Category Archives: Australian Artists

Off to the National SF Con

This weekend the national Spec Fic convention, Conflux, is being held in Canberra. It’s a fun-filled long weekend for fans of the genre, where you get to talk about the genre you love with other people who share your passion. There will be a packed program with workshops, panels and events,  (see Thursday, Friday, Saturday and Sunday here). Here is but a brief glimpse of the things on offer.

cropped-9512-header2

Thursday, Richard Harland will be there with bells on running a Writing Steam punk workshop from midday until three. Richard’s had a wonderful time in France recently, promoting his Worldshaker series. As you can see, he gets right into the steam punk era.

Richard_tophat

 

At 4pm there will be a Steam Punk High Tea. What could be more delicious? And then there’s the Opening Cocktail party at 7:45pm.

Friday, 11 am Fablecroft Press will be launching One Small Step (Go Tehani). (One of my stories is in this anthology). Unfortunately, I have to work on Friday so I won’t be able to make the launch.  I’ll fly down late Friday night and stagger into my hotel room.

OneSmallStepCoverdraft

At 2:30pm there’s a Guest of Honour interview with Marc Casgione, Publishing Director of Angry Robots. (more on the GoHs down below.

And you can’t miss the Regency Gothic Banquet  starting 7pm.

Celosia Lace Fingerless Gloves - Black Deep Red Metallic Embroidered Floral - Gothic Vampire Regency Tribal Bellydance Goth Fetish Mourning

 

Gorgeous gloves from this site.

 

 

On Saturday morning I’ll be running a workshop preparing lucky authors who will pitch their books to Marc Gasciogne later the same day.

At 2:30pm there will be a Guest of Honour interview with Naolo Hopkins, writer of challenging SF.

And at 5pm the Ditmar Award Winners will be announced, along with the winner of the Hemming Award.

8pm, the attendees will let their hair down at the Junkyard Cathedral Masquerade.

 

 

Sunday there will be a panel on Book Covers, which I’ve been prepping for. And I’m sure there will be a fierce debate of the possibility of a female Dr Who at 12:30pm. (I saw plenty of female Dr Whos at Supanova).

 

Is the World ready for a Female Dr Who? by Vinne Bartilucci

 

See here for a full list of workshops, events and pitching opportunities.

 

The Guests of Honour are:

Naolo Hopkins from the other side of the Pacific. She is the author of four novels and a short story collection (Brown Girl in the Ring, Midnight Robber, The Salt Roads, The New Moon’s Arms, Skin Folk).

Marc Gasciogne, Publishing Director of Angry Robot, UK. See an interview with Marc here at Bibliophile Stalker. Marc will he hearing the pitching session . (I’ll be running a workshop on pitching to help the writers prepare).

From Australia, we have Karen Miller, author of more fantasy books than you can shake a stick at.

Fan guest of honour is Rose Mitchell, long time fan and power-house behind many conventions including  World Cons.

And special guest, Kaaron Warren, writer of challenging macabre stories and novels.

 

A great time will be had by all, four days of programming is a big task to organise. See my interview with Donna and Nicole.

2 Comments

Filed under Australian Artists, Australian Writers, Conferences and Conventions, Conventions, Covers, Dark Urban Fantasy, Fandom, Fantasy books, Fun Stuff, Pitching your book, Publishing Industry, Readers, The Writing Fraternity, Workshop/s, Writing craft

From Fantasy to Felony and Fangs…

I’ll be dashing straight from work to the airport to fly off to Melbourne on Friday the 12th of April for a Sisters in Crime Event, where I’ll catch up with Alison Goodman and Narrelle Harris (aka the Daggy Vamp). We’ll be talking about writing across genres. After all, as readers we don’t stick to one genre, why should our creativity be restricted to one genre?

And we even got a nice write up in the print media! (The Age and the Sydney Morning Herald)

 

Narrelle M Harris will interrogate two fellow authors – and herself! – about why they’ve turned from fantasy to crime to explore Melbourne’s underworld and other-worldly…

 

WS-Rough-front-207x300Narrelle M Harris writes both crime and fantasy. She is the author of two frequently hilarious crime vampire novels set in Melbourne: The Opposite of Life and its sequel, Walking Shadows, published last year by Clan Destine Press. Both feature daggy Glen Waverly resident, Gary Hooper, who might be Melbourne’s (or maybe the world’s) least impressive vampire and his geekgirl librarian friend Lissa.

Narrelle also writes in the business sector. She created the Melbourne Literary iPhone app in association with Sutro Media.

 

a_new_kind_of_death_ebook_cover_finalAlison Goodman has received world-wide recognition for her fantasy books Eon and Eona which have been sold into 18 countries, and translated into 11 languages. Her first crime novel, A New Kind of Death, previously published in the USA as Killing the Rabbit, is now available to an Australian audience, thanks to Clan Destine Press. It’s a dark and wickedly adult comic thriller with just a touch of speculative intrigue and was highly recommended in Sisters in Crime’s Davitt Awards.

Alison was a D.J. O’Hearn Memorial Fellow at Melbourne University, holds a Master of Arts, and has taught creative writing at postgraduate level. She is currently working on a new fiction series.

 

Fantasy writer R C Daniells has also turned her hand to crime – with a paranormal twist in The PoF Wraparound ResizedPrice of Fame (Clan Destine Press). At its centre is documentary maker Antonia Carlyle who uncovers dark secrets in St Kilda when she researches the cult ’80s band, The Tough Romantics, and its doomed singer Genevieve James. The iconic band’s rise to international fame, she discovers, had as much to do with its cutting edge sound as its history of tragedy, betrayal and murder…

In her spare time, Rowena has devoted five years to studying each of these martial arts – Tae Kwon Do, Aikido and Iaido, the art of the Samurai Sword.

 

If you’d like to attend, here’s the info:

The Rising Sun Hotel, cnr Raglan St & Eastern Rd, South Melbourne (no lift). Mel Ref: 57, H2.Try 1, 55, 112 or St Kilda Road trams. Free on-street parking after 6pm.

$10 (members/concession )/$15 (non-members). Dinner upstairs from 6.30pm. Men or ‘brothers-in-law’ welcome. No bookings necessary. 10% for members from the Sun Bookshop bookstall.

Info: Carmel Shute on 0412 569 356 or go to www.sistersincrime.org.au

4 Comments

Filed under Australian Artists, Conferences and Conventions, Dark Urban Fantasy, Paranormal_Crime, Promoting Friend's Books, Thrillers and Crime, Thrillers and Mysteries

Dynamic Duo run National SF Con (Conflux 9)and have new books out…

I have been featuring fantastic female fantasy authors (see disclaimer) but this has morphed into interesting people in the speculative fiction world. Today I’ve invited the Dynamic Duo, Donna Hanson and Nicole Murphy who are co-chairs of the Australian National SF Convention, Conflux 9 and who both happen to have a book coming out this year. They are proof that you can be creative and successful, and give back to your community.

 

Donna and Nicole

Donna and Nicole

Q: Both of you have work and families, you are part of a writing group (the Canberra SF Guild and part of Fantasy Writers on Retreat), you’re published and you both have books coming out this year (more later), on top of all this, you put your hands up to be co-chairs of Conflux 9. Tell me honestly, when you came home from that meeting and told your significant others that you’d volunteered to run the Nat Con, what did they say? (From the photo it looks like you might have had one glass to many).

Donna

Well that photo on the website was my birthday shot ( a High Tea)  so I’m not sure we’d dived into the champers at that time. We think we’re insane and I think our partners know it. Matthew (Farrer) my partner has this wide-eyed stare every time we talk Conflux 9. The worried frown sort of says-‘she’s going to rope me in?’ And just last weekend I did too, do a couple of panels. It’s the power of the inevitable. However, this is definitely my last con.

 

Nicole

I dreaded telling my husband, Tim, cause he really didn’t like the time it took from me when I chaired Conflux 4. But the fact that a) it was with Donna, so the workload wouldn’t be as bad and b) I love doing this meant he was fine with it. However, we’re both swearing that this will be the last time we organise a con and hoping our partners will keep us to that. Not that that means it’s the last thing we’ll do for the community. We have ideas. One that keeps popping up in particular (you know what I mean, Donna).

 

Donna

Nicole do not go there. Do not pass go and do not collect $200. Think of the work involved. You’re insane.

cropped-9512-header2

Q: Not only are you doing all of the above, but Nicole, you’re teaching Year of the Novel with the QLD Writing Centre and the ACT Writers Centre, and Donna you are doing a Masters in Creative Writing, and a course in Millinery (hat making). Is there a point where you think, I can’t take on one more thing? Or is your philosophy, the more I take on the stimulating life is and it’s just as well I’m really good at juggling?

 

Donna

I have my limits. Like if I sold a trilogy I’d probably have massive brain melt. But that’s not going to happen in the next 3 months. I’d like it but you know gee a girl can only do so much. Ironically, I do find the more I have on the more productive I get. RSI stymies me a little. I guess it’s a matter of stacking. Conflux is over at the end of April. Things are hotting up now with Conflux so I ease off on the writing. The Masters starts soon, but I’m taking all of April off to get the Conflux thing done and uni if needs me. Millinery if the course goes ahead (they need a minimum number) will be my time out. I have arthritis in the neck and one day I’m not going to be a happy camper so I do have this philosophy of doing as much as I can now rather than waiting until I retire or something. And to ease the pressure in my writing gears and cogs, I wrote two novels in the last half of 2012 and I just have to polish them and send them out this year. The pressure to write has eased a bit.

 

Nicole

There is no doubt in my mind that I am quite, quite mad. However, there’s nothing that annoys me more than being bored, and this year there’s little chance of that happening! The two Year of the Novel courses were important to me because I love teaching and helping people – I get as much satisfaction from seeing friends and those I’m mentored and taught succeed as I do from my own success. More, even, cause I don’t have to deal with the worry and fretting and constant fear of bad sales figures J And as Donna said Conflux is over is just over three months (eep, eep, eep!) and I’m going easy on myself on the writing front in order to keep things under control. That said – I’ve got two books coming out between now and then, one of which I’m editing and publishing, so… Back to the comment about being mad.

Marc Gascoigne

Marc Gascoigne

Q: You’ve been involved in running other Confluxes and other events like the World SF Con 2010. How did you get involved in running events? Was it overwhelming the first time? I know Conflux 9 is running a pitching opportunity with Marc Gascoigne from Angry Robot. Nalo Hopkins is the International writer GOH, Karen Miller is the Australian GOH writer and Kaaron Warren is the Special Guest writer, (see here for details), so you get to meet cool writers and editors. Are there other benefits to running a Con and is it something you’d recommend to people wanting to become writers? (For information on the pitching opportunity see here).

 

Nalo Hopkins (Photo David Findlay, 2007)

Nalo Hopkins (Photo David Findlay, 2007)

Donna

Nicole will tell you I roped her in. I’ll blame Maxine McArthur because I’d never heard of SF cons (well I had been to a Star Trek convention and knew about those but not fan run lit cons). I ended up being the Chair of Conflux (number 1) but I was just helping out on the committee (cough because Maxine gave me strong hints that I should) and then I ended up being the chair. I did the next one and then scaled down my activities to focus on writing.

I did make a lot of contacts and made many friends as a result. In those early days I was very enthusiastic and networked a lot and I guess brought in other writers to the fan scene. The rest is history. For that first con though I had 10 months off work and I didn’t write much either. I think I did other things like edit anthologies.

I do recommend getting involved with organising these conventions and helping out. It’s a good experience and you make great contacts. However, I do recommend a little balancing between your activities. I got invited to help out with worldcon because I got noticed doing the Conflux convention running. It can be addictive. Worldcons are great fun (going to them and being involved).

 

Karen Miller (Photo Mary CT Webber)

Karen Miller (Photo Mary CT Webber)

Kaaron Warren

Kaaron Warren

 

 

 

Nicole

Yes, it’s all Donna’s fault. She asked me to run the short story competition at the first Conflux. I wasn’t totally happy with my work on that, so I decided to work on the next convention to prove I could do it. And then the next convention. And then I chaired one. And then. And then…

And now, thanks to Conflux, I work full-time as a professional conference organiser. So yeah, I love them.

I’m not sure I’d recommend it to other writers, because it is very time consuming. That said, if you’re not good at networking (like me, I’m atrocious at it, unlike Donna who is an absolute marvel at it), then getting involved in convention organising is a great idea because you have to meet and interact with these people. I’ve not doubt that my work with Conflux helped me get my foot in the door with Harper Collins. Didn’t get me published – it was the fact the company loved the books that did that, but it helped.

So balance it up – the time it takes versus the fact it can be very beneficial. And fun. And you get to meet the coolest people, and often they’ll stay friends for a long time after.

rayessa-and-the-space-pirates_cvr

Q: Donna your book Rayessa the Space Pirate is available from Escape Publishing. You edited the Australian Speculative Fiction: Genre Overview, which was published in 2005. You’ve had a lot of short stories published which range from fantasy, through erotic horror, to SF (is this right?), yet Rayessa the Space Pirate is a rollicking Space Opera, which doesn’t take itself too seriously. Was it a relief to let your hair down and write for the fun of it?

AustralianSpeculativeFiction

Donna

I had fun writing Rayessa and the Space Pirates. I wrote it a long time ago, when I was a fairly new writer. Even though it’s been revised, I stayed true to the character during those rewrites. She’s fun, the story is fun. But when you take in my other work, it is surely different and not what you’d expect from me. I’m very proud of it because of its lightness, its vibrancy and like you said rollicking space opera.

Many of my short stories are me flexing my writing muscles. I evolved from just writing a story to experimenting with styles and content. I do tend to go a bit dark at times. ‘Heat’ was a bit like that with the split narrative (it’s in my free fiction section on my blog-warning adult content) and in the last couple of years I’d been writing short paranormal too, just to see if I could. I’m a bit astounded that I really like writing happy ever afters just as much as the soul sucking endings. I write what is in my head, pursue ideas and go with it. Who knows what I’m going to do next.

3 books.axd

Q: Nicole you’ve had numerous short stories published, and an Urban Fantasy trilogy set in Australia called The Gadda (Harper Collins). The tag-line on your blog is: Where Fantasy and Romance Collide. So your next book’s genre is a step sideway, but not that far. Arranged to Love is written under your pseudonym, Elizabeth Dunk. (For a taste of Elizabeth Dunk’s writing style see here, Claudine’s New Adventure). What was the genesis of Nicole the fantasy writer evolving  to include Elizabeth the romance writer?

claudine-clrsml

Nicole

It all started way back when I was originally writing the first lot of Gadda books. I’d been thinking I was a straight fantasy/SF writer, but I had one of those blinding moments of inspiration where I realised I kept putting romance in as a sub-plot and I’d probably be better off pulling it to the forefront. That was the genesis of writing the Gadda books and when they were done, I kept having ideas for contemporary romances as well.

In 2011 I was at home, writing full-time, and I needed to do something apart from the Gadda books to challenge myself. So yes, I took a step sideways – a small one, but definitely still a step. My aim was to write a Mills and Boon category style romance. The only way Arranged to Love matches that is in length – otherwise it fails. But it’s a great story and it had a checkered road to publication but I’m so happy it’s there.

I’d always intended to use a pseudonym, but to be open about it because some people read only genre, some people read an author. So there will be people who will read anything I publish and there will be romance readers who won’t touch the Gadda books with a barge pole and vice versa. Here’s hoping it works.

 

donna-corset

Q: I understand there is a Steampunk High Tea is planned for Conflux 9 on the Thursday afternoon at 3pm.  (For the full program, see here). I’m guessing this mean we all get to dress up in really cool steampunk gear, sip tea and nibble cucumber sandwiches. Do you have any fashion advice for the event?

 

Donna

I think people should go with that they feel comfortable with. I’m dressing up because: hey I made a dress so I must wear it. But people can come with a bow tie, or goggles or a gun or just in day clothes. I bought Matthew a Nerf Gun. I expect him to paint it and make it look all steampunky. My son gave me a steampunk necklace for Christmas. I’m almost kitted up.

It’s a bit of fun. People can do traditional Victorian or make it up with whatever they like. I’ve seen men and women in corsets, kilts, junk, jodhpurs and google, top hats, parasols. Any and all. Just come for the fun and the high tea. I believe we get lovely sparkling wine too. Try googling steampunk clothing and you’ll be amazed at what is out there. Mind bogglingly awesome. There are some very talented and creative people out there. Just remember you have to book and pay for the high tea as it is an extra event.

 

Nicole

Can I just add – cucumber sandwiches are awesome! Honestly, you read about them and think, how old fashioned, how silly, making sandwiches with cucumber only, what a strange thing to do. But they’re great. I prefer them with a yoghurt dressing, rather than cream cheese. Take note, Rydges!

JAFA2013-small

Q: You are also staging a Regency Banquet. Does this involved getting dressed up like Elizabeth and Mr Darcy? What can people expect at a Regency banquet?

 

Donna

Yes, if you want. We ran a Regency Banquet a few years ago and we had a great turn out. A lot of people love the period and went all out. Some had period costumes, some people adapted modern wear to make it look period, some of those were very effective.

The menu for the banquet is taken from the Conflux cookbook, Five Historical Feasts, by Gillian Polack. We are re-running that. The menu was researched and put together by Gillian, who is our very own historian (she’s a Dr), with the help of a bunch of us who tested and tasted the recipes. The food was really good to eat. Not good for my waistline.

This year to spice things up we have entertainment from Earthly Delights. They are the group that run the Jane Austen Festival in Canberra the week before Conflux. (they always get TV coverage of the event). John Gardiner, his wife Aylwen Gardiner-Garden will be organising the impromptu dancing and also music. John has agreed to do a 3 hour workshop on Regency Dance and Manners on the Friday. I’m so going to that. ($45 for members) and Aylwen is bringing items of costume to do a hands on workshop on costume design ($10 for members), so we are getting into the Regency thing. I hope we get takers because the dance workshop needs 16 people to work.

 

Lewis Morely and Marilyn Pride Conflux 5 (Photo Cat Sparks)

Lewis Morely and Marilyn Pride Conflux 5 (Photo Cat Sparks)

Nicole

The original Regency banquet was run during my conference, Conflux 4 and I may be biased, but I think it was the best of the lot. Everyone really went all out with the costuming and the whole place looked wonderful. The food was overwhelming – there was very little desert eaten because it was so rich we were already full. A fabulous night.

Note that while we’ve cut a lot of allergens out of the menu (eg there’s no fish/shellfish, no nuts), there’s one thing we can’t avoid – dairy. The Regency folks were nuts for it. And butter, so forget your diet! But if you’re lactose intolerant, there’s so little food available for you that you’ve got to seriously consider if it’s worth your while.

 

Donna Hanson, Cat Sparks, Alisa Krasnostein  Conflux 4 (Photo by Cat Sparks)

Donna Hanson, Cat Sparks, Alisa Krasnostein, Conflux 5 (Photo by Cat Sparks)

 

Q: Do you have any tips for first time convention goers who are planning to come to Conflux 9? (For membership information see here)

Donna

Be prepared to meet people, have fun, be entertained, learn things, network (drink). Be prepared to be thoroughly knackered. Come to our Meet the newbie session in the bar after the steampunk high tea. You’ll get to meet seasoned con goers to find out how to make the best of your convention.

 

Adam Browne and Keith Stevenson (Photo Claire McKenna)

Adam Browne and Keith Stevenson (Photo Claire McKenna)

Nicole

Don’t be afraid to approach your favourite writer. One of the great things about our industry is that we’ve all been in the same boat – having to greet our hero for the first time. A lot of the time, we made complete and utter fools of ourselves but we’ve always survived. Australia’s SF industry is wonderfully supportive, encouraging and fabulous and generally we only bite if asked to.

If you’re coming as a writer, intending to network with editors, agents and publishers – be cool about it. For professionals, conventions are part work, part fun and hanging with friends. So be aware of the circumstances and if you are going to approach them for a chat about your work, be polite and understand if they ask you to come back another time.

And whatever you do – don’t do what some shmuck did to poor Stephen King at a convention and chase a writer/editor/agent/publisher into the toilet with your manuscript and fling it under the door to them!

That said, a lot of us are very bribable. I drink red wine :-)

 

 

Rowena thanks for the interview. You’ve done heaps of research. It is much appreciated.

 

Donna Hanson

Donna Hanson

Catch up with Donna on GoodReads

Donna’s blog

Follow Donna on Twitter  @DonnaMHanson

 

 

 

 

Nicole Murphy

Nicole Murphy

Catch up with Nicole on GoodReads

Nicole’s Blog

Catch up with Nicole on Facebook

Follow Nicole on Twitter  @nicole_r_murphy  

 

6 Comments

Filed under Australian Artists, Australian Writers, Conferences and Conventions, Conventions, creativity, Dark Urban Fantasy, Fandom, Fantasy books, Fun Stuff, Indy Press, Pitching your book, Promoting your Book, Publishing Industry, SF Books, Specialist Bookshops, Steampunk, The Writing Fraternity, Tips for Developing Artists, Tips for Developing Writers, Workshop/s, Writing craft, Writing Groups

Meet Kirstyn McDermott…

I have been featuring fantastic female fantasy authors (see disclaimer) but this has morphed into interesting people in the speculative fiction world. Today I’ve invited the talented Kirstyn McDermott to drop by because her new book, Perfections, has just come out. Congratulations!

 

Q: Okay, first the really important question, your twitter handle is @fearofemeralds. Why?

That question has a simple answer, but I’m afraid that I’m going to skirt around it anyway. Essentially, the phrase is part of a larger sentence that I took with me from a dream a long, long time ago. I seldom remember my dreams upon waking, but this one was vivid and had a lot of impact on me at a time when I was agonising about whether or not I had any talent as a writer at all, and whether or not I should even bother attempting a career in that field. The whole sentence now has such talismanic properties for me that I had it tattooed in mirror writing across my ribs a couple of years ago, as a permanent reminder to keep going no matter what. My earlier use of “fearofemeralds” first as an LJ name and then as a twitter handle had a similar motive, making sure it was front and centre on a regular basis. I probably don’t need that anymore, now I have the tattoo, but it’s a little late to go changing things. And no, sorry, I’m not going to reveal any more particulars of the dream or even tell you the whole sentence – which I know is a dreadful tease, but the superstitious part of me believes that the talisman will be robbed of any power if shown to the world. :-)

Q: In an interview with Lisa Hannet when talking about the horror genre you say: ‘I find myself fascinated by the monstrous– which really boils down to being anything we’re told “normal” people shouldn’t look at or think about or discuss in polite company. Taboo topics. Fringe dwellers. The black in black-and-white. I don’t believe in Evil as a manifest force. I do believe that humans are capable of doing evil things, and that a great number of humans acting in concert are capable of great evil indeed, but what interests me are the underlying reasons, motivations and causes. What makes a human being – someone similar to myself, perhaps – able to commit certain acts that I would find abhorrent, or allow others to commit them? I deeply, deeply want to understand this.’  Do you see horror as a way of making sense of the world? Do you think people who write and read horror are more troubled by the darkness both around and inside us?

I think one of the driving forces behind humans creating and partaking in art generally is an attempt to make sense of the world, and to connect with others in this endeavour, and horror fiction is certainly no different. That’s not to say that it’s the only motivator, but it is an important one, at least to me. It influences what I write and it certainly influences the types of books I like to read. I want books that make me think, that invite me to view the world differently and reconsider my preconceptions – and that are very well crafted to boot. I’ve become a highly critical reader over the past decade or so and find myself having less and less patience for fiction – horror or otherwise – that feels like it’s playing by the numbers, or is taking too many shortcuts with well-worn tropes or lazy writing.

As to the second part of your question, I don’t that “more troubled by the darkness” is necessarily true. I think we’re genuinely more fascinated by it and more inclined to dig down into the guts of it to see what makes it work, and we might even become a touch inured to some of the horrible stuff we see on the page and the screen – though not, I strongly believe, to real life horrors. But this doesn’t mean that people who don’t read/write horror are any less troubled by the bad stuff; they simply don’t wish to dwell on it when it comes to their culture or entertainment. Which is a fair enough call. Hell, I don’t partake in the romance genre to any sort of measurable extent; it simply fails to ring my bell and always has. But I don’t think that means I am in less capable of experiencing and enjoying love and romance in real life than a hardcore romance reader (or writer). Or that readers/writers of romance are somehow “lesser” than those who like horror. It pays to remember that dark doesn’t automatically translate to deep.

In my more belligerent early twenties, I did share what was relatively common attitude within the horror community, that people who refused to read horror were little more than ostriches with their heads in the sand when it came to The Truth About Life. But isn’t that kind of extremist philosophy what your early twenties are all about? Really, life and people are a lot more complicated than that. My tolerance for those who look down their nose at the genre per sae, or decide that horror readers/writers must be somehow sick or dangerous, however, remains at a critically low threshold. Because dark doesn’t automatically translate to damaged, either.

 

 Q: Since 2010, you and Ian Mond have been hosting a monthly podcast ‘devoted mostly to speculative fiction books, reviews and the odd bit of idle gossip’. The Writer and Critic won the Ditmar and Chronos Award this year. Did you have a ‘mission statement’ when you were first putting together the podcasts? What did you want to achieve with them?

Ian’s initial mission statement was something like, “Hey, podcasts are cool. Let’s do a podcast.” He came up with the idea and beat me over the head with it for a few months until I relented and we nutted out the format. We still don’t have a real mission statement, and have tweaked the structure a number of times with varying results. What we have decided is that we will only feature two books per episode from now on, as having a third title every so often when we had a guest on was really stretching our collective stamina – not to mention the recording time!

Our initial idea was to create a podcast where we could review books at length. We both really enjoy discussing interesting books that we’ve read, and sometimes pulling apart more problematic works, but finding the time to put thoughts down on the page is difficult. There’s no way I would ever be able to write the sort of in-depth critiques of books that I can have in conversation with Ian over the course of a couple of hours. Because we were coming at it from a book review standpoint, we avoided spoilers in the first couple of episodes. But this constrained discussion to a significant extent and, at the urging of a couple of our listeners, we abandoned that strategy and switched to more of a “book group” type discussion, assuming that people had already read the books, or did not care to have major plot points and even endings spoiled. It makes for a more natural conversation, I have to say, when you’re not busy worrying about whether or not the point you’d like to make will result in a spoiler.

I don’t know that we set out to achieve any more than that, to be honest. Two friends, both avid readers, recommending books to each other and then putting aside one evening a month sit around and chat about them. So I’m genuinely flattered, and quite honoured, to think that people enjoy listening in on these discussions enough to consider the podcast award-worthy!

Q: Do you and Ian get together and brain-storm goals for The Writer and Critic? If so, where would you like to take this podcast in future?

We don’t really brainstorm as such. More like, one of us will get an idea for something and email the other one, and they might say, “cool” or “meh” or “don’t be an idiot”, as the suggestion warrants. We’re still proceeding in more of a fluid/organic manner, rather than having any grand plans for the future. (Apart from reaching 100 episodes – I know Ian is very keen to get that far!)

What I am interested in doing is working out a way to bounce more ideas off listeners, and incorporate their suggestions – whether these are actual book recommendations, or structural ideas. It’s been great having Ian, and our guests, influence my reading in such a direct way over the past couple of years. I’ve read and enjoyed books I probably would never have thought to even pick up on my own. On the flipside, I’ve occasionally had to finish a book I might otherwise have flung against the wall, but this is a valuable experience in itself. Not only having to finish it, but to analyse precisely what it was I didn’t like in order to be able to talk about it for half an hour – this hones the critical skills immeasurably.

I’d also like to hit the road with a travelling podcast at some point, if Ian and I can work out the logistics. We always like to record in person, rather than resort to Skype or similar remote technology, so that does limit the guests we can have on to those in close geographical proximity. I’m pushing for a Grand Tasmanian W&C Tour, but still need to convince Ian. Mind you, I’m sure his wonderful wife would love a Tassie holiday …

 

SouthernBlood

Q: Your first short story was published in 1993. In 2003 your short story The Truth About Pug Roberts was nominated for a Ditmar and your story, Painless, won an Aurealis Award in 2008. (For a full list of Kirstyn’s fiction see here). This helped to establish your reputation as a writer. Did you find the publications and award wins helped you sell your first book? And do you recommend aspiring writers polish their writing craft with short fiction before jumping into novels?
I’m not sure how much the awards mattered – although they mattered a hell of a lot to me! – but having short fiction published definitely helped sell my first novel. My soon-to-be publisher actually tracked me down and sent an email asking to see my manuscript after having read a couple of my stories in literary journals. The novel, of course, then had to sell itself but the short fiction is how I was noticed in the first place. I’m not sure how common this type of story is anymore, but in my case it wasn’t apocryphal and, being a short story writer at heart, it pleases me immensely to think there is still a valuable place for this form.

gud_issue2

That said, I don’t think that all aspiring writers should necessarily start with short fiction, or use it as a testing ground. Writing an accomplished short story is quite different to writing an accomplished novel and, although there is obviously some overlap, the skill sets required are significantly different. Just because you get good at one form, it doesn’t mean you will be able to transfer your skills to the other. I know a number of authors who have only written novels (or only series/trilogies even), or else did not try their hand at short fiction until well into their career. So it’s not an automatic stepping stone, and short does not always mean easier, or easier to publish.

If you like the short form, enjoy writing within the confines of modest word counts, and have story ideas that suit, then go for it. But for some writers, the ideas are always going to be big and sprawling, and will never be able to pared down to 5,000 words, or even 20,000 words. And that’s fine as well.  Marathonrunners aren’t likely to need to hone their sprinting skills, after all! Just write the stories that are inside you, in whatever form and length that they need to take, and write them as well as you can. Then rinse and repeat. Over and over again. That’s really the best advice I have for any aspiring writer.

Q: Your first novel, Madigan Mine, was published by Picador in 2010. (Gorgeous cover, by the way). Without giving too much away, the story is told from a male perspective about the love of his life who is also his nemesis. Was there ever any question in your mind that the narrative Point of View had to be male? And did you find it easy to slip into his view point?

Even though Madigan was the character I found first, I always knew that her story needed to be told from the point of view of her lover. And, in this particular story, certain plot points required that lover to be male, so the gender choice was very easy and not one I ever veered away from. The hardest about writing Alex wasn’t the fact that he was male; it was that he was so damn passive. Trying to maintain pacing, suspense and interest in a character who, for greater part of the story, remained almost completely reactive proved to be the most challenging aspect of writing Madigan Mine.

To be honest, I don’t find writing from the male point of view all that arduous. I have been an avid reader my entire life, often in traditionally male-heavy genres such as Horror and Science Fiction, as well as Literary Fiction (a genre unto itself). Which means that I have spent the majority of my intellectual life immersed in the male voice and point of the view, the intricacies of the male subconscious, the particularities of male physicality, and so on, all presented with an innate assumption of male authorial authority. Which of course extends to the perception and representation of the female and the feminine.

So, personally, I find it easier to write from a male point of view because I have encountered so many diverse and nuanced cultural representations of men – or, at least, white western men. Such exposure gives me a better “feel” for a male character, where he might fit in the vast (male) cultural spectrum, where he falls short. Sadly, by contrast, I am often daunted and doubtful when writing the female point of view, because I feel I have less of a cultural sample set, to speak. The feminine is not as well charted, the ground less sure. Which is probably why I am far more interested in writing, and writing about, women these days. I like the challenge, and I like helping to build a more complex, richer and multi-faceted social construct of what “woman” and “girl” and “female” actually mean and how those concepts map to reality.

 

Q: In your 2012 Snapshot interview you said: ‘I did finally manage to finish what I have come to think of as My Difficult Second Novel, and am right about to start the edits on that. Its real name is Perfections and I don’t think I have ever hated writing anything so much as I hated writing that book for the longest, longest time.’ Having won an Aurealis Award and critical acclaim for your first book, Madigan Mine, you must have felt the pressure to top this success with your second novel. How did you come to terms with this and what can we expect from Perfections? (Is that title a Freudian slip, are you a perfectionist?)

perfections_coverWhy, yes, I am somewhat of a perfectionist, although the title refers to a different type of perfection that that. But you’ll have to read the novel to find out exactly what :-)

It wasn’t so much pressure to top Madigan Mine – for a long time, I just thought of that as my little first novel, which I’d gotten nicely out of the way before moving onto other things; it took a while for the fact that other people liked it, really liked it, to properly sink in. Also, like many perfectionist writers, I excel at dismissing the merit of my own work. Especially once it’s published.

The problem with Perfections was that it consistently refused to be the book I thought I was writing, and kept insisting on being this other book that I kept fighting against. That’s never going to end well, is it? Still, it took me a long, stubborn time to come to terms with the story as it needed to be told, as it deserved to be told, and trust that I was the writer to tell it. Perhaps, as it’s a narrative about two sisters, told equally from their points of view, my inherent doubts about successfully writing diverse female points of view became part of the problem. As was the notion, which I only unpacked and banished towards the very end of the writing, that the story was “too girlie” and “unimportant”. But it’s neither. It’s complex and layered and it happens to feature two women as the co-protagonists, with love and relationships as the central theme. All of which says something disturbing about the types of narratives that we choose to privilege and deem significant in our culture, and how these choices seep into our psyches no matter what.

That said, Perfections did turn out to be a lot darker and nastier than I originally thought it might, so it seems I was worried for no reason on that score. I still don’t know where the novel fits, genre wise, but I’m keen to see what people think of it. To me, it’s absolutely a Modern Urban Gothic, a descriptor with which a friend tagged my work some years ago, and one I’m happy to wear. I love the high stakes, high emotion, haunted and fraught narratives of Gothic fiction, as well as its capacity for subtext and symbolism. It’s a palette I don’t think I’ll ever tire of playing with.

 

Q: I understand you have a collection of short stories coming our through Twelfth Planet Press soon. Are these reprints or new stories? Have you written to the theme?

My collection is part of the Twelves Planets series, so the four stories will be all new and original works. They’re not explicitly interconnected as some of the collections, like Sue Isle’s, Tansy Rayner Roberts’ and Deb Biancotti’s, have been, but I consider them to be linked – or perhaps “harmonised” is a better word – by tone. I started out with the idea that I would write a collection of ghost stories, because I was on a bit of ghost story kick when I pitched the book to Alisa, but that didn’t quite come to pass. They’re all stories of haunted people, though, even it’s not a traditional “ghost” doing the haunting. It’s my Gothic side coming out again, I guess, but the symbolism inherent in haunted stories is something to which I find myself being constantly drawn, as both a writer and a reader.

 

Q: I read your commentary on Joss Whedon’s Cabin in the Woods and really enjoyed it. (I’ve seen all of Firefly, Serenity, Buffy and Dollhouse. Firefly, several times). Firefly was the most sophisticated of Joss’s series and the most ambitious, but the least commercially successful (yet it has a very strong following amongst the fans). While there is a growing sophistication in the audience, the mainstream TV and Movie makes seem to be going for Blander and Dumber. Do you find it hard to discover TV series and movies that are compelling and challenging? Have you seen The Fades, the UK version of Being Human? Can you recommend some interesting and challenging movie/TV series?

I started to watch The Fades after a couple of people recommended it to me, but I really couldn’t get into it at all. It seemed simplistic and overly reliant on convenient (but nonsensical) plotting and conventional character types. I much preferred the original UK version of Being Human (haven’t seen the US remake) and the UK series Misfits to The Fades – although I’m yet to watch the final seasons of either. I have slightly more patience for television shows than I do for books, mostly because I am usually multi-tasking something else while watching them. Movies, on the other hand, especially ones I’ve gone to the theatre to see, have a tremendous capacity to irritate me – Prometheus, Dark Knight Rises, I’m looking at you – again because of the time I’ve devoted to them. Time is my most precious commodity. I don’t have enough of it, and can never get any more of it, so if I feel it’s been wasted … grrrrr. If you’re wanting recommendations, two exceptional films I’ve seen this year have been Tinker Tailer Soldier Spy and the Fincher remake of The Girl with the Dragon Tattoo.

Unfortunately, a lot of the TV shows I begin watching, often with great enthusiasm, tend to go off the boil. Or else I just get tired of them. Long seasons and open-ended narrative arcs that go on forever require tremendous stamina on the part of both the producers and the audience, and rarely does that seem to pay off for me. I really liked Dexter to begin with, for example, as well as True Blood, Battlestar Galactica and Fringe (once I got through the problematic first season), but pretty much abandoned them all. I get bored easily I guess, and simply amping up the (often artificial) mystery and melodrama isn’t going to keep my attention. Personal taste plays a strong part in this, of course, as I don’t tend to read a lot of series or trilogies either. Whether they’re on the page or on the screen, I tend to prefer my stories discrete and self-contained; stories I can read/watch fairly quickly and then continue on to something new and often different. Hence my favourite TV shows are usually those with fewer episodes and/or seasons, or self-contained episodic or seasonal stories. Some I would recommend would be Black Mirror, Dead Set, Afterlife, Luther, American Horror Story, The Wire, and Treme. Oh, and Black Books for comic relief, of course. I manage to re-watch that at least once a year.

 

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy is a bit of a boy’s club. Do you think there’s a difference in the way males and females write fantasy? The same could probably be said for horror. What is your take on this?

I do think there’s a difference in the way men and women write all sorts of things, fantasy and horror definitely included. This most likely comes down to gender socialisation and cultural issues, rather than biology, although it’s all interwoven to some extent. That’s not to say that it’s always, or even often, possible to pick the gender of an author from the works they have written, but generally speaking there are distinct differences. Of course, this is a self-fulfilling prophecy in many ways: in the types of writing publishers and readers expect from different genders; in the allowances and authority that will be granted to one gender over another depending on genre, theme, character, subject matter, etc; and in the ways that writers of different genders shape their own work, consciously or otherwise, to suit (or counter) such expectations.

It’s complicated, and problematic, and not an issue that’s likely to be resolved any time soon. And the fact that it needs to be resolved is salient in itself. If we were dealing with a simple observation or acknowledgement that men and women (let alone more fluid gender identities) write differently, then okay, fine, whatever. The greater problem is with the values and judgements that then become associated with the perception (valid or otherwise) of this difference. And the number of surveys, and studies, and statistical analyses that have been published recently do appear to support the argument that women writers, and genres in which women writers comprise the majority voice, are still considered lesser than their male counterparts. (And it’s much worse when it comes to matters of race and culture, let’s not forget that.)

The Horror genre undoubtedly has an image problem. Part of that is the large amount of bad – and badly written/produced – books and movies that focus on, shall we say, the more gratuitous and misanthropic, if not downright misogynistic, end of the genre. That’s not for everyone, granted, although there is some very fine work being done in these areas that tends to be overlooked among the chaff. But perhaps the real problem is a definitional one, and the narrowing effect that the genre is suffering right now. After all, if you decide that all the interesting, challenging, intelligent and well-written books are “too good” to be called Horror, and that Horror is merely a genre made of stories where women are raped, tortured or killed, then of course Horror is going to be maligned, derided and snubbed. And a lot of female writers are probably going to decide that such a genre is not for them, or at least that what they write isn’t Horror. QED.

Horror is a broad and slippery genre that gets its, ahem, tentacles into everything. It isn’t just tortureporn or splatterpunk, and never was; these are just two or many subgenres that Horror has the capacity to contain if it is allowed to. It’s written by men and it’s written by women, and it’s a stronger, more nuanced genre for it. After all, a significant portion of what human beings find horrific, terrifying or dread-inspiring, is gender specific. We need all these stories, and we need to acknowledge them as Horror – no matter which subgenre they inhabit along the way. A little more racial/cultural diversity wouldn’t hurt either, not-so-quietly speaking.

 

Q: Following on from that, does the gender of the writer change your expectations when you pick up their book?

It almost certainly does, and probably in ways of which I’m not entirely conscious, especially when it’s an author I’m unfamiliar with. Specifically, I know I generally feel like I’ll have a better time with female characters in a book if it’s been written by a woman. Of course, this isn’t always the case and women are more than capable of writing awful, stereotypical, angry-making representations of their own gender. But the expectation is there, to be fulfilled or otherwise depending on the quality of the book.

I’m sure there are many more unacknowledged expectations I have in regards to the author’s gender, but other preconceptions are often more prominent in my mind. What genre it falls into, what I’ve been told about it in advance – it’s very rare for me to pick up a book completely on spec these days – and even why I’ve decided to read it in the first place, which might actually include the author’s gender as a motivating factor.

Actually, there’s one more very specific thing of which I’ve become keenly aware – with a first person narrative, especially if it’s a short story in an anthology, these days I will tend to automatically gender the narrator in line with the author. It’s an improvement of sorts from when I was in my teens and twenties and would find myself automatically defaulting male in any first person narrative – a by product of my heavily male-oriented literary diet back then, no doubt. But it’s interesting, if a little depressing, to find that assigning gender to a character straight out of the gate is still something that my mind obviously demands. Then again, English is a highly gendered language, as is our culture, and gender often is the first marker we  seek in our interactions with each other. We really, really need a good quality set of gender neutral pronouns, don’t we?

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

I’m going to sound a little boring here, but I honestly wouldn’t book any kind of trip in a time machine. It’s far too dangerous to go into the past and accidentally mess things up, and I don’t think I really want to know exactly what the future holds. It’s more fun to find out the old fashioned way, by living through it.

Unless, wait … how about I keep my free ticket on hand for those awful times when you say or do something you immediately wish you could undo. Like having a “restore saved game” function for real life. That’d be neat. But, again, I’d have to use it as soon as I wanted to reset something or else, you know, that whole messing with the past thing. I’ve read the books, and seen the movies. That never ends well!

Look out for Kirstyn’s new book Perfections .

perfections_cover

 

 

Catch up with Kirstyn and Ian’s Podcasts here

Catch up with Kirstyn on GoodReads

Catch up at Kirstyn’s blog

Catch up with Kirstyn on Twitter @fearofemeralds

 

2 Comments

Filed under Australian Artists, Awards, Book Giveaway, creativity, Dark Urban Fantasy, Female Fantasy Authors, Gender Issues, Genre, Horror, Podcasts, The Writing Fraternity, Writing craft

Come along to Supanova Brisbane 2013

This weekend I’ll be attending SUPANOVA along with the team from ClanDestine Press.

 

Last weekend we all rocked up to Genre Con and had a ball. I discovered Narrelle Harris, author of Walking Shadows, is even funnier in real life. Lindy Cameron (award winning author) is the power-house behind #CDPBooks.

 

ClanDestine Press will be launching best selling author, Alison Goodman’s new book in the Wrestling Ring , with John Birmingham. Great cover!

The #CDPBooks stall will be in Artists Alley (where all the cool people are) so look for us there.

Here I am at the last Supanova, hanging out with Isobelle Carmody and the Dark Lord.

Leave a Comment

Filed under Australian Artists, Australian Writers, Conferences and Conventions, Fandom, Female Fantasy Authors, Fun Stuff, Publishing Industry, Readers, The Writing Fraternity

Meet Kathleen Jennings….

I’m expanding my series featuring fantastic authors to include fantastically creative people across the different mediums, which is why I’ve invited the World Fantasy nominee Kathleen Jennings who is both a writer and an artist to drop by. 

Watch out for the give-away question at the end of the interview.

Q: In 2009 you won the Inaugural Kris Hembury Encouragement Emerging Writers and Artists Award. Kris attended one of the EnVisions (a mentoring workshop for writers) and worked on the Fantastic Qld committee as well as serving as president for the Vision Writers group. He had such a dry sense of humour. As an emerging writer and artist how did winning this award impact on you?

Kris was a friend, and so it was quite emotional and a huge honour – that’s the personal impact. As a writer and artist, the impact was in realising that what I did was in some way seen by other people. Both writing and art can be (to varying extents) highly subjective pursuits, and realising that it isn’t all happening only in my own head is like opening a window and getting fresh air. I think that sort of combined shout of “we see you!” and “come on in, the water’s fine!” from people further out is a big gift more experienced people can give to those just starting. And one of the best compliments I can give the SF writing scene in Australia is that I have always found them very warm, tolerant and encouraging to awkward and easily startled beginners.

Q: Kathleen has been nominated for the World Fantasy Award in the Art section. When you were a child did you ever think you’d be nominated for the World fantasy Art Award and do your parents finally believe you’re a ‘real’ artist now?

I never even dreamed about it! I recall planning to be an author, or a champion poultry-breeder, or something like that.

As for my parents, they always thought of me as a real writer, so I think the art just required a slight readjustment. I suspect they are slightly disappointed that now they just get to show their friends copies of my pictures, instead of holding them down and reading high-school essays to them. They are recovering gracefully, and fantasy art is sometimes more generally socially acceptable than fantasy writing, but I suspect they’d really like to see my art on a book with my name on it.

Q: Your short stories have appeared in ‘Antipodean SF, the Shadow Box anthology, Andromeda Spaceways Inflight Magazine #41 and #52,  After the RainLight Touch Paper Stand Clear and a comic in Candlewick Press’ Steampunk!.’ You were the president of the Vision writers group  in 2009, 2010 and 2011. How useful is belonging to a group for the development of a writer?

I found it very useful – it’s another of those things which teaches a distinction between subjective and objective assessment of my work. It took me out of my own head (and writhing self-referential angst) and taught me how to write better, how to be dispassionate about editing (this lesson hasn’t entirely taken yet), how to put my work out there and receive comment on it, and also how to tell the difference between genuine constructive criticism and the personal taste of the reader. But more importantly, it was the beginning of a great many friendships and personal and professional connections, as all the people grew up and out and graduated into new stages of their careers, new pursuits and interests, sharing dreams and ideas and projects. I remember Catherynne Valente wrote a beautiful review of Midnight in Paris, and said of the dream it shows of the literary/artistic scene in 1920s Paris, that as writers “this is what we are meant to get instead of health insurance!”. And it is, but we also get to build it fresh each time for ourselves.

Jason Nahrung

Q: You have done covers and illustrations for Small Beer Press, Subterranean Press, Fablecroft Press, Andromeda Spaceways Inflight Magazine, Ticonderoga Publications, Odyssey Press and the Canberra Speculative Fiction Guild as well as individual commissions. Can you walk us through how someone would approach you to commission work?

It starts with an email or a twitter message, although sometimes there have been oblique advance hints given at a convention or over coffee. I panic (either from surprise or scheduling) then say yes, give a quote (once there’s enough information) and get the brief. This includes dimensions, details of style, particular limitations, directions the publisher/client would like to go in and the date. The date is very important! “As soon as possible” is not a date, it is a shifting target on the far side of other dates (this is a public service announcement, in case I forget to ask for one: everyone is happier with dates!). There is a varying degree of freedom – anything from “whatever you want” to “precisely these scenes”. For covers, I do like some idea of preference or at least direction. It helps to narrow my focus and the restrictions give more scope for creativity. Also, the cover is for marketing as well as decoration, and it’s good to know what the publisher’s thoughts are in that direction. Good art direction is invaluable. Then I read the manuscript (although once or twice this hasn’t been an option), weep, angst, do several thumbnail sketches, send them for approval and – sometimes after some back-and-forth (usually by email, rarely and delightfully over coffee) – get started on the final sketch which will develop into the final artwork.

 

Q: I used to work as a graphic artist illustrating children’s books and write. I eventually found the answer to the question: Was I an artist who wrote, or a writer who drew? (See Kathleen’s sketch books). Which do you see yourself as? And do you think it matters?

I see myself as a storyteller (or at least, a lover of stories) who works in words and pictures. My favourite works in all media (art, writing, music, architecture, landscape gardening…) either tell, suggest or provide scope for a story. When I write, I sometimes plot in pictures. When I draw, I try to get a story in there (at least in my mind) – something beyond the purely ornamental. Oddly, although I enjoy comics, I prefer heavily illustrated prose at present – possibly due to circumstances surrounding the last comic work I did (mild heat stroke at one end and floods at the other)! Perhaps the illustrated novel gives more scope for imagination in the space between words and text? I have not analysed this yet.

I do find it difficult to do both, but this is purely because of time constraints (I have a day job, and there are more art deadlines). The writing gets done but I am learning that I have to be much more structured to make the editing happen. But it is happening!

Art and writing complement each other well. It’s nice to be able to switch when I get plunged into creative despair in one area. But I also harbour the hope that the rise of ebooks will somehow elevate the importance of beautifully produced hard-copy books, with elegant design, typography, illustrations, initial capitals and endpapers.

Also, it’s beautiful to be able to interact with my favourite writers as an artist, and my favourite artists as a writer, because that’s pretty much the only way I’m able to string two words together in their presence.

 

 

Q: You have said your influences are Brett, Leyendecker and Sender. I love Leyendecker’s work. (He did the Arrow Shirt adverts and many covers for American Weekly). Eg. Having struggled to make ends meet as an illustrator, this picture is one of my Leyendecker favourites:

Of course, Leyendecker was highly successful and made a good living from his art. But that was back in the day when the American Weekly needed painted covers. (It was also back in the day when a short story writer could make a living as a writer). What is it about Leyendecker’s art that appeals to you?

Truthfully, it’s the hard edge he gives to paintings of soft curls. I had a book of fairytales when I was little, and the illustrations had a similar amazing richness – the “Cinderella” was the three-ball version, each dress was more beautiful and gold-embroidered than the last, but mostly I remember the angular painting of the hair, and the square toes of the stepsisters’ satin shoes. When I discovered Leyendecker, I fell in love with him for that. I also love the visible brush-strokes in sleek pictures, the combination of intense drama with dignity, and the sense that if he took himself seriously it wasn’t in a dull way – there’s this edge either of humour or superciliousness in the most elegant pictures which (for all the formal poses and decorative arrangements) adds tension and therefore an element of story to his pictures.

 

Q: You have done a series of cartoons with Daleks as the central theme (these were shortlisted for a Ditmar). Why Daleks?

They are simple and implacable, which makes them wonderful recurring villains: predictable, consistent, unstoppable. But – well, I never thought I’d draw a connection between Leyendecker and the Daleks! – there is a note in their voices that isn’t robotic. It isn’t “you will be assimilated”, it isn’t unvarying. There’s a rising note of anxiety to it, panic, real hatred. Inside those shells are these neurotic balls of intense, obsessive emotion. It creates that same Leyendecker tension between the presentation and underlying feeling. So – I’m a fan of Daleks.

As for the use of Daleks in the game (it was nearly, and may one day be, ducks) – I like parlour games, word games, lying-around-and-being-silly games, so tossing the Daleks (who didn’t do anything to deserve it) into a series of unlikely scenarios amused me vastly.

The rest of the game is an excuse to muse about books I love, or tropes in genre, or memories of reading around the table when I was growing up.

 

Q: Your art has been shortlisted for a Ditmar and won the Ditmar Award for: ‘Finishing School” in Steampunk!: An Anthology of Fantastically Rich and Strange Stories’. Do you have a favourite amongst your covers or illustrations and if so, why?

Generally, the second-last one. The last one is a victim of temporary trauma-induced amnesia, the current one is just traumatic and I’ve learned so much in doing each cover that I get a little eye-twitch looking at some of the earlier ones! My favourite parts of covers are usually anything new I was allowed to get away with, and the back.

Among the covers, my current favourite is probably the cover for Subterranean Press’ 10th anniversary edition of Kelly Link’s Stranger Things Happen. I was very excited to be asked to draw it because I’m a big fan of Kelly’s writing (although I tend to write very fragmented stories after I’ve been reading hers – the structure of “Kindling” in Light Touch Paper Stand Clearwas a victim of speed-reading Stranger Things Happen for this cover), and then to be allowed to get away with a two-tone, wallpaper/toile effect that I’d been wanting to try! Also, there’s a lightness to the linework which I’m always working to achieve in finished work instead of just in sketches, and I’m still fond of the peacocks on the back cover. And I love the typography (which isn’t my doing!). It’s very gratifying to have good typography put with your art – I have a theory that good typography can save bad art, but good art can’t necessarily lift bad typography.

I’m still recovering from the trauma of Midnight and Moonshine, but I am very happy with how (under duress!) it developed the style which Small Beer Press and Sofia Samatar made me discover for A Stranger in Olondria. I learned a lot doing the cover for Olondria, and still view it through a filter of “if I were to do it again I’d…”, but there are parts of it of which I am excessively fond – certain squiggles of colour, the light through a window, the subject matter.

 

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy (in books) is a bit of a boy’s club. I’ve come across quite a bit of talk on the blogs recently about female comic artists and writers, and their lack of representation in large companies like DC (where the money is). Have you come across this in your professional life?

I haven’t directly. However, professionally I’ve been raised by writers, which in terms of my illustrations is basically like being raised by wolves. Also, although I’m very aware of the tensions in the comics worlds, I came into comics through short story anthologies so haven’t strayed into that scene. A lot of the women whose work I like are in the illustrative/graphic scene and there appears to be a lot of support and collaboration without regard to gender, so perhaps it is less gendered there? Also, with the fantasy side of illustration the delicate, elegant, beautiful and decorative is highly prized. You’d think something described with those words could easily be segregated into “women’s work” but isn’t at all (think Charles Vess!) and that’s wonderful. And even the sentimental end of that spectrum has a lot of men working in it so there doesn’t seem to be that danger of being “women’s art”. But again, I’m working mostly from printed evidence. I’ll be able to report further once I know more about that community.

 

Q: Following on from that, does the gender of the writer/artist change your expectations when you approach their work?

I’m aware that I have held some of the prejudices I referred to in the answer above! I suspect these are hold-overs from some experiences in the writing scene. So I’m usually trying to hold these at bay, not get exasperated by sentimentality or chain mail bikinis as a knee-jerk reaction, or be thrilled at discovering a harder edge in a picture drawn by a woman, or sensible clothing in pictures drawn by a man. I draw sentimental pictures! I have drawn chain mail bikinis! And my favourite things – beauty anchored by fleshy reality or a low rumble of tension, ugliness liberated by common sense or incredible observation – appear in my favourite pictures by my favourite artists, and are usually fairly evenly gender-distributed.

 

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

 I don’t think about this much! My father discouraged my sister and I from saying “I wish”, because it meant we weren’t happy with the way things were. And if we said we weren’t happy, well then obviously something should be done about that. Which led to some interesting home alterations. However! although I’m fascinated by much of the past, it’s usually the inconvenient parts, and I’m a big fan of modern medicine, amenities and so forth (I get this from my mother, who refused to go camping as it was primitive enough at the house).

So where would I go? I think I already mentioned Midnight in Paris? But oh! I don’t know. Probably not the future (which is odd, because I always like to be very well prepared for upcoming adventures). So – yes – probably that threshold age of the 1920s, when the world was just becoming recognisably ours, and was damaged and new and leggy, hopeless, hopeful, decadent, rebuilding, pragmatic but still with an eye for beauty, taking to the skies. As for where – England for Sayers, or Melbourne for Lindsays, or anywhere with an active literary/artistic community.

Or else just an evening (last weekend, or the last convention, or home, or some recent café) full of conversation and pen-and-paper games, songs, plotting, coffee, cupcakes, genre snark, story-telling, cider, word origins and drawing on serviettes.

 

Give-away Question: How should words and pictures work together?

 

Give-away: A little ink drawing of a famous quote with a word replaced by “duck” (artist retains right of veto/negotiation on quote, because I don’t have time to draw 14 ducks again – you don’t realise how many ducks that is until you have to draw them, but it is a lot of ducks).

 

a Rafflecopter giveaway

 

Follow Kathleen on Twitter: @tanaudel

See Kathleen’s Blog

See Kathleen’s sketchbooks

 

7 Comments

Filed under Australian Artists, Australian Writers, Comics/Graphic Novels, creativity, Fandom, Fun Stuff, Gender Issues, Inspiring Art

My crime-noir-paranomral is out!

I wrote the first draft of this book when I was 23. Now… it is in print.

With thanks to Marianne de Pierres for introducing me to Lindy Cameron of Clandestine Press.

7 Comments

Filed under Australian Artists, Indy Press, Paranormal_Crime, Publishing Industry, Thrillers and Crime, Thrillers and Mysteries

Here it is, the trailer for The Price of Fame

Thanks to my long suffering DH and Jason and Nat Collins who did the music!

[youtube=http://www.youtube.com/watch?v=jgBHQ3MMPrk&feature=youtu.be]

Copies of The Price of Fame should be arriving next week. I promise, first thing I’ll do is send out the prize copies to the competition winners who’ve been waiting so patiently.

Am planning on interviewing Daryl about the proces of creating trailers, creativity and art.

Leave a Comment

Filed under Australian Artists, Australian Writers, Book trailers, Indy Press, Music and Writers, Paranormal_Crime, Resonance, Thrillers and Crime, Thrillers and Mysteries

Winner Karen Brooks book give-away!

Karen Brooks says:

Love the idea of hanging out with the gods as well and certainly, ancient times appeal, but the notion of prolonging Jane Austen’s all too brief life and playing with literary history wins for me. I think we should highjack the Tardis next time Dr Who’s in town and do it all :))

 

So Faimudge please email Karen to organise your give-away. You can reach her at : brookssk(at)bigpond(dot)com

Leave a Comment

Filed under Australian Artists, Book Giveaway, Female Fantasy Authors

Meet Queenie Chan…

I’m expanding my series featuring fantastic authors to include fantastically creative people across the different mediums, which is why I’ve invited the talented Queenie Chan to drop by.

There are links to give-aways sprinkled throughout the interview.  

Q: In the Eighties I lived in Melbourne and knew a bunch of comic artists. One of the things I noticed was that they would be obsessed with art work, the look, the over-all layout of the page, but story would fall by the wayside. On your website you say: ‘After all, the essence of manga is not so much the art, but the story-telling, themes and pacing. These three are what you should concentrate on when trying to tell a story — any story, not just manga.’ Have you always been fascinated by story? Did your parents read to you? When you saw a movie, did you imagine what happened to the characters afterwards?

Oh, that sounds real interesting! You sound like you met a lot of interesting people when you lived in Melbourne (I must say, I did too when I lived there for a year). Anyway, you’re right about the many different camps of people who read graphic novels – some are all about the art, others are all about the story, while yet more believe in a combination of both. Personally, I’ve always felt that story is more important than art – a story can’t be expressed properly if the art is inadequate, but I also have seen a lot of well-drawn manga/comics that are dull and boring despite beautiful, realistic renderings. I still feel that to work in any storytelling medium (which comics is), your first duty is to engage the reader’s attention in whatever the purpose of the medium is for, so if it’s comics, it should be story.

So yes, I’ve always been more fascinated by story, and as you said, I like to imagine the continuation of stories after they’ve “officially” finished. My parents encouraged me to read as a child, but they never read to me much (neither read fiction, to be honest), and so I got my fix from a variety of different sources – books, movies, TV series, cartoons, manga and video games. Even as a child, I was always writing fan-fiction in my head based on my favourite TV shows.

Q: You say you plot the story, concentrating on the beginning and end and often let the middle take care of itself. And that: ‘In longer stories … there is time to set the characters free in the world you’ve created, and watching them interact with each other and with the environment. If your characters are well-constructed, then they would behave accordingly, and sometimes in ways completely unexpected to you.’ At this stage are you still brainstorming the story flow in a sentence or two, or do you actually start to draw and find the characters doing unexpected things?

Since I’m a comic book writer/artist, the way I work is quite different to prose authors. I’m not saying I’m representative of comic book writers or artists in general, but most people who work in the comic medium are often constrained by the number of pages available. So in my case, the first thing I do when brainstorming is to figure out how many pages a story can be, because if a story becomes too long, it may be impossible to draw (since it will be impossible to finish).

With prose, you can always add paragraphs or sentences and rewrite things if you want, but unfortunately with comics, once you’ve set something down on paper, it can be very hard to change. You can’t add an extra two panels to page 26 of your page 170 book (so far) if you want to – it will mess up the panel flows for the rest of the book. Because of this, my brainstorming usually involves writing down what happens on page 1, then what happens on page 2, and continuing by making a page-by-page summary of what happens on each page.

This part isn’t hard, but sticking to it isn’t always easy. Things always change when you go from prose to images, so you have to accommodate having to insert extra pages in when you start drawing the comic. Other times you’ll have to shorten scenes or extend them, so these days, I always make sure I have a good “feel” of the story in my head before I draw anything. As I said, the longer your story, the more freedom you have in letting your characters have their character moments. You may find a scene play out different as you draw it than you originally imagined, but the overall arc of the story shouldn’t deviate from the plan too much.

Q: You say you consider yourself:  ‘… a Citizen of The World.’ You were born in Hong Kong and came to Australia when you were six. Did you live in a multicultural suburb where you mixed with people from a lot of different backgrounds or was this interest in other societies just something that you uncovered as you came across books and movies from other cultures?

I grew up in a very multi-cultural suburb alright – I went to school with all sorts of interesting people and it was always lovely to learn about other cultures! I was always very interested in travelling, and not necessarily to other Anglophone cultures. As a child, I wanted to go to Africa, to the Middle East and to India, because I thought of these places as exotic, and with a long history.

I think being a history buff helps a lot too. I read a fair amount about Ancient History, and it’s always been a kind of dream for me to visit those historic places that I’ve read so much about.

Q: You say: ‘The reason why I’m so interested in interlocking story threads has a lot to do with my interest in human nature, sociology and anthropology. One of the things I find infinitely fascinating about genre-based story-telling in general is the environment the story is set in, and how that influences the character’s morals, values and actions.’ This is where I come from when writing my own books. I like to put my characters in situations that make them confront what they believe. You’ve made me want to run out and buy some of your books now. Was there a particular writer/movie director/artist whose mastery of character and setting made you think, Wow, that is what I’d like to do, but in my own way?

Ah, nice to know we share that point-of-view in common! I think fantasy can get a bad rep amongst some circles, because people tend to think they know what fantasy is without having read any of it (D&D, girls in metal bikinis swinging swords at orcs). The truth is, fantasy is just anything that isn’t set in this world, but set in a different world; a world which has social conventions similar to our own. What better way is there to explore human nature, without all the political, racial, cultural and historical baggage that each one of us accumulates in this world, just by virtue of living in it? As you said, putting your characters in situations that make them confront their beliefs is what people in this world do every day, just as they do in the worlds you create in your novels.

As for people who have inspired me… there’s been far too many to list. I can point out one man in particular who set me on my path – Tezuka Osamu, the creator of Astro Boy. He was a thoroughly-entertaining manga artist, but also a great humanist, and I encountered his series Black Jack at a particular time in my life (I was 15) which left a deep impression on me. Black Jack is about a rogue doctor who charges exorbitant fees for his services, but he’s also a very good doctor who understands that some people have illnesses that have nothing to do with the physical. The ethical questions that crop up in that manga is quite interesting.

Q: From reading the blurb about The Dreaming it seems to have the feel of the movie Picnic at Hanging Rock, which had a lyrical dreamlike quality about it, and to also be a modern take on the Gothic Romance Literature. Are these two sources which might have influenced you subconsciously as you were creating this story?

Picnic at Hanging Rock was definitely the biggest inspiration for The Dreaming, and you’re right about the gothic literature influences. Rebecca by Daphne DuMaurier was the other big influence, as were movies like Rosemary’s Baby. The visual aspect was quite important for me (namely the way the school looked), but I think I wanted to create a more modern, “haunted-school” take on the whole Picnic at Hanging Rock mythos, so the story ended up bearing hardly any resemblance to any of these three books/movies. Which is a good thing. Even if you can name all your influences, it’s a pleasure to know that what you created is unique in its own way.

By the way, I have the first 2 volumes (of 3) of The Dreaming online as a free webcomic.

Q: Your chapter dividers in The Dreaming remind me a little of the black & white work of Arthur Rackham and perhaps Art Nouveau (Mucha). Do you have heaps of books on art?

Actually, I don’t have many artbooks, especially compared to other comic book artists. I’m not really big on art at all. As I mentioned before, I’m more interested in story-telling than I am in art, so people are often aghast when it turns out that I haven’t heard of [insert name of famous illustrator here]. It’s assumed that all people who draw must be big fans of the art world, but unfortunately… I’m not.

I really do like Mucha’s art style, though it wasn’t something I’ve discovered until recently. And while I love what I’ve seen of Arthur Rackham’s artwork (google images, yay!), I actually think that the chapter divider art for “The Dreaming” looks more like some of Gustav Klimt’s line artwork (that I randomly saw in a book somewhere). I must say that I wasn’t influenced by any particular artist when I drew those chapter dividers – Klimt’s work was something I encountered afterwards.

Q: With the Odd Thomas Series (stories originally by Dean Koontz), did Koontz see your work and ask you to illustrate his stories, or were the pair of you matched up by his/your publisher? (Reading your blog post about it, I see it was a little bit of both). So I’ll come up with another question. How is the movie project going?

I believe we were matched up by our publisher Del Rey, though ofcourse, Dean has to like my work to begin with. I’m not sure what work he has seen of mine before we started working together, but we’ve had a good working relationship thus far, and it would be an honour if we did more books together. As of now, there’s three Odd Thomas books (In Odd We Trust, Odd Is On Our Side, and House of Odd), and I’m happy with how things are.

I believe the movie for Odd Thomas has been completed, and is looking for distribution. I don’t really know much about it, I’m afraid, since this is a project that is driven mostly by Dean. When it comes out, I’m sure all the Odd Thomas fans will run out to see it!

Q: A while ago at Supanova Kylie Chan pulled out some of your artwork and showed me. She’s so proud of the work you’re doing on Small Shen. Were you already one of Kylie’s readers? How did the two of you connect?

(Update Small Shen isi finished!)

Kylie approached me at GenCon a few years ago, and introduced herself and her novels. I didn’t really know of her or her work beforehand, but it was rare to see Chinese Fantasy be so successful, so I took an interest in her work. When I contacted Kylie, it turns out that she had a prequel to her series called Small Shen, and wanted to do something “graphic-novelly” with it. Since I relish the chance to draw some Chinese-style fantasy artwork, I decided to take on the project. That was how it all got off the ground!

It’s been fun working on this project, and I’m nearing the end. This has been a special book, because this is a book that mixes prose with comics, and is not a straight-forward graphic novel. It’s experimental, but so far it’s working out quite well, so I look forward to it coming out in Xmas 2012 from Harper Collins.

Here’s an interview Oz Comic Con did with Queenie about her Small Shen project with fantasy author, Kylie Chan (no relation), among other things.

[youtube=http://www.youtube.com/watch?feature=player_embedded&v=x7qNQ2ryrds]

Q: I was prompted to start this series of interviews because there seems to be a perception in the US and the UK that fantasy (in books) is a bit of a boy’s club. I’ve come across quite a bit of talk on the blogs recently about female comic artists and writers, and their lack of representation in large companies like DC. Have you come across this in your professional life?

I think this perception exists throughout a lot of pop culture. Even when talking about books, there’s a perception that sci-fi, horror, crime, thriller, literary, etc are all male-dominated. The only thing that is seen as exclusively female is probably chic-lit or romance – but even then, these books are packaged in such a female-oriented way that any chance of them appealing to a male audience is pretty much dead due to the deluge of pink covers. Meanwhile, there are a large number of successful female authors working across the genres, and there always has been.

Things are pretty much the same in the comics industry. While it’s true that companies like DC and Marvel dominate (and they are largely male-oriented), there are many female comic book artists out there who don’t work in superheroes, and are just doing their own thing. I’m one of them.

It’s true that there are a lot of assumptions being made by people outside the industry, though, and even inside the industry. Many comics industry blogs tend to cover only superheroes, and hardly any other kind of comic. If you’re going to focus on one small part of the comics industry, then yes, you’re going to get a skewed perception of gender.

Q: Following on from that, does the gender of the writer/artist change your expectations when you approach their work?

No, it doesn’t. I think a good writer is a good writer, and I don’t think the gender of the writer has any effect on the final work. Male and female writers may be interested in different things, or approach things from other angles, but a good story told well is exactly that, and all that’s left is accounting for differing tastes.

I think things are a little different for artists though. If you’re talking about artists who are paired up with writers, then it rests on the skill of the artist to tell the writer’s story effectively, and sometimes they don’t do that. However, that’s got nothing to do with gender though – it’s more to do with what genre that artist is used to working in. If an artist is flexible, they ought to know how to adapt themselves to different genres. If they don’t, and they believe that one-art-style-fits-all… then it can get a little awkward.

Q: And here’s the fun question. If you could book a trip on a time machine, where and when would you go, and why?

Ah, that’s a hard question. My answer can change each time someone asks me that question, depending on what I’m into at that particular point in time. Previously I said just after the meteor that destroyed the dinosaurs hit, so I can see the terrible global destruction that it must have caused (but I would probably die very quickly from it). But as of now, I may just take the easy route and travel to Ancient Egypt to watch them build the Pyramids and raise the Obelisk. I have a theory as to how they raised the Obelisk, and am wondering whether it checks out with history.


Queenie’s Blog.

Catch up with Queenie on Facebook 

4 Comments

Filed under Australian Artists, Australian Writers, Book Giveaway, Comics/Graphic Novels, Conferences and Conventions, Conventions, creativity, Gender Issues, Genre, Publishing Industry, Story Arc, Tips for Developing Artists, Writers Working Across Mediums