#but now i have to finish re-outlining piano project

[mxxnlightwriting]

Everybody STOP what you're doing.

Copy edit notes for A Spark of Magic just arrived 😱

[coffeeandcalligraphy]

Holy Hands | Houses With Teeth Update #2

HOLLA guess who’s back for another writing update!

If the title of this update seems unfamiliar--Houses With Teeth, what? who? when? why?--that’s because the last time I talked about this project on here was the first time, back in July! For a refresher, check out THIS very rambly post where I “intro” the project (very minimally as I had no idea what I was doing).

I still don’t know what I’m doing *exactly* but have made a semi-break through with this project and felt inclined to share. The last I spoke about HOUSES WITH TEETH at length was to vaguely describe what the project was. This book for those who don’t want to read the previous post, is the seventh book in my (very ongoing) series, Fostered. This book comes along five years after writing the first book in the series, after a major writing revolution.

I haven’t shared much about this on this blog because I wasn’t sure how to, but I really struggled with this project. HWT comes as the book after Rewired (book 6), which I finished drafting in March-ish of 2019. From then, until two days ago, I had no idea what I was doing with the series--if I could even continue it, and how I would continue it with all the changes my writing evolution presented. I chose to distract myself/keep busy with Moth Work, a spinoff of this series and my current novel, however, HWT sort of nagged in the back of my mind for many months. 

HWT is actually one of the reasons I ended book 6 so hastily! After getting a few ideas for new scenes, I fell in love with the idea of writing my protagonist Reeve in a city by herself, with new people we’d never met before. These rose-coloured glasses worked to my detriment, as the premature idea took over my decision-making process before I could properly understand what I wanted from it. 

After the end of Rewired, I thought everything was all fine and dandy! I had a new novel idea set up, ready to be written whenever I wanted. But something unplanned happened--I didn’t end up returning to the project. This is mostly because my desires for the book--whether to write it as a “real” book, or continue it as a semi-disjointed Fostered book (which isn’t shade to my past books, just the tea loool)--started to conflict. Though I started many openings (about 3k words of first scenes), nothing was sticking. I felt like I was misjudging my main character Reeve and making her more of a caricature than she really was. I feared I forgot who she was, and that her story was ending (scary!). 

This is where I (recently) found the root of the problem. My mischaracterization of Reeve worked against me, as I’d done exactly what I’d feared doing--misjudging who she was. It had been a long time since I’d written with Reeve, a character I’ve written with since I was thirteen, and though I felt I knew her, I also felt like I’d lost her in translation. While I was back home a few weeks ago, I began re-reading a few passages of book six to get a feel for a character, which helped, but didn’t cause any revelations. 

It was only a few days ago, when I helped @sarahkelsiwrites crack the plot of her novel that I felt an itch to try to crack mine as well. I first did this by paging through my (very minimal) notes for the book. This notes document consists basically of only two scene ideas I had that were a few thousand words long. Somehow, re-reading them helped me realize Reeve’s priorities, but most importantly, how much this book focuses on her vulnerabilities. It made me realize the root of her flamboyance toward the end of book six, and where her genuine side resided. 

So this leads to the actual update! 

Let’s first chat setting, y’all. This was a hard call to make, because I’d initially determined Reeve was going to be in NYC at the start of the book. The problem is, I’m *very bad* at writing real places, especially places I don’t personally know well. The thought of having to engage a five character cast (which seems small, but in a big city where they could be doing other things, feels big), and also have to write in this city accurately made the realism of this book too much for me to handle. I’m all for realism! But I wasn’t prepared for the culture shock that was “welp these books used to take place in an unknown unlocated subway station” to “so this book takes place in a real city”. It made too many things too real for me, the time period included (which is another crisis)! Setting this whole book in NYC overwhelmed me and I knew I wouldn’t do it justice. 

The problem is, I’d planned this entire book around NYC. At the start of my initial plan of HWT, Reeve is supposed to live in an apartment above a bakery with two housemates who I’d already sort of gotten to know! I couldn’t just throw all of this away, especially since I’d set Moth Work in a direction toward NYC so everyone could meet up easily. So what did I do? After reading those initial notes I mentioned above, I made it all backstory. ;) And boy! Did this also crack the book open. 

This was the first revelation I had with HWT 2.0. Allowing myself to move the book out of this setting, but still have the important parts got me to ask myself why Reeve would move to a big city with a new identity, and oh, did the pot start stirring ITSELF. I then decided to create a smaller town just outside of NYC where I can run amuck, lol. The town’s name is Wicker (for now) which I don’t dislike, though it hasn’t grown on me. I’m very bad at making up town names, and after many attempts, I settled for a very real word?? Lol.

This post is getting long, so I won’t explain the story unless y’all want to know, but I came to the decision that in this town, our fave soft boi Foster would have a nice house and his ideal cottagecore life, and all would be SWELL. Until!! This leads to our very hasty summary:

After escaping a toxic relationship, twenty-year-old Reeve disappears for the second time in one summer. She’s drawn to Wicker, a mealy town outside New York City, whose disappearances of affluent girls has caught her attention. The day she arrives, a sinkhole buries one of them in the front yard of her new home, a fixer-upper she shares with estranged friend, Foster. Quickly she falls prey to speculation by herself and others, who try to connect her to the tragedy. And even stranger, false recognitions as the girl in the ground, and the many other missing Wicker girls make her feel more and more like one of them--these alluring unknown women. 

(A huge thanks to @sarahkelsiwrites​ for literally cracking this book open for me, and for all the conversations we’ve had regarding this project! Literally this book wouldn’t exist without Sarah!)

Now let’s get into the first thing I wrote for HWT 2.0!

Holy Hands is the prologue of Houses With Teeth, and marks a milestone for the first prologue I’ve written! 

This prologue was a very impromptu thing. I drafted this a few days ago, and immediately felt something I’ve never felt writing any of the other (many) openings I’ve tested for HWT. It felt very right, but most importantly, I felt like I had Reeve back. It’s very possible for your own characters to hide from you (which is how I felt with Reeve), and though it’s taken very many months for her to really reveal herself to me, I’m so happy I’ve waited because I’ve never been so stoked to write her. 

As y’all know, Reeve is a bit of a no-bullshit kinda gal. The last chapter you would’ve seen her in, she was lounging in a motel bathroom drinking margaritas on her own and you know? We love that for her! Except, after that chapter, I couldn't figure out who she wanted to be--the ‘no fucks given’ woman in the bathtub, or the vulnerable, porous person she often was in earlier books. I love no fucks given Reeve, however, I think I got caught up in her no-fucks-givenness that I missed the time she does give fucks (which is! often!). This prologue really opened me up to her, and I feel a closeness to her that I haven’t felt in a long time. 

The prologue itself is rather short. It’s about 1300 words pre-edits, and I wrote it in! one! sitting! A phenomenon! We begin as Reeve is getting out of a taxi to enter her new home, AKA her old pal Foster’s house. She invites herself after a horrific encounter that scares her out of NYC and closer to her old pals (who she’s estranged herself from). Reeve outlines first, the disappearances of these affluent girls, and then fixates on Irene, her future housemate, whom Foster describes as many things that summer. Reeve is semi shook by Irene because she’s startlingly pretty and also startlingly looks like?? her?? (Reeve is just into herself? Who knew?)

Excerpts:

Here are a few excerpts from the prologue that I kinda dig! Here is the first paragraph:

Four girls went missing the summer the ground opened up. I was the unofficial fifth. They were girls I knew, in some iteration at least. Girls who wore their hair down, collars up. Anklets from their football boyfriends, like voguish ball-and-chains, pretty lingerie no one would see for at least another decade. Things I’d never worn, but wanted to wear. They were wealthy girls with the kinds of parents who dressed them in tights and midi-skirts, sent them to boarding schools, paid for piano lessons just to display a trophy. Girls with parents who wanted synthetic children. Girls who lusted over the romance of marriage—the ultimate form of female liberation. Girls who cast spells with each other and chose their friends based on zodiac signs, the amounts of vowels in their names. Girls who kissed each other in secret and stayed missing until they wanted to be found. None of them knew me.

This is a description of Wicker (CW: a bit of a gory descriptor):

That summer was pallid and bitter. Wicker sat in a valley an hour outside of New York City, and rarely caught sunshine. The locals explained it had always been like this��anemic, unexciting. Women came here to raise quieter children, and those quiet children threw stones at each other’s eyes to see who’d go blind first. The first one who did was found floating face-down in the creek behind the church and the women and children left hastily. It worked in waves like this: people coming, people going. Wicker was empty and both full—of the dead, and alive. I’d chosen it for this reason. 

Here’s an excerpt that comes right after the previous (all of these actually make up the first three paragraphs lol, TW: eating disorders):

The cabbie I’d given the last of my savings to took my bag out of his car trunk and walked it up to the house. It was one of the few nice days in Wicker, one of the last while I was there. Sunshine slit my face in two as I watched myself in the cab’s reflection. I reached for my cigarettes and realized too late that I’d left them back at the apartment. That summer, I was the thinnest I’d been. The hollow ache of me more of a victory than a loss. I know why I stopped eating in those first two weeks, why every meal Foster would later serve me in that house felt cryptic, and it had something to do with the body they never fully recovered. I wasn’t hungry when I’d gotten to Wicker; I wasn’t hungry for a long time after.

Some Foster gentleness (I missed him!):

Chickadees chattered in the birdfeeder Foster had set up a week earlier. Though I hadn’t been on the road long, the drive had exhausted me. The midafternoon clouds pilled, hardly overcast, something I’d come to miss when the sun stopped coming. He hadn’t invited me to live with him, but didn’t object when I called to say I’d be coming up. It was the first I’d spoken to anyone who knew me as Reeve and not Evie in half a year. That day, he greeted me from the porch and took my single carry-on from the cabbie with a boyish thank you. It was one of the last times I’d see him wear it—his bashful gentleness, like he always felt the need to apologize even when everything was brilliant. 

Here’s an intro of Irene, where the chapter title comes from:

Irene sat at the kitchen table inside the house. I caught her in glances through the doorway. The first thing I thought was that she’d look better as a blonde. A small thing who held her mug like she was holding a holy object. I’d later be haunted by those hands when I remembered how they looked by the time she was partly pulled up. Foster described her as many things to him over the course of that summer: a housemate, a partner, a friend, sometimes just a person he knew. She was reading something, something French—I could hear her reciting parts of it, at times loudly, like she knew she had an audience, at times at just a whisper, the most personal parts, I later found. I’d translate the line I’d heard most prominently later: Don’t let the house consume you. 

“Cigarettes?” I said to the cab driver as he was nestling back into his car. When he didn’t hear me, I knocked on his window. The sound of it made Irene’s head bob to attention, though only for a moment. “Cigarettes?” I mimed smoking one when he only blinked at me. We spoke minimally on the drive up, though I learned more about him just by looking. Two daughters, their pictures pasted neatly on the dash. Candy coloured flyers for take-out restaurants jittering against the AC’s shutter. In all that time, I hadn’t learned his name.

When he rolled up the window, I had to jump back so my nose didn’t get clipped. The sun shifted through the glass in wisps, like cobwebs, and my face disintegrating from the surface of the glass was the last thing I saw before he zipped away.

I was surprised to see Irene standing on the porch next to Foster when I looked up. My cheeks warmed. The cabbie’s drive-off had embarrassed me, and I realized how I looked to her, a woman I didn’t know, that I already wanted to know. A bit pathetic. Frazzled. A city person who couldn’t navigate a city. A weak woman—already needing a fix on her first day of a new life.

“I’m quitting,” I said, even though she hadn’t said anything. In the sunshine, she was prettier than I wanted her to be. Her hair hip-length, a length I’d always been too impatient to achieve. Wearing a camisole and a midi-skirt. Pearls in her ears, like the others wore. In New York City, she would’ve been plain to me. The kind of girl I would’ve marked up with a pen in a magazine. Outlining her hips as to say they weren’t good enough, squiggling over her eyebrows because her face was too pretty for a body so average. It wasn’t long after she was gone that I became mistaken for her.

And here’s a bit from the very end of the chapter:

The ground opened like a cracked egg, so slow at first, I didn’t notice. Some say she pushed me. Others say it was the other way around. It melted under us, and one minute I was thinking about how embarrassing I was, how crude it was to still be addicted to cigarettes, and the next, there was a belly in the ground and Irene was somewhere in it. Her dark hair wisping around her, like a tornado. How I thought she’d look better as a blonde. Holy hands, camisole, midi-skirt, pearls in her ears. This was all I’d ever know of Irene. A body was found the summer the ground opened up. I still don’t know exactly who she was.

So that’s it for now y’all! Obviously lots of stuff is subject to change, but I’m finally feeling confident with this path (if I scrap all of this you will know lol)! I’m very excited for this book, and hope to take some more notes on it soon to see where it will go. For now, I’ve got an idea for the first chapter I can play around with, but I hope y’all enjoyed this little piece so far!

--Rachel

[ciathyzareposts]

Interview with Brian Cody, Co-Creator of Fooblitzky

By Joe Pranevich

From time to time, it has been our pleasure to not only play and explore the classic games, but to discuss them with their creators. We’ve spoken to game designers and game illustrators, but I am pleased to have been able to spend some virtual time with someone who was both: Brian Cody, the co-creator of Fooblitzky, Infocom’s first and last computer board game. If you missed our coverage of that game, you can find it here. Brian was not only responsible for much of the game design, he also developed the game’s unique graphical style.

The following interview has been assembled from a series of emails in January 2019 and edited together for your reading enjoyment.

A fine example of Mike’s “textbook”-style illustration

How you got your start at Infocom and what you had been doing prior to that?

I came from a commercial art background, having graduated from Massachusetts College of Art in the mid-seventies, and worked in a variety of art-related jobs: freelance illustrator, TV cartoon animator and art director in children’s book publishing. My last position before joining Infocom was as staff graphic designer for Houghton Mifflin’s Children’s Book Division, a position I found very slow-moving and boring. I was anxious to try something different.

Can you tell us more about the children’s books that you illustrated of cartoons that you worked on before Infocom?

Children’s book publishing is broken into 2 types:

Trade books: those big colorful picture books you typically find in all children’s book department. Many successful star illustrators have emerged from this category and earn a good living. I was not one of them.

Educational publishing: huge publishing programs that produce 200-300-page textbooks for grades K-12 and, in the lower grades, are filled with fun, colorful, spot art. Textbook illustrators do not make big money. That was me.

So, consequently, there are no trade books with my name on them. But if you had a grade school child in the late 70’s, 80’s, 90’s or early aughts then they undoubtedly experienced my work; you would have to dig through the back of the textbook to locate the paragraph, invariably set in 6-point mouse type, to find my name listed along with 25 other illustrators. I did thousands of illustrations for all the major textbook publishers: Houghton Mifflin, Brown, Scholastic, Harcourt/Brace, etc.

Just FYI, If you ever travel back in time and need to call Brian, he’s extension 61.

As a child of the 80s, I no doubt saw some of your illustrations! Unfortunately, I didn’t steal any textbooks to allow me to go back and check now. Can you tell us about the Infocom Graphics group, what was done when you arrived and what was not? How did it get started?

There was never any Infocom Graphics Group per se. Infocom author and interactive text game-designer Mike Berlyn hired Dan Horn, an Atlanta-based, experienced computer gamer, and myself in late 1982 to design Infocom’s first graphics game. We were sort of like the company’s skunk works; nobody knew what we were doing, least of all us. Mike was our manager and his first assignment was for us to go play computer games for six months so that we could learn what an actual, re-playable game was. We met weekly to discuss learnings. At around the six-month mark Mike decided it was time for Dan and me to produce some graphical game concepts, most probably to justify our existence.

How did development of Fooblitzky get started?

My first idea for a graphics game was of a huge, unwieldy, ill-defined meta game supported by six smaller, simpler games that required solving before gaining access to the big meta-thingie. What ultimately became Fooblitzky was at first one of those six smaller games, a computerized scavenger hunt involving stores and collectable items. During my presentation, composed of just Mike, Dan and myself, Mike allowed me enough rope to hang myself by trying to explain the meta mess. Once I proved I had no idea of the scope of what I was proposing, Mike looked at Dan and me and said, paraphrasing, “See that scavenger hunt? That’s your game.”

So I had a direction. Using the same blue-lined graph paper we all used in fifth grade science class, I mocked up a crude gameboard showing sidewalks, stores and items to be collected. We rolled Monopoly dice and moved around the board, keeping rough notes on who bought what. It must’ve shown some potential as a multi-player, family-oriented computer board game, of which there were few on the market at the time. But it had to be more Infocom-weird.

A “Koala Pad”, courtesy of Wikimedia commons. Uploaded by Nynexman4464.

What happened next? How did the team come together?

Up until that point in early 1983, I was producing near unintelligible computer graphics on a Koala pad with stylus and no printable output. Then Infocom management showed up with something called a “Macintosh”, a pre-release, 128K Apple prototype, intended for use in the development of future Infocom products. Mouse-driven, with both word processing and graphics programs, Mike recognized what it could be and soon appropriated it for my graphical use only. It did not take long to master both MacWord and MacPaint and I was soon producing graphics with supporting text for our weekly meetings, demonstrating what this computerized scavenger hunt might look and play like. It was at this point that one of Infocom’s original founders, Marc Blank, began to occasionally join the graphics meetings, most probably at Mike’s urging. 

In the meantime, Mike began inviting a couple of different subject experts to our weekly graphics meetings. Poh C. Lim, an MIT graduate and software engineer at Infocom, was added to begin the conversion of my Macintosh graphics files into a format acceptable to Infocom’s proprietary, virtual ZIL-machine compiler. Poh soon became an almost full-time member of the still-informal graphics group, providing not only deep technical support but also many different game suggestions and improvements. Brian Moriarty, a former tech editor at ANALOG Computing and combination tech editor/game designer at Infocom, also joined the group for our weekly meetings; while his principal function seemed to be to remind us every week of how stupid we were to be designing a graphics game in an interactive text gaming company, Brian’s long background in computer gaming often proved invaluable in keeping the game’s design and implementation on track.

If this is composed of reused tiles, I sure can’t tell. 

[ Ed Note: You can read about Brian Moriarty’s ANALOG career and his first game published in that magazine here. ]

What was Poh Lim’s role on the development team?

It was Poh who first understood and articulated the need to establish a limit on the graphics used to produce the scavenger hunt. Otherwise it would grow too large and slow for the mainframe-based ZIL graphical compiler to be able to digest and convert into Apple II, IBM PC and Atari-compatible software. If memory serves me, I was given 240 separate and distinct blocks (8×8 pixels? Not sure.) to use to illustrate, color and animate the entire game. For instance, a single black block could be used a thousand times to outline the four-quadrant gameboard, the multiple iterations of the animated dog, the 18 different store items, the Chanceman and so on and the compiler would still recognize and count all those things as being comprised of only a single, black block. To a degree, that explains the game’s blocky look and feel; the entire thing is built on a grid.

As the game took further shape, mid-to-late 1983, and Poh was able to preview online the most basic functions using my Macintosh illustrations – gameboard, stores, spinning game wheel, animated items and animated dog, etc. – weekly graphics meeting became important in fleshing out the actual gameplay. I’d come up with the game’s concept and look/feel but the gameplay itself needed more fun, more randomness, maybe even some strategy. Which is where the addition of Marc and Brian to our group of Mike, Dan, Poh and myself became so valuable; the Chanceman, crosswalks, the falling piano, UGH, bumping, lockers, pawn shops and more elements of chance all came careening out of this collective group. Marc came up with the name Fooble to describe the game’s coins and eventually named the game Fooblitzky. 

Oh yes. We know all about Cornerstone. *shudder*

How did the development of Cornerstone affect what you were doing and how it was released?

Other internal projects, including Infocom’s answer to Lotus Software’s groundbreaking 1-2-3 spreadsheet software, named Cornerstone, continued pulling at Mike’s time and he began to back out of the babysitting portion of managing Fooblitzky. Jon Palace was hired to project manage the graphics project as well as other ongoing interactive text projects. By this time, I knew what Fooblitzky was and I knew what was required, from a graphics POV, to finish it; just keep drawing. Jon joined our weekly graphics meetings and his scheduling discipline became important to helping keep development on track. 

You’ve mentioned Mike Berlyn, Marc Blank, and Poh Lim, but there is a fourth person credited for Fooblitzky. How did Paula Maxwell come to join the team?

In very early 1984, I was able to hire Paula Maxwell to help with the game’s animation. Her responsibility was to complete animations I’d begun, using a rough style guide for direction. Paula worked in the graphics group for about six months and then decided to return to her native California.

By mid/late-1984 we had a fingers-crossed finish date for development of Fooblitzky of December 1984. I’d mocked-up a prototype of the game box and worksheets, shown them to Mike, Marc and the group and, with their approval released it to Carl Genatossio, Infocom’s Creative Director, for production. A rough cut of the game was in Testing for debugging and it had been previewed with Public Relations and the senior interactive writer’s group. “Doubtful” was the word I think best described their puzzled reaction. In late 1984 I was unexpectedly laid off. Graphical work on Fooblitzky stopped. 

That is unexpected! Do you know how the game was finished?

In 1985, I was hired back as an independent contractor to finish the remaining Fooblitzky graphics and animations. January and February are what it took I believe. Mike had, at that point I think, left the company.

Original Fooblitzky box for the PC

The launch of Fooblitzky was strange– mail order-only for the first six month. Leaked sales records suggest it may have sold only sold 500 copies that way. (It sold more later.) Do you know anything else about the release?

I had no input into the game’s production, release, and distribution. It would not strike me as silly to find that Carl had 500 boxes printed and management put minimum effort into trying to sell them in order to clear warehouse shelf space.

I later heard anecdotally through Infocom friends that the development of Cornerstone had far outgrown anyone’s estimate for time, budget, and headcount required to finish. And that all non-mission-critical internal projects had to end in order to get Cornerstone out the door. Just company gossip.

What have you been up to since then?

I returned to my core expertise in late 1985, what was once called “commercial art”. I held a variety of positions involving illustration, graphic design and art direction. Eventually I moved into management, spending 10 years at Digital Equipment and culminating in five years as Director of Marketing Services at relational database manufacturer Sybase, then one of the 10 largest software manufacturers in the U.S.

I am fortunate to have a wonderful 43-year marriage to my wife Joel. We have 2 great kids and are starstruck daily by our four granddaughters, two of whom live in Seattle and two locally in Ipswich; the latter pair I fruitlessly attempt to provide daycare for. Fooblitzky was a breeze compared to these two. 

This is amazing! Thank you for sharing your story.

Brian really does find unique character in his art.

I want to thank Brian for spending as much time as he did talking with us. Reading over our conversation for the first time was like turning on a light into an otherwise unknown portion of Infocom history. There is a lot here to digest, but it’s clear that Brian had a much larger role in the development of the game than is popularly understood. Perhaps we can have a follow-up interview with Mike Berlyn in a few months, if he is interested, especially as we have now played all of his adventure games except 1997’s Zork: The Undiscovered Underground. You can find (and purchase!) Brian’s work at his website, BrianCody.com as well as his Zazzle store.

Up next for me will be Dave Lebling’s Spellbreaker, our last Infocom game of 1985. That should be a lot of fun.

source http://reposts.ciathyza.com/interview-with-brian-cody-co-creator-of-fooblitzky/

[hopefuldreamerpatrol]

INTERVIEW WITH ARIELLA MOON

Today we have Ariella Moon, Author of  the Young Adult Fantasy “The Amber Elixir” .

Thank you Ariella for participating in our interview.

Can you tell us a bit about yourself and how long you have been writing

I am an author, shaman, and the mother of a brilliant, beautiful daughter, and mum to two spoiled dogs. I set upon the writer’s path in the sixth grade when I won a national essay contest. Decades later, in 2011, my first novel, Spell Check, Book 1, the Teen Wytche Saga, debuted. Since then, I’ve had three more books published in the Teen Wytche Saga (Book 4, Spell For Sophia, will be re-released soon). More recently, I have delved into fantasy with my historical Two Realms books, The Beltane Escape and The Amber Elixir.

Please tell me about your books in  “The Amber Elixir” and what gave you the idea for this one.

Remember the tagline for Wicked, “So much happened before Dorothy showed up?” I felt the same way about my Two Realms Trilogy, which begins with The Beltane Escape. The trilogy is told primarily from the point of a view of Fenella, a kidnapped heiress in medieval Scotland. A spell cast forward in time by the Lady of the Lake lures Fenella and her cousin into fairy. But what happened in Avalon and Fairy before Fenella?

The Amber Elixir is the first of a planned series of novellas set in the magical realm that augment the stories in the Two Realms Trilogy. In The Viking Mist, my upcoming sequel to The Beltane Escape, a character is thrust into a deadly quest to recover a stolen magic potion. The Amber Elixir tells the story behind the magic potion.

What sort of research did you do to write this book?

Although I had a basic knowledge of the Arthurian tales, I researched the different interpretations of the stories. It was fascinating and disheartening to see how both Viviane, the Lady of the Lake, and Morgan le Fay’s portrayals changed over time from healers, to temptresses, to evil sorceresses.

I also traveled to England and Wales to research the settings associated with the Lady of the Lake and Merlin. I wove into The Amber Elixir the supernatural forces I encountered on Glastonbury Tor, at the White Spring, and in Merlin’s Cave in Tintagel, Cornwall. Walking the land is a great way to get a feel for what my historical characters might have experienced.

Where do you get the inspiration and ideas for each of your books?

I used to eavesdrop while driving the carpool for my daughter and her friends back when they were in middle school. It was a sad day for the Teen Wytche Saga when my daughter got her driver’s license!

My frequent research trips to the United Kingdom have been a huge inspiration for the Two Realms series. I travel with Mara Freeman, an Archdruidess in the Druid Clan of Dana. Through Mara, I have seen fairies, heard ghosts, held a ritual inside Stonehenge, exorcised evil entities from fellow travelers, experienced Avalon, and was tricked by the enchantments in Merlin’s cave. All very inspiring!

Do you outline books ahead of time or are you more of a by-the-seat-of-your-pants writer?

I outline, not in detail, but enough to make sure a story idea can sustain a whole book. When writing a trilogy, outlining is even more important. I need an arc for each character in each book, plus a story arc that plays out over three books.

How long does it take you to write a book?

Most take a year; I am a slow writer. I channeled Spell Struck, so it came to me very quickly. The Viking Mist is taking forever.

Do you have an agent or a publisher, and if you can share, who they are?

I have been un-agented for a few years. Recently, I won back the rights to The Teen Wytche Saga, which I am re-releasing with new covers and new content.

What are you working on currently / next?

I am revising The Viking Mist, which brings back the love triangle from The Beltane Escape. In it, Talfryn, a half Viking/half fairy, is charged with recovering a potion from The Amber Elixir that can change the balance of power in the Two Realms.

What does a typical workday look like for you?

I get up early, and before breakfast walk a mile or more with my dogs, Gracie and Avalon. After eating, I read emails, then write until mid-morning when the dogs get a short walk. I write some more until lunchtime. After lunch, I check emails again, and then write some more before the evening dog walk. Sometimes I write off and on until bedtime, though I usually decide to give my eyes a rest by 8 PM. Too many days are taken up by admin or promo work. Social media, especially Facebook, is a huge time thief. Sometimes, I take a mental health day and go to brunch and a movie with a friend.

What does your writing space look like? 

I have a huge executive desk. The back third is empty to allow room for the window shutters behind the desk to be pulled open. The front two thirds of the desk are littered with notes, two calendars, my computer, printer, landline, dust, and a lamp that used to be on top of my daughter’s piano. I need to get better organized. I waste a lot of time searching for notes that never make it into my file system.

I have noticed that a lot of authors have a spotify music playlist to work to, do you like writing to music and if so what playlist is your favourite?

I grew up in a quiet household because my parents both worked the night shift. So even now, I rarely listen to music. Sometimes for the Two Realms books, I will play Celtic music. For The Amber Elixir, I might play something obscure that evokes the middle ages and a sisterhood, like 11,000 Virgins, Chants for the Feast of Saint Ursula, by Anonymous 4. Not the sort of music one would find on Spotify!

What do you do in your free time when you are not writing?

I volunteer at my local middle school as a mentor for the Ophelia Project. I love working with the girls! My dogs and I walk whenever it isn’t too hot. (I live in southern California.) I love escaping to the movies, traveling, reading, and brief jaunts on my bicycle.

Out of all the books you have written, do you have a favourite?

I love them all for different reasons. Spell Struck is a particular favorite because I channeled it, and so it was the easiest to write. I adore its hero, Aidan, a homeless teen.

Do you have any favourite authors?

Several: J.K.Rowling, Gail Carriger, Shelley Adina, Suzanne Collins, Veronica Roth, and tons of fantasy and romance writers.

What books have you read recently?

I’m almost finished with my first Sherrilyn Kenyon book, Dragonmark. I haven’t had much time to read for fun recently because of my heavy writing and editing schedule. I can’t wait to finish revising The Viking Mist so I can return to reading for pleasure.

What has been one of your most rewarding experiences as an author?

I write a lot about teens that have been traumatized or suffer from mental illness. It has been rewarding to hear from people who suffer from depression, or post-traumatic stress disorder, or obsessive-compulsive disorder that tell me, “You nailed it.” I strive to create empathy and understanding. Its rewarding when reviewers say a character like Ainslie from Spell Fire won them over and gave them a better understanding of mental illness.

What were some of the challenges you faced with your writing and on the road to getting published?

One challenge I faced was improving my craft. I credit the Romance Writers of America for their tremendous support of aspiring writers. Through RWA writing contests, and attending workshops at their annual national conference, I steadily improved. It was also through RWA that I found my first two agents. And a friend I met through RWA led me to my first publisher. Now I am a contest judge for RWA, and I teach writing boot camps.

Do you have any wisdom to impart to any aspiring writers?

Enter writing contests that offer feedback and have agents and editors as the final round judges. Join organizations like Romance Writers of America and The Society of Children’s Book Writers and Illustrators. They will help you hone your craft, stay updated on the publishing industry, and offer access to editors and agents through their annual conferences.

And finally please let our readers know where we can purchase your books.

My books are available in ebook and paperback on Amazon, Barnes and Noble, and in e-book only on Kobo. Here are the links:

https://www.amazon.com/Ariella-Moon/e/B0071NUOAK

http://store.kobobooks.com/en-us/Search?Query=Ariella+Moon

http://www.barnesandnoble.com/s/Ariella-Moon

https://itunes.apple.com/us/artist/ariella-moon/id507847259?mt=11 (The Beltane Escape only)

Viviane, the new Lady of the Lake and High Priestess of Avalon, accepts a challenge from Merlin unaware her bold actions will have tragic consequences. Two of her priestesses are turned to stone. A forbidden love deserts her. Now alone, she has six young handmaidens to train and protect.

When Morgan le Fay demands assistance with a spell that could change the balance of power in the Two Realms, Viviane refuses her. But what if Morgan’s secret knowledge could restore the stone priestesses? Will an alliance prompt Viviane’s love to return? Or will the gamble cost her all she holds dear?

      FOLLOW ME :… @tfaulc (click links below)

        #INTERVIEW – Ariella Moon Author of The Amber Elixir – @ariellamoon.author @XpressoReads INTERVIEW WITH ARIELLA MOON