Tag Archives: writing

Creative Wednesday: What the Beatles Documentary Teaches Us About Creativity

So it’s Creative Wednesday, and I am still thinking about the Beatles documentary. Specifically, I’m reflecting on something I mentioned in my Monday post — the creative energy that Paul McCartney brought to the “Get Back” sessions recorded 50 years ago. The truth is, all four of the Beatles brought to the recording studio their imagination and talent, but also a willingness to try anything and everything in pursuit of their next collaboration. There is, I believe, a lesson there for all who create.

There were these incredible moments in the documentary, when we heard the Fab Four working their way though the earliest iterations of “Get Back” and “Let It Be,” “Across the Universe” and “She Came In Through the Bathroom Window.” As a viewer and a fan, I felt as though I was getting a glimpse of history, of the formation of something that would change the course of rock and roll’s development. As I said in the earlier post, I got chills.

There are also moments in these eight and half hours when the band is jamming — with varying degrees of success — to old rock and roll classics, or on tunes of their own that never really amounted to much. It would be quite a stretch to say that every musical endeavor documented in the film was successful. There are several cringe-worthy moments.

And that’s sort of the point. Creativity at its purest is a messy process. If we’re fortunate and good at what we do, our bursts of creative energy produce gems to be shaped and polished. But even the best artists in any field also produce stuff that isn’t all that good. Creativity demands not just ability and energy, but also courage and even shamelessness. At times, John and Paul are hacking around, shouting, goofing, laughing, pounding on their instruments, clearly not taking anything they’re doing too seriously. But even in their least serious moments, they are still working, searching for lyrics or licks that they can apply to the more focused versions of their songs.

They know some of it sounds crappy, and they don’t care. You can tell, because when it comes time to lay down a serious track, they no longer sound like four kids playing with electric guitars and drums and amplifiers. They suddenly sound like the damn Beatles. It’s startling sometimes how quickly and easily they go from slipshod and careless to clean and amazing.

What does this have to do with writing?

Everything.

When we write, we need to be willing to take chances, to riff on an idea, to write something that may lead nowhere on the off chance that it will instead lead somewhere wonderful and inspired. I have a middle grade novel that I wrote a decade ago and that I love. Sadly, it never was really ready for prime time. My daughters loved it. Friends of my daughters who read it loved it, too. But it didn’t work on certain levels, and so it has sat on my hard drive all these years. Someday, I am sure, my grandkids will love it. And I’m okay with that.

Around the same time, I developed three characters for another novel I was thinking of writing. I worked out their dynamic, their backstories, their circumstances. But the novel idea never went anywhere and the characters remained homeless. Until this time last year, when I realized they were perfect for what I wanted to do with the second Radiants novel, Invasives. I wrote the book around them and the result is one of the best things I’ve ever written. (The book should be out in January 2022.)

I have stories that haven’t gone anywhere and never will, and others that haven’t taken shape yet. But I keep on trying, plugging away at ideas. Some pan out very well, others not to much. That’s the nature of the creative beast. As creators, we need to be fearless. We need to be willing to fail in order to succeed. That’s something I thought of again and again watching the Beatles play music for hours on end. Some of what they did worked brilliantly. Some of it sounded terrible. And through it all, they kept experimenting.

Let their example inspire you. Some jams go nowhere. Some songs fall flat. Same with stories and novels. That is part of being an artist. The sting of those disappointments lasts only as long as it takes us to try whatever is next.

Keep writing.

Creative Wednesday: Communicating Our World Building To Our Readers

Tomorrow night, I will be giving a talk on world building here at the university, in a themed residential house devoted to writing. The students from the house, at least those I’ve met so far, are earnest and passionate and serious about learning their craft. I’m looking forward to what I expect will be a fun and engaging evening.

For much of the evening, I will be answering questions and thus allowing the interests and concerns of the students to guide our discussion. I’ll open, however, with remarks on what I believe to be some of the keys to good world building. Some of these things I have covered in posts on this site — creating maps for our worlds, developing magic systems, building cultural and social traditions into our worlds through the creation of holidays, customs, and rites.

But I will also focus on the maintenance of our worlds. The feeding and caring of them, if you will. To my mind, one of the central elements of world building is putting all the work we do into practice.

What do I mean by this?

A couple of things, actually. First, I mean that the most important thing we do as writers who create worlds is convey the details of those worlds to our readers. The creation is the easy part. The hard part is sharing with our readers all of the cool things we’ve done, without resorting to data dumps and “as you know, Bob” moments. We want the communication of our world building to be seamless, invisible. We want the information we share to feel as natural as, well, every other part of our narrative. And so the descriptions and explanations of our worlds need to be doled out in ways that are consistent with point of view. Characters should not explain things, either in conversation or exposition, that they would not need to consider or discuss in that given moment. Put another way, if they have no reason to think or talk about these things other than to meet our needs as writers, then we have resorted to contrivance, and that’s not good writing. We need to be driven not by our narrative purposes, but rather by the exigencies faced by our characters. And so, world building needs to be conveyed in tiny increments, rather than in chunks, and it needs to be communicated, at least in part, through spoken language, with idioms and expressions and aphorisms and simple analogies that carry within them vital information.

Think of all the things we say in the course of everyday conversation that actually might give a stranger information about our world, our country, our faith traditions, our history. Elements of our landscape work their way into our speech as examples of grandeur or vastness or desolation or beauty. The same should be true of landscape features in our worlds. Figures from our history embody nobility, wisdom, generosity, courage, and also deception, betrayal, villainy. So should figures from the histories of our worlds. Tenets of faith become components of our social and cultural values, of our rituals and practices with respect to courtship and familial relationships. Faith should have a similar influence in our created worlds. I can go on, but I think you get the idea. We have to learn to write our worlds into our stories with the subtlety and pervasiveness of our own world’s insinuation into our language. That is how we communicate our world building without bludgeoning our readers with it.

And then the other element of this, the flip side of the same artistic coin, is making absolutely certain that expressions and analogies and all the rest, which might be reflective of our real, modern world, don’t creep into our writing in a way that contaminates our created worlds. We should avoid any figures of speech rooted in our traditions of faith, politics, history, culture, etc. We should avoid temporal anachronisms that might sound too modern for, say, our early-Renaissance-analogous created world. The last thing we wish to do as writers is create a world with painstaking care, only to undermine its credibility with conversations that sound more like something we might overhear in our local Starbucks.

As I say, I only have a short time at the beginning of tomorrow night’s event in which to present what I believe are key world building techniques. But to my mind the elements I have discussed here are so important that even if I had only half as much time, I would still work them in to my remarks.

Best of luck working on your worlds. Keep writing!!

Professional Wednesday: Submitting To Our Newest Anthologies

Thanksgiving is upon us, and the year is winding down. But for those of you who write and who are looking for publication opportunities, I want to point out that the open call for short story submissions for this year’s Zombie Need Brains anthologies — Brave New Worlds, Shattering the Glass Slipper, and, Noir (which I am co-editing with John Zakour) doesn’t end until December 31st. You still have plenty of time to submit stories to us.

As I have done in the past, I wanted to offer a post on things to do and consider when submitting short stories to any market, but ours in particular.

Let me start with the most obvious thing. ALL fiction markets — publishers, agencies, journals and magazines, as well as anthologies — have submission guidelines, known in the business as GLs. The guidelines for Zombies Need Brains anthologies can be found here.

GLs are called guidelines for a reason. They are not suggestions. They are not there for you to follow or ignore at your whim. They are requirements. If you ignore the guidelines — ANY of them — chances are your story will be rejected out of hand, without having been read. Why? you ask. Because editors are mean and arbitrary. Ha ha. Just a little editing humor for you there. Well, not really. We ARE mean and arbitrary. But we have good reasons for establishing GLs and wanting to see them followed.

Each anthology ZNB publishes begins with a set of anchor authors, writers you know, people with readerships, who have already agreed to write stories for the collection. Anchor stories usually account for seven or eight of the fourteen stories generally found in each anthology. The remaining stories, six or seven of them, are reserved for stories submitted through the open call.

DERELICT, edited by David B. Coe and Joshua PalmatierLast year, I co-edited Derelict. We received more than four hundred stories. The year before, I co-edited Galactic Stew. We received more than four hundred stories. The year before that, I co-edited Temporally Deactivated. We received more than two-hundred and fifty stories. Again, these are submissions for a total of six or seven slots.

We have guidelines because reading all those stories, and looking for the ones that are of the highest quality AND that will fit the anthology, is hard work. And one thing that makes it easier is having all the stories look the same, with clear fonts, standard margins and spacing, and professional presentation. If the stories come in looking the same, if the stories are all easy to read, we can judge them strictly on the basis of their quality. And this is exactly what YOU want us to do. The last thing you want is for us to reject your story without ever reading it. Think about those odds I just gave you. Even with Temporally Deactivated, which received the fewest submissions of the three I have co-edited, we only accepted 2.5% of the stories we received. With the more recent volumes, the acceptance rate was under 2%. With all those submissions coming in, we are, of course, looking for great stories (more on that later), but we’re also looking for reasons to weed out submissions, to help us get through the piles of stories we have to read. You don’t want us to toss your story because you sent it in a difficult-to-read font, or because you single-spaced when you should have double-spaced. You want your presentation to be professional and correct. You want us to judge the story on its merits, on the great characters you’ve written, on your gorgeous prose, on your scintillating narrative.

GALACTIC STEW, edited by David B. Coe and Joshua PalmatierAlong similar lines, ZNB anthologies are themed, which means that all the stories are about something in particular. Galactic Stew was about food. Derelict was about abandoned or lost ships. Noir is about detectives, in SF, fantasy, horror, or paranormal settings, investigating mysteries. As with the GLs, anthology themes are not suggestions. We’re not saying “If you feel like writing about detectives, feel free, but we’ll take any story about anything.” We’re saying, “For this anthology, we want detective stories with a speculative fiction element.” I can’t tell you how many stories we get that have nothing at all to do with our theme. I CAN tell you that we reject every last one of them. If you send to a themed anthology open-call a story that is off theme, it will not be accepted. Ever. Full stop.

Okay, so what are we looking for? How do you write a story for us that has a chance of being accepted. First, let me say this: If your story is on theme, and if you followed the GLs, we might still reject your story, even if it’s good. Hell, even if it’s great. We always have stories we love that don’t make it in. Think about those numbers again: four hundred submissions; six or seven slots. There’s no way to avoid this sort of disappointment. So do not take a rejection as an indication that your story is bad. It may be that we had a similar story that was simply a shade better. Or it may be that your great story was too similar to an anchor author’s story. Or it may be that we had too many fantasy stories and needed an SF (or vice versa).

But to give yourself the best chance, you want to be creative, different, attention-catching. We’re looking for detective stories in a noir-voice, so we expect a certain number of tropes. But we want to see those tropes turned on their heads. We want unusual mysteries, populated with intriguing, non-traditional characters. We want beautiful, clean prose. We want stories that make us think, that grab our attention on page one and don’t let go until the final passage. We want stories with suspense, or with laugh-out-loud humor, or with emotional power, or, best of all, with all of these things.

This is vague, I realize. The things I’ve told you NOT to do, are much clearer and more concrete than the things I’m telling you TO do. Because the best stories are the ones we can’t possibly anticipate. Often, we don’t know specifically what we want until we see it. We want to be surprised, just as we want the readers who will eventually buy the anthology to be surprised. And so I can’t tell you exactly what to write. But if you’re passionate about the story, if in some way the twists and turns of your story surprised you while you were writing it, if you’ve got something that you believe is different from anything you’ve read before, chances are you’re on the right track.

Best of luck. Remember, the submission deadline is December 31.

Monday Musings: Taking Stock This Thanksgiving Week

A year ago at this time, I wrote a post about Thanksgiving — random thoughts on the holiday, essentially. I just reread it, and laughed once more at some of the memories I recounted. Part of the post touched on the oddness of last year’s celebration, the fact that we were in the midst of a worldwide pandemic that made family gatherings difficult if not impossible. And I lamented this, because, as I said then, Thanksgiving is just about my favorite holiday.

Fast forward to Thanksgiving 2021, and we find ourselves still grappling with the pandemic. Last year, while writing my post, I didn’t see that happening. Yes, I knew already that Covid would be with us for a long, long time — an illness to be managed rather than one we were likely to wipe out anytime soon. But I thought our management would have progressed further by now. I am not yet in a space where I want to dive into political discussions, but I will simply offer this: If you’re not yet vaccinated, please consider getting the vaccine before year’s end. And if you’re unvaccinated and you refuse to wear a mask, please consider that your recklessness is endangering everyone around you.

Despite the difficulties posed by another pandemic-inflicted Thanksgiving, and despite having endured a year more difficult than any my family and I have experienced before, I find myself embracing the spirit of this most spiritual holiday. I don’t mean spiritual in the sense of “religious,” at least not really. For some, I suppose, thankfulness does lend itself to religious expression. But as someone who considers himself agnostic in matters of faith, I still am drawn to what I perceive as a powerful spiritual component of Thanksgiving. This is a time when all of us in this country — a nation that is both flawed and deeply blessed — are called upon to pause in our work, in our private lives, in our political and cultural rancor, and reflect on all for which we ought to be grateful. We do this as the calendar year draws to a close, as the natural year — the cycle of seasons, of life’s emergence, flourish, and retreat — winds down as well. This is an opportunity to take stock, to appreciate what we have and, perhaps, to think about things we hope to be thankful for in another year.

And so . . .

I am grateful, as always, for my wonderful family. As always, I say. And yet after this year of crisis, of illness, of anxiety and sadness and deepest fear, I am more grateful than ever to be married to my love and closest friend, and to have two daughters whom I adore, who dazzle me with their humor and brilliance and beauty. I am grateful for my siblings, those I have still and the one I have lost, my relationships with whom have been so formative throughout my life. I am grateful for my parents, gone now for more than two decades, but who loved me and supported me in life, and who raised me to believe I could be anything I chose to become. I am grateful for my extended family, relatives I love even though we see one another far too infrequently.

I am grateful beyond words to have truly amazing friends, people who enrich my life with their wit, their intellect, their compassion and generosity. And I am so fortunate to have in my life fans of my work who are kind, vocal in their enthusiasm for my fiction, but also respectful of appropriate boundaries.

I am grateful for my career, which has been through ups and downs, which has perhaps not yet reached every height I hoped it would, but which continues to engage me and challenge me and reward me each day. I am grateful for all the talented professionals with whom I have had the honor and pleasure of working.

I am grateful for the pastimes I pursue daily — my music, my photography, my passion for nature, especially birds.

I am grateful for the comfort of our home, for the food we eat, for the privileges we enjoy, and I am mindful always, but particularly this time of year, of those who are not as fortunate as we are, who live without the certainty of shelter, who eat without the surety of a next meal, who encounter illness or injury without the peace of mind of knowing how they will access and pay for treatment.

And I am grateful for this past year, despite its difficulties. From it, I have learned to appreciate more deeply what I have. I have learned to cope with emotional crises that might have ruined me a year or two ago. And I have grown stronger, so that the next crisis — and of course there will be a next one; such is life — will be just a little easier to endure.

I wish you all a joyous Thanksgiving and hope that you have a long list of people and things for which you are grateful.

— DBC

Professional Wednesday: Work as Balm

Continuing this week’s theme of maintaining mental health through difficult times . . .

Back in March, when our daughter’s cancer was diagnosed, my first impulse was to put everything on pause. I contacted my editor and agent to let them know I was not going to be working for a while. I announced on my various social media platforms that I would be pulling back from them as well. I don’t know what I thought I would be busy with. I don’t know what I thought I would do to fill my days. But in that instant, I couldn’t imagine doing . . . anything.

I can’t say for certain if this was a good decision or a bad one. I did what I needed to do in that moment. I made time for myself to deal with something utterly devastating and unprecedented in my life, for the very reason I stated above. I didn’t know what I could do and what I couldn’t. And, being self-employed, I have the luxury of being able to clear my schedule when I need to.

I’ll pause here to say this is why paid family leave should be universal across the country. People deal with crises of this sort every day. The privileged few — people like me — shouldn’t be the only ones who can take the time to care for themselves and their loved ones in this way.

Of course, Nancy had work, and though her colleagues and boss would have understood had she taken time off, the truth is the nature of her position at the university, and the fact that the school was in the middle of implementing the Covid response she helped formulate, made this impossible. And so, perhaps not so surprisingly, after taking only a few days to be shellshocked and emotionally paralyzed, I got back to work as well.

RADIANTS, by David B. Coe (Jacket art by Belle Books)I was in the middle of writing a book — Invasives, the sequel to Radiants — and I dove back in. It’s a book about family, as so many of my novels are, and about discovering powers within. It doesn’t take much imagination to understand why I would find that particular story line comforting.

At the time, I wasn’t very far along in the book — maybe one-third of the way in. But with my reality frightening and sad, I threw myself into the story. Work became the place I went to escape my dread, my grief, my rage at the injustice of my kid’s illness. The emotions came with me, of course, but I was able to channel them into my characters, to turn them into narrative. That is the magic of creation, the alchemy that allows us to convert anguish into art. Each day, I couldn’t wait to get back to my book; I can’t remember a time when work has meant more to me. My haven, my outlet, my balm.

I finished the book in less than two months, which is pretty quick for me, and I knew immediately that I had written something special. I love all my books. Someone asked me just the other day what my favorite book is among those I’ve written, and I answered as I always do: the newest one. But in this case, it was especially true. Invasives is laden with emotional power and it is, to my mind, one of the best plotted books I’ve written. Often when I write, I have to fight off distractions. Not this time. With Invasives, writing was the distraction.

I was sad to finish the book — which was definitely new for me. Usually I celebrate finishing a novel. This time, I wondered how I would cope without the book to write. My child was still sick, still dealing with treatments and such. And I was still scared, still sad.

"The Adams Gambit," by D. B. Jackson (Jacket art by Chris McGrath)And so around that time, unsure of what to write next, I acted on an idea I’d had for several years. I hung out my virtual shingle as a freelance editor. Work came in quickly, and before I knew it I was editing a series for one friend, and talking to others about future editing projects. I also released the Thieftaker novellas. And prepared for the October release of Radiants. And started gearing up for the Kickstarter for Noir, the anthology I’m co-editing for Zombies Need Brains. And wrote a story for another anthology.

In other words, I worked the way I normally would. Yes, some days were harder than others. Some days I got nothing done at all. And part of working through this ordeal has been giving myself permission to have days where I do nothing more than spin my wheels. But more often than not, work has continued to offer me solace.

I’ve watched in awe as Nancy, who has even more on her plate than I do (elder care issues involving her parents and a job that is emotionally and mentally exhausting), has found the strength and discipline to be a loving, supportive mom, an attentive daughter, a skilled and focused professional, as well as a loving partner. She, too, has found refuge in her job.

Looking back, I feel a little foolish for having retreated from my professional life the way I did those first days after learning of my daughter’s diagnosis. From this vantage point, it appears rash, unnecessary. I feared that in some way my job would keep me from giving my full attention to my daughter’s health. I was right. The mistake I made was in thinking that would be a bad thing. Believe me, I spent a ton of time thinking about her, worrying about her, searching for ways I might ease her burden. But I couldn’t do that for every hour of every day, not without doing real damage to my own emotional and physical health.

Work saved me.

Now, I know each of us deals in unique ways with anxiety, fear, grief, and other emotions, and so I offer this post not as a prescription for others, but simply as a description of my experience. I hope that some of you find it helpful.

Monday Musings: My Decision to Start Therapy — A #HoldOnToTheLight Post

#HoldOnToTheLightShortly after I graduated from college, back in Medieval times, I corresponded with a dear college friend, one who continues to this day to be a close friend. At the time, she was dealing with some emotional issues and had started therapy. “Counseling is the best thing in the world,” she wrote to me. “If everyone was in counseling with a good counselor there would be world peace.”

I wrote down the quote at the time, and have returned to it many times in the intervening years, sometimes with amusement (it’s just a great statement) and at other times with the sense that I ought to take to heart the lesson of her words.

Only this year, with the cancer diagnosis given to my older child, did I finally act on her wise advice and start therapy.

When I was young, being in therapy carried a stigma. Mental health and mental illness were even less well understood than they are now. Seeking a counselor was an admission of “weakness,” of being unable to hack it on one’s own. I grew up in New York, a bastion of liberal thought and cutting edge cultural trends, and was raised in an educated, privileged family. And still, I grew up with this bias ingrained in me. People like me didn’t need therapy, because we were “strong” and “normal” and “healthy,” whatever the hell those words meant.

It took me a long, long time to overcome that element of my upbringing. Which is really too bad, because I now know that I have suffered from anxiety and panic disorder my entire life. I denied this reality for years. I was “high strung.” “Type A.” I was “a worrier.” Given time, I could probably come up with a dozen other euphemisms that I used, or that others used on my behalf, to help me deny the obvious. Because “high strung” was okay. Suffering from anxiety suggested something deeper, more serious, more systemic. It implied that I wasn’t “well.”

Guess what. I wasn’t well.

Back in 2017 and 2018, after my brother died, I went through a really dark period. I was grieving, grappling with all sorts of difficult, nearly crippling emotional issues. At the time, it was the most troubling period of my emotional life. Still I made excuses, explaining away my decision not to seek therapy. Our younger daughter was just starting college and we couldn’t afford the added expense. It was natural for me to be having a hard time — I was in mourning. I could handle the problems on my own.

It was a terrible decision, and I shudder to think of what might have happened had I not fallen back on the next best thing to seeking the help of a counselor. I wrote about my brother. Not just a journal entry (although I should add here that regular journaling has also become a key part of my mental health regimen). I had conversations with people from his life and delved deeply into family history and the papers he’d left behind. The piece I wrote about him is one of the best things I’ve ever done. Few have read it, and for now that’s fine with me. The process itself was the point. It saved me from myself — my stubbornness, my denial, the lingering effects of my upbringing.

With my daughter’s cancer diagnosis earlier this year, which came on the heels of a period of deep anxiety during the fall of 2020, I realized the obvious: I needed help. More, I was  for help. I couldn’t do this on my own anymore, nor did I see the need to.

Starting therapy was revelatory. I was fortunate, in that I found on my first try a counselor who understands me, who knows when to challenge my assumptions and when to let me ramble and find for myself a helpful emotional path. Early on, as we talked about an episode in my life that had been particularly formative and painful, she said something that spoke powerfully to my experience, not only with her, but also with the piece I’d written about my brother.

“When you talk about something painful like this,” she said — and I believe she could also have said, when you write about this sort of thing — “you assert control over it. You’re no longer subject to it. Rather, it answers to you.”

Yes. A thousand times, yes.

This was why writing about my brother and his death proved so therapeutic. This was why my sessions with my therapist have been so positive and helpful. This was why my beloved old friend could see universal therapy leading to world peace. When we acknowledge the things that afflict us, when we accept them and speak to them and come to understand them, they cease to be our enemy. They don’t vanish, at least not immediately. But by embracing them, by asserting control over them and making them ours, rather than us being theirs, we rob them of their power.

This, at least, has been my experience. And all those arguments against therapy, which I used to delay what I never should have put off? I reject them now. The stigma? Fortunately, society has progressed beyond this, and I have been dragged kicking and screaming into the 21st century. The money? Many health insurance policies cover mental health, making it as affordable as most common prescription drugs. The time commitment? I take time every day to exercise, because I know that doing so is good for me. Why would I begrudge an hour each week to do something equally healthful?

And so I stand before you (albeit virtually) as an unabashed booster of therapy. I waited until I was in the midst of a family crisis, and I wish I hadn’t. If I’d had the wherewithal as a much younger man to seek professional help, I might have recognized my anxiety for what it was in my twenties or thirties rather than in my fifties. I could have saved myself so much torment, so much sadness and angst. I choose not to consider this for too long. Water under the bridge as the cliché goes.

But I will say this: If you’re suffering, if you feel that you need help, but have been reluctant, for whatever reason, to seek it out, please take the plunge. I believe you’ll be glad you did. You may find peace, healing, and tools for coping that have eluded you up until now. And, as my friend suggests, you might even move us one step closer to world peace.

Professional Tuesday: The Creative Origins of RADIANTS

Islevale compositeA couple of years ago, I put the finishing touches on the third book of a time travel/epic fantasy trilogy called the Islevale Cycle. I loved the Islevale books then, and I remain incredibly proud of them today. I think they represent some of my finest work, and if you enjoy epic fantasy, OR time travel, OR (best of all) both, I recommend you pick the books up and give them a try. (The books are called Time’s Children, Time’s Demon, and Time’s Assassin.)

As much as I love them, though, I also have to admit that they nearly destroyed me. I have never struggled so much with any books, and I hope I never will again. Part of the problem was simply the ambition of the project. Sprawling epic fantasies are hard to write. One must weave together multiple plot threads and write from the perspectives of numerous point of view characters. Time travel is even harder to write, first because one must keep track of several time lines at once, second because any plot point is potentially reversible (If time traveling characters are unhappy with events, what’s to keep them from going back and changing them?), and third, because in my story I had more than one iteration of several characters existing simultaneously. (At one point in book 3, I had four or maybe five iterations of the same character inhabiting my world.)

As you might expect, combining the challenges of writing epic fantasy with the difficulties inherent in writing time travel only serves to compound all of those issues. These books would have been hard to write under any circumstance. But here’s the thing: For some reason, I could not outline any of the Islevale books. I don’t know why. To this day I remain mystified. But yeah, I had to write all three books without any advance outline beyond my vague sense of where the books needed to go. The books turned out really well, but the process was excruciating.

What is the point of this?

Well, once I finished the last Islevale novel and worked with the folks at Falstaff Books to shepherd it through production and publication, I needed a new project that would be Different, and Straight Forward, and Directed.

RADIANTS, by David B. Coe (Jacket art by Belle Books)And that next book turned out to be Radiants.

Radiants, a supernatural thriller, comes out from Belle Books on Friday (yes, THIS Friday) October 15th, and this “little” book, which I thought of as a sort of creative palate cleanser, has turned out to be far, far more.

Yes, it is different from the Islevale books, and it is quite directed. But it is deceptive in its “simplicity.” It is firmly rooted in our real world, and deals with social issues of weight and emotional power. It has fewer point of view characters and concentrates to a far greater degree on a single narrative thread. As a result, it is fast-paced. Like breakneck. And it includes some of the deepest, most satisfying character work I’ve done. (In fact, in this regard, I believe it might be exceeded by its sequel, Invasives, which will be out in another few months.)

So what makes Radiants a “supernatural thriller,” as oppose to a fantasy of some sort? Partly, it’s that pacing I mentioned, and partly it’s the real world setting and the fact that the speculative fiction element of the story is limited and very specific. And that was the appeal of writing the book. After creating a world whole-cloth for the Islevale series, I wanted to remain firmly fixed in our world for the new project. I wanted my characters to deal with issues that impact us in our day-to-day lives. I wanted them to speak as we do, to think and feel and interact as we do. In short, I wanted the story to be utterly relatable.

It would be easy to ascribe this to something pandemic-related — a need for normality, say, or some recognition that we don’t have to create an imagined world to come up with situations that are ________ . . . insert your preferred word here: Frightening? Disorienting? Surreal? As it happens, though, I completed my first draft of the book in February 2020, just before the current unpleasantness hit. [Invasives, the second Radiants book, is much more a reaction to the pandemic, as well as the personal difficulties my family and I have faced in recent months.]

Radiants really was a response to my creative needs at the time. No more, no less. It is the book I needed to write next. My lead characters presented themselves to me, along with their fraught and frantic circumstances, and I simply wrote. In this sense, Radiants might be the most organic book I’ve ever written. I had no marketing strategy for it; hell, for the longest time, I didn’t even know how to classify the story. I didn’t know if I was writing something for myself, for the sheer joy of it, or if it would turn out to be something I could sell and publish. I had a story to write and I wrote it.

For that reason alone, I love this book. And I am very hopeful that you will, too.

 

What’s Been Going On In My Life

As some of you may remember, back in March I pulled away for a time from all social media. And, as you may have noticed, even now my social media presence remains limited. I haven’t been blogging regularly. I haven’t been sending out my newsletter. I have been far less “chatty” than usual. And there is a reason for all of this.

In March, our older daughter was diagnosed with cancer.

The months since have been the longest and most difficult of my life, and our ordeal is far from over. She is undergoing treatment and has responded well so far. Her spirits are good — remarkably so. She is, as I already knew, one of the bravest, wisest, strongest, most positive people I’ve ever encountered. Even in this most difficult time, I am so very proud of her. And I know that her attitude has been and will continue to be a most potent weapon in her battle. That said, though, the cancer had progressed significantly before it was discovered and she still has a long road ahead of her. We are hopeful in the long-term — we believe we have every reason to be — but again, this is hard.

We are grappling with fear, uncertainty, the sadness that comes with knowing our child — yes, our adult child, but nevertheless — is suffering and there’s not a damn thing we can do about it. We are grieving for all we’ve lost as a family. Not because we doubt that she’ll recover. But because, even after she is cancer-free, we will, all of us, live for the rest of our lives fearing a return of the illness. We as a family — not just Alex, not just Nancy and me, but also Erin, our beloved younger daughter — have lost our innocence in a way. We’ll never be the same.

There was a time, early on, when I was exchanging texts with my brother about one development or another, and I wrote something about “Alex’s oncologist.” And I had to pause to say to myself and to him, “Fuck, my daughter has an oncologist.” The past several months have been filled with moments like these. Times when I catch myself saying things no parent ever wants to say and thinking of things I never in my darkest dreams thought I would have to consider.

At times, work has been a balm, and I have been able to lose myself in my writing or the freelance editing I’ve been doing recently. At times, I can’t do anything at all. I have started therapy, which has been wonderful for me. I have continued to exercise and eat well. I have managed not to drink myself into oblivion even once, though I will admit to being tempted on more than one occasion. I sleep moderately well, but often wake up feeling utterly devastated and sick to my stomach. Nancy and I still manage to have fun when we can. We also take turns comforting each other. One day one of us will be okay and the other will be a wreck. The next day we’ve reversed roles.

Mostly, though, we move through life and work and quiet time feeling like we’re wearing those leaded bibs they use at the dentist’s office when you’re getting x-rays. Everything is weighed down. Everything is harder, more wearying. Our tempers are a bit more frayed. Even our best days are only so-so, and our worst days are bleak and seemingly endless.

Before now, I hadn’t wanted to make this sort of public pronouncement. I’m not entirely sure why. Alex has been very open about being sick and has made it clear to the rest of us that she doesn’t consider her illness a secret to be guarded. Maybe I feared “announcing” it would make it feel more real. Though honestly, I don’t know how it could be any more real. Maybe I just wanted to put off the exchanges of messages and comments that will inevitably follow a post like this one. Maybe I wanted to avoid the tears I’ve shed while writing this.

Whatever the reason, I felt that with everything else I’ve pulled back from this year, my cancellation of my appearance at DragonCon warranted an explanation. The fact is, even with all the precautions the convention has taken — and the con committee has been terrific in this regard — I fear exposing myself to the Delta Variant of Covid-19 in advance of a visit with our immunocompromised daughter. I am sorry to miss the convention. I am sorry to disappoint those of you who looked forward to seeing me there. I hope and plan to attend in 2022, when this latest surge in the pandemic is a distant memory, and our daughter is on the mend.

Many of you, I am sure, will want to help in some way. The fact is, there is not much anyone can do right now. I welcome and am grateful for your expressions of support and friendship. I would, however, ask two things of you: 1) Please respect our privacy. I have shared what’s going on with our family. I have no intention of filling in additional details. And 2) Please do not share your cancer stories with me. I know they are kindly meant, and I thank you for your good intentions. I also know they will do nothing to help me, and will in fact increase my anxiety.

Otherwise, I ask only that you spare a positive thought for my daughter, my family, and me.

Thank you so much for reading this. Take care of yourselves. Be kind to one another. Hug the people you love.

Some Thoughts on Release Day for “The Witch’s Storm”

"The Witch's Storm," by D. B. Jackson (Jacket art by Chris McGrath)Today is release day for “The Witch’s Storm,” the first installment in my new trilogy of Thieftaker novellas, The Loyalist Witch — Thieftaker, Fall 1770. For more about the release, you can read the interview I did with Faith Hunter yesterday, which appeared here (Part 1) and here (Part 2). You can also find more information about the novellas here.

And you can buy “The Witch’s Curse” here!

Usually, release day posts are all about getting readers excited about our books or stories, “pumping up the volume,” as the expression goes. And certainly I want you all to be psyched about the Thieftaker releases — not just “The Witch’s Storm,” but also “The Cloud Prison,” which will be out in another four weeks or so, and “The Adams Gambit,” which comes out four weeks after that. The novellas turned out well, I think. I love the stories, I’ve enjoyed writing the new characters I’ve introduced, and I was thrilled to return to old character arcs — Ethan, Janna, Diver, Kannice, and, of course, Sephira Pryce.

"The Cloud Prison," by D. B. Jackson (Jacket art by Chris McGrath)The fact is, though, as many of you already know, this release comes at a difficult time for my family and me. I have only recently returned to social media after a much-needed hiatus, and while I have adjusted to the new realities we face, they weigh on me still. And so I find myself in the position of wanting to be enthusiastic about the new stories, but also NOT wanting to be falsely positive and happy-go-lucky.

Look, it’s easy to gloss over this stuff. Plenty of writers deal with difficult times and manage nevertheless to put on a smile and sell their books. But I’ve been open about the simple truth that this is a hard time for us right now. I’ve been private about the exact circumstances, but I’ve been up front about the rest. And so it feels odd to pretend for this week that nothing is wrong, that I’m focused entirely on promoting the new project.

By the same token, I don’t want to wallow. I don’t want to be the guy who can’t take pleasure in the day-to-day because he’s too focused on His Problems.

"The Adams Gambit," by D. B. Jackson (Jacket art by Chris McGrath)There is, of course, a larger point here. As I say, other writers deal with these questions, too. Really, all of us do. Part of being a professional in any field is being able to set aside the personal to meet our work obligations. We compartmentalize. Our emotions have their time and place, as do the qualities that make us good at our jobs. I am married to someone who excels at compartmentalizing. I am just okay at it. I can set aside my worries, fears, sadness, etc. and write for hours at a time. As long as I remain alone, in my office, with just my plot lines and worlds and characters, I’m fine.

This sort of thing, though — interacting with real people, whether remotely, virtually, or in person during times of crisis — gives me more trouble. I’m not entirely sure why. I suppose I don’t like to put on a façade, and I’m not particularly skilled at doing so. That’s not a bad thing, per se. I like to think that I’m genuine. But it’s also not an unalloyed good. I think at times I would be happier, and more pleasant to be around, if I was better at setting aside my emotions temporarily.

We are, nearly all of us, struggling with one thing or another at any given moment. I know precious few people who are purely happy for any length of time, and those I have known who are tend to be blissfully lacking in self-awareness or compassion for others. Social media has a way of smoothing over the bumps and bruises life metes out, and making us all appear to be content, confident, stable, and thriving. But really my current struggles have much in common with things all of you are dealing with in your lives. Yes, the crisis impacting my family right now is particularly difficult, but I’m far from alone in that regard as well.

And so allow me to say that I wish all of you well, and that I appreciate the kindness and support so many of you have shown me in recent weeks and months.

Yes, I have a new novella out today, with two more on the way in the near future. I hope you’ll check them out. I won’t insult you by saying that reading the novellas will improve your lives, but they might be diverting for a time. Just as they were a ton of fun to write.

Best wishes,

David

Faith Hunter Interviews D.B. Jackson — “The Witch’s Storm,” part 2

Tomorrow, May 18, Lore Seekers Press will release a new Thieftaker novella, “The Witch’s Storm,” the first installment in a trilogy called The Loyalist Witch — Thieftaker, Fall 1770. Today (with my D.B. Jackson hat on) I sat down with my wonderful friend Faith Hunter to talk about the new project. Part I of the interview can be found at Faith’s blog. Part II of the interview can be found below.

*****
(Continued from the blog of Faith Hunter)

Faith: You know how much I love this series! How was it going back to the Thieftaker world after taking a hiatus from the books?

"The Witch's Storm," by D. B. Jackson (Jacket art by Chris McGrath)DBJ: Well, I suppose I should point out that while I haven’t written a Thieftaker novel in some time, I have been writing and publishing Thieftaker-universe short stories almost yearly since that last novel came out. But this was a far more demanding project and honestly, I enjoyed it immensely. I love these characters — not only Ethan, but also his nemesis, Sephira Pryce; his love, Kannice Lester; his mentor, Janna Windcatcher; his closest friend, Diver Jervis; and a host of historical figures including Samuel and John Adams, Joseph Warren, Stephen Greenleaf, and others. All of them are here in these new stories. But I have also brought in new characters: a new set of villains and some new allies as well. So for me as a writer, there was enough here that was familiar to make me feel like I was reconnecting with old friends, but there was also enough innovation for the plot lines and character interactions to feel fresh and exciting. I hope my readers agree!

Faith: Historical novels (especially with magic and mayhem and murder) have always made my heart pitter-patter. Tell us a bit about the history that forms the backdrop for the stories.

DBJ: There was a lot to work with actually. On the one hand, the trials of the soldiers and their captain were a huge deal. Think of all the big trials we’ve had in recent history — the way they captivate the public — and then magnify that about a hundred times. The Boston Massacre was a huge, huge deal throughout the colonies, but in Boston in particular. It’s easy to forget that the population of the city was only about 15,000 at this time. So while “only” five people died that night in March, chances are that if you lived in Boston, you’d had some contact with at least one of the victims. Add to that the fraught political climate of the time and you have a recipe for a lot of tension. Plus, as the title of the first novella suggests, right before the trial began, Boston was hit by a hurricane. Now, I have adopted the storm for my own narrative purposes and added a magical element. But the fact is, there was a ton going on, historically speaking, and I was able to work most of it into the novellas.

Faith: Do you have more Thieftaker stories in mind? Please say YES!!!

DBJ: Definitely. The fact is, I’m probably better known for Thieftaker than I am for anything else I’ve published, either as D.B. Jackson or as David B. Coe. My readers always seem to want more of Ethan’s adventures. And while I have drawn upon a lot of pre-Revolution history so far, there’s so much more to explore. Plus, I can take the story forward into the War for Independence itself. There’s really no end to what I can do with Ethan and company. So yes, given that there is some demand, and given how much I love to play in this universe, I have no doubt that I’ll be writing more novels, more novellas, more short stories. So stay tuned!

*****
D.B. Jackson is the pen name of fantasy author David B. Coe. He is the award-winning author of more than two dozen novels and as many short stories. His newest project is a trilogy of novellas that continues his Thieftaker Chronicles, a historical urban fantasy set in pre-Revolutionary Boston. He has also written the Islevale Cycle, a time travel epic fantasy series that includes Time’s Children, Time’s Demon, and Time’s Assassin.

As David B. Coe, he is the author of epic fantasy — including the Crawford Award-winning LonTobyn Chronicle — urban fantasy, and media tie-ins. In addition, he has co-edited three anthologies — Temporally Deactivated, Galactic Stew, and Derelict (Zombies Need Brains, 2019, 2020, 2021).

David has a Ph.D. in U.S. history from Stanford University. His books have been translated into a dozen languages. He and his family live on the Cumberland Plateau. When he’s not writing he likes to hike, play guitar, and stalk the perfect image with his camera.

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