were a nurse for many years. Have your experiences there informed your fiction?

I sure was! When I was a senior in high school, my two choices for a college majors included sports medicine (which I’d planned to turn into a physical therapy career), or creative writing. My parents pushed me toward sports medicine, knowing I’d be more likely to find, well, you know…paid work. After a few months, realizing I was bored to death wrapping college athletes’ ankles, I decided to switch to nursing. 

Following graduation, I worked on a renal/urology/renal transplant floor, then on a cardiac step-down unit (where I primarily cared for open heart surgery patients), and finally in the operating room, where I felt most at home. (The stories I could tell after years as a nurse.)

Have my experiences in the medical field informed my fiction? Absolutely! It makes the physiology of torture and death scenes so much easier to write. (For clarification purposes, it’s important to note this is not me saying I tortured and killed my patients.) In fact, my very first short story, “Political Suicide,” is set primarily in a hospital. The main character is 40-something neurosurgeon hell bent on getting revenge for her son. Let’s just say she uses her medical knowledge in a very twisted way.

4-What made you decide to start writing?

I’ve always loved writing. I was the feature editor for our school paper and even wrote a weekly column for our county journal. But life happened. I began my nursing career, got married, had babies (okay, in all honesty, I had babies BEFORE I got married…but let’s pretend I’m all traditional and stuff), and writing became a distant memory. 

Many years ago, I decided to start reviewing the hundreds of books I read each year. Through my reviews, I met the CEO of a new Indie publishing company, R.E. Sargent of Sinister Smile Press. He encouraged me to submit a story for their upcoming anthology, so I did. And it sold. Now I’m happily writing short stories and attempting to fake my way through my first novel.
Life is bizarre, but lovely. I’m happier than I’ve ever been – I feel like I’ve finally found my niche…and my people. Although I loved nursing, I now know I should have been writing all along.

5-You’re putting together a short fiction collection. What can we expect from that?

Yes! And I’m incredibly excited to announce the title here first! My debut short fiction collection, A BOUQUET OF VISCERA, will be available in spring 2022. You can expect dark, diabolical stories, often times involving revenge, and lots of fun twists.

I’d also like to give a HUGE thank you to Rich, who, within seconds of me telling him what I was looking for, came up with that brilliant title.

Big thanks to Bridgett for her thoughtful and patient answers. Up next is writer, editor and publisher David Niall Wilson, the brains and pen behind Crossroad Press! Until next week…