And in this corner....

I've been hearing a lot of grumbling on various social media sites (okay, mostly Twitter) about the Great Debate: Urban Fantasy vs. Paranormal Romance. For the most part, I've stayed out of the fray for a few of reasons--

1. I don't like to comment on "politics."

2. It makes my head hurt.

3. I think it's a silly argument.

Today, an article written by Kim Harrison showed up on SF Signal. The title of the article directly addresses the heart of UF vs PNR debate -- "Excuse me, your romance is in my urban fantasy" -- and the differences between the two but also bemoans the apparent dilution of the urban fantasy genre by a rise in the romantic content. While I don't agree with everything Ms. Harrison says, I do find some truth in her arguments.

Ms. Harrison begins by recounting a conversation with a reader in which he was lamenting the "shine fading from the urban fantasy genre" because the kick-ass protagonists we all know and love seemed to be morphing into damsels in distress and needed a big strong man (vampire, werewolf, etc.) to rescue them. She continues by saying:

The industry had a hand in causing it to a certain extent as many houses grabbed anything they could find with a vampire and sexy protagonist, thinking that was all urban fantasy was. Manuscripts that would otherwise be passed over were picked up and promoted. Books that would be stellar romances on their own were lessened by well-meaning editors trying to make them something they were not by asking their author to "stick a vampire in it! They're hot right now!"

I disagree. This example isn't a case of established protagonists changing. It's not that urban fantasy is being "diluted" by a rise in the romantic content -- It's a case of books being marketed inappropriately. It's a lack of understanding of not just one but two genres and in the end both suffer for it. (Whether they are sub-par or outstanding is not for me to decide and I will not debate the validity of one book over another.)

Ms. Harrison continues:

However, the very aspects that give it strength-the mixing of many genres-may now be threatening to eat away at it. It's up to the authors and publishing houses to understand that having a vampire in the storyline does not make it urban fantasy.

I agree with Ms. Harrison's observation that simply having a vampire in a story doesn't make it urban fantasy. It can easily be paranormal romance. Or horror. The difference is in the author's intent and the story they are trying to convey to the reader. Most "true" (and I use that word very loosely) UF novels are built on either a mystery or thriller backbone with science fiction, fantasy, romance, and horror mixed in to varying degrees. However, others may rely more on sci-fi or fantasy as the main support. Still others may lean toward romance or horror. This diversity is the very strength that makes UF so popular and yet so hard to define. It is the blurring of lines that make UF what it is.

Ms. Harrison states, "I know where that line is. The greats before me drew it very clearly in the sand." With all due respect to Ms. Harrison (and I'm a huge Kim Harrison fan), I don't think anyone can say there is a clearly defined line between urban fantasy and paranormal romance. She uses Bram Stoker's DRACULA as an example: "For the time it was written in, Dracula could be classified as an urban fantasy." I agree. It could be UF...and it could easily be read as paranormal romance or even horror. Mary Shelley's FRANKENSTEIN, for the time is was written in, could be classified as science fiction or horror. Charles Dickens's A CHRISTMAS CAROL, for the time it was written in, could be classified as urban fantasy or horror. Jules Verne's A JOURNEY TO THE CENTER OF THE EARTH, for the time it was written in, could be classified as science fiction or fantasy.

Arguments can be made for and against any book belonging to any given genre--and that's the real problem. People--readers, writers, editors, publishers, etc.--become too caught up in the label game and everyone gets their panties in a wad when something is "mislabeled." Instead of focusing on The Story and whether or not we enjoyed reading it, we focus on what is apparently lacking or what was added. Suddenly we're back to the "You got peanut butter in my chocolate/You got chocolate in my peanut butter" argument. If the combination is delicious and satisfies whatever craving you had, does it really matter?

Seriously?

Stories should be weighed and validated based on their own merits and not the label someone slaps on it so bookstores know where to file it and so readers can find it. Mistakes happen and UF can be misidentified as PNR or vice versa. Here's the kicker: It happens with other genres as well. SILENCE OF THE LAMBS can be viewed as both thriller and horror. THE DA VINCI CODE can be classified as either mystery or thriller. It isn't unique to UF and PNR. Some stories blur the lines to the point no one knows exactly what label to give it so they make an educated guess of where it will have the best chance of reaching an audience. But it's still a guess, and sometimes the guess is wrong.

Instead of wailing and gnashing our teeth when that happens, how about we all--readers and writers alike--make a pact to say, "It wasn't what I expected, but it was a good story and I enjoyed it" and not allow ourselves to be caught up in The Great Debate and the Label Game. Let's focus on good stories, good writing, and having a good time. Reading and writing books should be fun. Arguing over shelf real estate sucks away that fun and only widens the riff between authors and readers when we should be happy to celebrate the very thing that supposedly unites us:

The love of a good book.

Writing Urban Fantasy, Part 2 -- "Fact vs Fiction in Fiction"

Hi, my name is Jeannie, and I'm a researchalholic.

I admit it: One thing I love most about starting a new project is the research. Beginning with a kernel of an idea, selecting books and surfing websites to fertilize that kernel, pulling together disparate mythologies and cool modern science, and then watching my little kernel blossom into a carnivorous flesh-eating plant....*sigh* It’s magical.

In Part 1 of the "Writing Urban Fantasy" series, I said that -- aside from the basic rules of grammar, spelling, and story structure -- there are no rules to writing fiction, and this is true. However, this doesn't always mean you can make the stuff up willynilly and trust readers to buy into it because you, the author, says so. Readers are far more savvy than that, especially readers of urban fantasy. There is a proliferation of urban fantasy on the market and readers who enjoy this genre tend to read A LOT and have seen multiple mutations of various supernatural beasties so you're going to have to create something a little (or a lot) different as well as make sure your real world facts are in order.

With that said, I'm going to lay out my rules for researching an urban fantasy novel. Yes, I said there are no real rules to writing urban fantasy. However, there are rules for research...or at least there should be...and these aren't "rules" so much as "guidelines." They're holdovers from my college days and have served me well. Hopefully you will find them equally useful.

Research Rule #1: Wikipedia is NOT an acceptable primary source.

First, let me just say that I like Wikipedia and use it often. However, I do NOT accept any information I gather from the site as valid without verifying it in at least two other non-internet sources. Why? Because anyone can add information to Wikipedia and the information presented on the site is often inaccurate or unverified. Therefore, unless I can verify the information through outside sources, I usually discount it.

This is especially important for information regarding the real world. If Wikipedia tells me the state capital of Mississippi is Hattiesburg, I'm going to refer to A) a map of the state, B) the state's official website, C) a book on Mississippi state history. If verified, I'll run with Hattiesburg as the capital. (FYI: Hattiesburg is not the capital of Mississippi -- Jackson is.)

When we enter the supernatural realm of mythology, folklore, and things that go bump in the night, this level of inaccuracy isn't as important. After all, the key word in "urban fantasy" is "fantasy." Find the information that suits your particular project or make it up as you go along.

Research Rule #2: When in doubt, leave it out.

Confession: I know a little more than jacksquat about police procedures, and yet I write a series in which the main character is a federal agent. How am I able to do this? I researched my butt into oblivion before ever setting fingers to keyboard, and I probably used a tenth of the information I gathered.

Much of the information I left out dealt with forensics. I'm not an expert in the field nor do I want to become one. I have rudimentary understand of most procedures, especially with regards to crime scenes, and the rest occurs off-page because I don't fully understand the various tests and procedures. I gloss over the parts I don't know or understand and then manipulate the results to achieve my goals.

As an expert in the field told me several years ago, it's better to gloss over those bits and just present your results than to include inaccurate information because the real experts will call you out for it.

Research Rule #3: Go beyond the books whenever possible.

Writing a novel set in Grand Rapids, Michigan in November when you live in Honolulu, Hawaii can be challenging. Unless you're originally from Michigan and are familiar with the Grand Rapids area and all the nuiances that come from living in the northern US, you're going to have to do some research. Yes, books and websites are wonderful starting points, but nothing beats walking the city's streets in November and experiencing it first hand.

The same is true of law enforcement or hospitals or most professions. Nothing can compare to the actual experience of traveling 100+ mph along the interstate at 2:00am with lights and sirens as you respond to a radio call of "shots fired." This is something I've experience first hand and will never forget.

If you're setting a story in an unfamiliar location, try to arrange a trip to that location. Stay a few days. Take pictures. Talk to locals. Try to pick up "the vibe" of the area. You may not use everything you learn, but your story will be much better because you have that knowledge.

If you're writing a story about law enforcement, check with your local metro police or sheriff's departments. Some cities and counties offer "citizen acadamies" in which people from the community can interact with law enforcement officials from different branches. Many programs such as these will offer a ride-along program -- you get to spend time with an officer on patrol and see what they see. (That's how I ended up traveling 100+ mph along the interstate at 2AM.) If your community doesn't offer a citizen academy program, most law enforcement agencies have a public relations officer on staff. Reach out to him or her, explain your interest, and most are willing to work with authors.

The same is true of the medical field, although it's more difficult to gain access to "insider information" due to patient confidentiality laws. However, many hospitals have a volunteer program. While you may not have access to "the action," it's a great way to meet staff who may be willing to talk outside of work about what they do, and you're also giving back to the community. It's a win-win.

Now, I mentioned books and websites at the beginning of this post. I'm a bibliophile. I collect books. Yes, I have an e-reader and I love it, but I use it primarily for novels -- fun reading. When I'm researching, I prefer the feel of a real book. Plus, I also tend to make notes in margins and use a ton of stick notes to create a "road map" for myself. Again, it's something I've done since college and I doubt I'll change.

How much research you put in to your "fantasy" elements is really up to you. It does pay to know basics, especially if you're writing about spellwork or something in the magical arts. Again, people who really do know this stuff will call you on anything that seems to far outside the realm of believable. That doesn't mean you can't make anything up as you go. In fact, it's best if you do. However, a little research can spark all kinds of new ideas. Don't be afraid to see where the rabbit hole leads you. You're story could lie on the other side.

Below is a list of some of my favorite research books. Most can be readily found on Amazon or Barnes & Noble or even better, grab the ISBN and ask your local indie store if they have it in stock or are willing to order it for you. Others may be out of print and harder to find -- check eBay or Half. com for some of the harder to find books. Also, do be afraid to check the shelves at the local Goodwill, Salvation Army store, or other charity-based outlet. You may be surprised what you find. Estate sales and garage sales are also great resources for older books, as are library sales. Second-hand book stores are also great.

Here's my list of some of my fave research books...and please be aware these represent only a fraction of the books I actually possess and actively reference:

General:
Webster's Dictionary
Roget's Thesaurus
The Elements of Style - Strunk and White

Vampires:
Vampire Universe - Jonathan Maberry
They Bite! - Jonathan Maberry
Encyclopedia of Vampires, Werewolves, and other Monsters - Rosemary Guiley
The Science of Vampires - Katherine Ramsland
Psychic Vampire Codex - Michelle Belanger
The Vampire Book: Encyclopedia of the Undead - J. Gordon Melton
The Vampire Encyclopedia - Matthew Bunson
The Vampire in Lore and Legend - Montague Summers
In Search of Dracula - Raymond T. McNally
Our Vampires, Ourselves - Nina Auerbach
Vampires and Vampirism - Dudley Wright
Vampire Forensics: Uncovering the Origins of an Enduring Legend - Mark Collins Jenkins
Vampyre Sanguinomicon: The Lexicon of the Living Vampire - Father Sebastiaan

Werewolves, Demons, Zombies & Other Critters:
Zombie CSU: Forensics of the Undead - Jonathan Maberry
Dictionary of Demons - Michelle Belanger
The Encyclopedia of Demons and Demonology - Rosemary Guiley
Dictionary of Angels: Including the Fallen Angels - Gustav Davidson
The Encyclopedia of Ghosts and Spirits - Rosemary Guiley
A Field Guide to Demons, Fairies, Fallen Angels and Other Subversive Spirits - Carol K. Mack
The Goetia: The Lesser Key of Solomon the King - Aleister Crowley
Fallen Angels, the Watchers, and the Origins of Evil - Joseph B. Lumpkin
Werewolves: A Field Guide to Shapeshifters, Lycanthropes, and Man-Beasts - Bob Curran
The Werewolf Book - Brad Steiger
The Element Encyclopedia of Magical Creatures: The Ultimate A-Z of Fantastic Beings From Myth and Magic - John Matthews and Caitlin Matthews

The Fae World:
Faeries: Deluxe Collector's Edition - Brian Froud
Brian Froud's World of Faerie (v. 1) - Brian Froud and Ari Berk
Good Faeries Bad Faeries - Brian Froud
Goblins! A Survival Guide and Fiasco in Four Parts - Ari Berk and Brian Froud
Gnomes 30th Anniversary Edition - Wil Huygen
Giants - Julek Heller
Spirits, Fairies, Leprechauns, and Goblins: An Encyclopedia - Carol Rose
Fairies (Mysteries, Legends, and Unexplained Phenomena)- Rosemary Guiley

Magic:
Note: Books listed here are for reference only. I do not advocate the practical use of any information found within these tomes without proper research, study, guidance, and/or training.
The Element Encyclopedia of 5000 Spells: The Ultimate Reference Book for the Magical Arts - Judika Illes
Cunningham's Encyclopedia of Magical Herbs - Scott Cunningham
The Complete Book of Incense, Oils and Brews - Scott Cunningham
Cunningham's Encyclopedia of Crystal, Gem & Metal Magic - Scott Cunningham
Practical Candleburning Rituals - Raymond Buckland
The Element Encyclopedia of Secret Signs and Symbols: The Ultimate A-Z Guide from Alchemy to the Zodiac - Adele Nozedar
Cunningham's Encyclopedia of Wicca in the Kitchen - Scott Cunningham
The Alchemists Handbook: Manual for Practical Laboratory Alchemy - Frater Albertus
Three Books of Occult Philosophy - Henry Cornelius Agrippa, James Freake, and Donald Tyson
Liber Null & Psychonaut: An Introduction to Chaos Magic - Peter J. Carroll

This concludes the second installment of the "Writing Urban Fantasy" series. Up next...character development!

Writing Urban Fantasy, Part 1 -- "Oh yeah? Says Who?"

I'm starting a new blog series--or at least attempting to start a new blog series--on writing, specifically urban fantasy and where I think the genre may go in the future. To kick off the series, let's start with the ever popular task of trying to define the undefinable.

What is urban fantasy?

Urban fantasy is often defined as having supernatural/paranormal elements layered over our recognizable modern or near-future world. The setting is a large city such as Los Angeles, New Orleans, or St. Louis. Often the main character is female and the story is told in first person point of view. The story can have elements pulled from other genres such as science fiction, mystery, horror, and romance and woven together in a cohesive manner with varying degrees of emphasis placed on each of these genre elements. Primarily, the plot will consist of a mystery to be solved or a problem to be corrected before some great calamity strikes. Romance, if present, is usually a secondary plot. Character and story arcs often carry for multiple books. These are "The Rules" of urban fantasy.

We could spend hours if not days debating the finer points of what is or isn't urban fantasy. That is time we could spend doing more productive things, like writing the next book in a series or even the first book in a new series. For me, the definition hinges on the romance and if it's the main focus of the story or not because it's the easiest way to separate urban fantasy from its cousin, paranormal romance.

Where did it begin?

Most "experts" will point to the initial release of Laurell K. Hamilton's GUILTY PLEASURES (Book 1 in the Anita Blake series) in the early 1990s as the beginning of the genre's mass appeal to readers. However, I believe Anne Rice's INTERVIEW WITH THE VAMPIRE would also qualify as an early example of urban fantasy, even though the point of view character is male and much of the story is told as Louis's memories, the actual "interview" takes place modern times.

However, one could make a strong argument for finding urban fantasy's roots in the Romantic Movement in works such as Mary Shelley's FRANKENSTEIN, Bram Stoker's DRACULA, Charles Dickens's A CHRISTMAS CAROL, and Edgar Allan Poe's MASK OF THE RED DEATH, to name a few. You're probably thinking to yourself "But these are classics! How can they be urban fantasy?" The answer is simple: At the time they were written, they were set in the modern era, in urban centers, and carried an element of the supernatural. Time moves forward but the written word doesn't. It's fixed on the page.

Pinpointing the start of urban fantasy is difficult and open for debate. Suffice it to say the genre has steadily gained popularity is now one of the most widely read genres because of its broad appeal to readers of other genres.

What are some common elements?

The most common element is the supernatural. Whether the supernatural takes the form of vampires, werewolves, fairies, zombies, aliens, shapeshifters, or something else isn't set in stone. Nearly any creature can make an appearance in urban fantasy.

What is the difference between urban fantasy and paranormal romance?

The two share 90% of their genre DNA. However, the main differences are this: Urban fantasy focuses on an issue outside of a romantic relationship between two characters. Paranormal romance focuses on a romantic relationship between two characters and how outside forces affect that relationship. The best litmus test to determine if a story is urban fantasy or paranormal romance is to ask the following question: "If the romance between Character A and Character B were removed, would the plot still stand as a viable storyline?" If the answer is "yes," chances are good it's urban fantasy. If the answer is "no," it's most likely paranormal romance.

Okay, so that covers the basics of urban fantasy. Are we clear on what is and isn't urban fantasy? We've all got "The Rules" firmly fixed in our minds? Good.

Now forget everything I just said.

Why?

Because it's fiction. When Mary Shelley wrote FRANKENSTEIN, she wasn't concerned with a genre. She wanted to write a ghost story. She wanted to write fiction.

You want to write urban fantasy with a male protagonist? Do it. The "rule" that says you must have a female protagonist hasn't stopped Jim Butcher, nor did it stop Mary Shelley.

You want to write urban fantasy set in a post-apocalyptic world? Do it. Stacia Kane's Downside Ghosts series is a wonderful example of the broken "rule" that says it has to be a modern day or near future setting. You can even write a story set in the past. Edgar Allan Poe did. THE MASK OF THE RED DEATH uses the backdrop of the Black Plague for its setting even though Poe was writing in the 1800s, long after the plague had all but disappeared.

You want to write urban fantasy set in a small town? Do it. Look no further than the popularity of Charlaine Harris's Sookie Stackhouse series to see that small towns can be just as intriguing as large metropolitan areas. Charles Dickens's London wasn't the sprawling urban center it is today. Yes, it was still a large city but reading that story has the feel of being set in a smaller London.

You want to write urban fantasy with multiple character view points? Do it. Faith Hunter's Rogue Mage series began with BLOODRING and featured both first and third person points of view. Bram Stoker's DRACULA has multiple points of view and each is necessary to convey the story. This is important: The story dictates its needs. If it can be told from one character's point of view, great. However, if more than one is required, don't sweat it. There is no actual "rule" that says you can't have more than one.

My point is this: Urban fantasy is a label used to identify where a book falls in the publishing spectrum. At the end of the day, it's fiction. Aside from the basic rules of writing, such as grammar, spelling, and the structure of story, there are no rules. Some of the best fiction ever written has broken "The Rules." Urban fantasy as a genre has broken rules from Day One and it will continue to do so. In fact it'll be necessary for the next generation of urban fantasy writers to break even more rules.

Will we see urban fantasy set on distance worlds and trekking through the stars? I think so.

Will we see urban fantasy set in the Roman era with gladiators battling werewolves for the entertainment of thousands? It's possible.

This is fiction and in fiction, anything is possible.

Okay, so we have a basic working definition for the genre. In my next post, we'll discuss one of my favorite topics: researching the urban fantasy novel.

2010 Urban Fantasy Cover Awards -- BLOOD LAW

On the heels of revealing the awesome cover for BLOOD SECRETS, I'm proud to announce that BLOOD LAW has been nominated for "Best Debut Cover" in the 2010 Urban Fantasy Cover Awards sponsored by All Things Urban Fantasy. Squeeeeeee!!!

Click the graphic below to see the official awards announcement and to cast your vote. Thanks in advance to all who vote for BLOOD LAW, and a special thanks to Craig White -- my amazing cover artist -- and Jae Song -- my equally talented cover designer -- for their tremendous work and role in making BLOOD LAW a reality.

It's A-Liiiiiiive!!!

New Fan Forum is now live! Come chat with me, hear the latest BLOOD LAW news, and more! (Free registration is required.)

Click here to visit the Jeannie Holmes Fan Forum.

Wandering in The Magic District

So, there I was, minding my own business when suddenly the wonderful, sassy, and somewhat scary Diana Rowland's name appeared in my inbox. Always happy to hear from a fellow Southerner, I opened the email to find an invite to join her at The Magic District group blog.

Wheeeeeeeeeeeee!

I composed myself and answered that I would be delighted to join. After much celebration, I have officially joined the ranks of The Magic District folk. We're still working out a complete posting schedule but once I have that in hand, I'll pass it along.

In the meanwhile, check out my fellow word-wizards at The Magic District.

Kim Harrison

Note: The following interview was conducted in March 2008 as part of a graduate fiction class project surrounding FOR A FEW DEMONS MORE. It has been posted here with Kim Harrison's permission.

Q: Let's start with a fairly obvious question and one you've most likely faced in the past. When and how did you first "come up with" the idea for Rachel Morgan and the Hollows?

Actually, the idea was born in desperation. I had been trying to break into print in the novel market, having no luck, so I took a year off to try to get some publishing credits in the short story market to put on my cover letter. At the time, there was some really weird stuff making print in the SF/Fantasy magazine market, and I knew I couldn't match it, so I thought, "You want weird, I'll give you weird. A pixy, a vampire, and a witch walk into a bar. . . " and the Hollows was born. The first chapter of DEAD WITCH WALKING is pretty much the short story that I came up with. It didn't sell either, and I shoved it into a drawer and went back to working with novel-length fiction. But the characters wouldn't get out of my head, and I eventually developed the short into DEAD WITCH WALKING.

Q: All of the Rachel Morgan books are written in first person, from Rachel's point of view. In my fiction workshop class, we discuss point of view a great deal. Two questions we are taught to ask ourselves when approaching a new story are "Who's story is it?" and "What point of view will serve to tell it best?" What made you decide to write Rachel's story in first person as opposed to third person?

When I first sat down to write a detective/PI character, I decided that though I would be spending time with relationships, the plot of solving a crime or discovering a secret would be tantamount. That sort of story lends itself perfectly to a first-person point of view, where the reader discovers the clues right along with the protagonist. I've since fallen in love with the first-person point of view, liking the challenge of trying to tell the reader what's really going on without making the protagonist look stupid for missing the obvious.

Q: Another question regarding point of view. I've noticed that many urban fantasy authors seem to prefer first person point of view. In my own work, I've written in both first and third person POV and feel comfortable using either of them. What advantages do you think first person POV gives an author working in this genre? What are some of the disadvantages?

Much of it is personal taste, but urban fantasy is usually a blend of action and attention to relationships. First person point of view allows the reader to truly get into the head of the character, and that is a clear advantage when emotions play a large part of the storytelling. I enjoy it because I can put in a lot of private thoughts. It's sort of a literary shorthand that helps speed things along that third person would take a lot more words to convey.

Disadvantages? Well, having come into writing from a purely layman's standpoint without a lot of preconceived notions, I have found there's a bewildering snobbish mentality from a lot of people regarding first-person point of view. I truly don't understand it. What tells the story best, tells the story.

Q: Another hallmark I've noticed with this genre is that urban fantasy novels can either be simplistic in their story structure or incredibly complex. FOR A FEW DEMONS MORE, like the other Rachel Morgan books, is fairly complex and is full of twists and turns and tons of intrigue. Because of their complexity, when starting a new book, do you plot out the major turning points or do you follow the "write by the seat of your pants" philosophy?

One of the wonderful aspects of urban fantasy is that it can encompass so many writing styles and genres. It's the characters that define the genre, not the writing style. Most of my early reading was science fiction and fantasy, and I think my work carries a shadow of the tight plotting, complex world development, and an intricate story line that these genres are known for. I have been watching the way I create a story change from book to book, fascinated by how it's been evolving. DEAD WITCH WALKING was written mostly by the seat of my pants with minimal plotting, but from then on, it's been a workable mix of plot and free-flow imagination. I always have a highly detailed outline to work from, showing the chapter by chapter flow, but usually by page 100, I have to change it when the accumulated tiny shifts skew the plotline in a different direction. Generally I rewrite my outline several times during a rough draft to take advantage of surprises that crop up. But I always have an outline. I don't work efficiently without it.

Q: When the series first began with DEAD WITCH WALKING, Rachel was a fully realized, three-dimensional character who was prone to some rather impulsive decisions that often had drastic and humorous consequences. As the series has progressed, she's grown more mature in her decision making process but still retains some of that impulsiveness that readers have come to love. Did you plan a character arc for her that encompassed the entire series or has this growth been mostly organic?

No, I didn't plan the story arc with any character growth. The character growth just grew from the character experiences. Character emotions, growth, and relationships are one area that I do not ever script out beforehand. Emotions are too subtitle to try to predict, and one phrase can shift love to dislike, and it's those surprises that keep me interested as a writer.

Q: Now for few questions regarding your experiences with publishing. Urban fantasy readers can be some of the most vocal when expressing both their support and displeasure for authors and the choices we make regarding who lives or dies in the story. Rachel's boyfriend, Kisten, is murdered in FOR A FEW DEMONS MORE. Kisten had been a fixture in the series from the beginning and had garnered a fan base of his own. Where you at all concerned about reader backlash when the decision was made for Kisten's demise?

Blithely innocent. I was blithely innocent when I killed Kisten off. As the writer, I could see ahead to the positive things that might come of it, and the hard realization that to keep Kisten around wouldn't help the future story lines. So I took him out trying to keep his character honorable and true to himself. Characters are always dying in science fiction and fantasy, and I was following that pattern. What I hadn't realized at the time was that much of my readership was romance based, and killing off the love interest is a big no-no in this genre. I did find that when I spoke up and explained why I did what I did, that the readers accepted it. Will Ithink twice before killing off another supporting love interest? Yes, but I will always follow my writing instincts and do what needs to be done to maintain the story.

Q: FOR A FEW DEMONS MORE is the fifth book in the Rachel Morgan series and the first to be printed in hardcover. Some authors have reservations about making the transition from paperback to hardcover for various reasons (established audience may not follow to new format, higher cover price may discourage new readers, etc.). Did you have any of these concerns while making this transition or did you view the change as a positive one for the series?

I viewed the change as a positive. My publisher has worked hard to make the hardcovers available at a reasonable price. It may say 24 bucks on the cover, but with pre-orders and discounts, a new copy is readily available for the cost of two paperbacks. The artwork is fantastic, and the book feels good in your hands., Solid and substantial. There's a lot of pages in there. Going hardcover is also a strong statement in the publishing community that my work is valued, and most readers know that and are cheering for me. Eos did not push me into hardcover willy-nilly, but carefully, with a lot of thought behind it and fantastic publicity support.

Q: You recently were on tour to promote the sixth book, THE OUTLAW DEMON WAILS, which debuted on the NY Times Best Seller List at No. 5. (Congrats!) I've heard authors say there are pros and cons to book tours. Some of the most frequent arguments I've heard have been that while they enjoy connecting with readers face to face, it takes away valuable time from their writing schedule that may or may not result in increased sales. Do you find promotional tours to be a useful marketing tool or do you not worry so much about the numbers and simply enjoy the opportunity to connect with readers?

Do I find promotional tours useful marketing tools? Yes. But that is only the smallest of reasons as to why I'm out there. I try to stay close to my readers, and I have a fantastic time getting out and talking to them. I'm not just signing books, I'm going to see people I've exchanged emails with, talked to on the Yahoo! groups and replied to posts on the post page. It makes a difference, and the long hours, exhausting air flights, and the scanty sleep mean less when you know you're going to see some familiar faces in the crowd.

Q: Just a couple of more questions of a lighter nature. I've heard other authors talk about hitting the best seller lists for the first time. They're reactions have ranged from hysterical laughter to nearly fainting. You've made the best seller lists several times now. Think back to the moment when you learned you'd hit the lists for the very first time. What was your initial reaction to the news?

I was in Seattle, dead tired and on tour. When the call came in, it was about three in the afternoon, but I was trying to sleep. I really don't remember much. (grin) Shock was probably the best description. I never imagined to hit that high. I knew the books were loved, but to me, writing them was the important part, not where they fell on a list.

Q: I've attempted to explain the burning bunny concept to my classmates, and I don't think I succeeded. Please explain what the burning bunny stands for and how it came into being.

Oh! The burning bunnies. I came up with the idea for burning bunnies years ago, trying to describe where the drive to write comes from, the responsibility, I guess, for making sure quality, not flash, ends up on the page, something that someone else can build on. Burning bunnies are how I think of ideas. Soft cuddly ideas that seem so innocent and sweet. I take them in and feed them carrots. I pet them and talk to them. They look so cute sitting on my desk. Until they flame up and start procreating into more ideas, which I frantically chase about my office until I corral them with pen and ink, jam them in a box, and ship them off to New York. I don't know what New York does with them, but they end up proliferating even more until there is no choice but to bind them in paper and send them everywhere to get rid of them. Unsuspecting people see them sitting on the shelf. They look so sweet and innocent, and they're taken home where, if they're lucky, they're fed carrots. If luck stays with them, even more ideas are born. And that's pretty cool.

Q: Okay, last question. Is there any parting wisdom or advice you'd like to give to writers who are just starting their careers?

I have one favorite piece of advice I like to give to those people who have already committed themselves to writing. Write like you've already got the contract. And by that, I mean with purpose and intent. Don't spent a week on a chapter, write the chapter and move on to the next, realizing that it's a rough draft and you're going to edit it again later anyway, and probably to someone else's specifications. Making your vision and their vision one is what a good writer does, not sit in an ivory tower and say my way or no way. When I first began to want to make a living as a writer, I started acting like I was one already. I sat in my chair and wrote, even when I didn't feel like it, putting words on the paper until they started to make sense. Because that's what a writer does.

-----------

Thanks, Kim, for sharing your views.

Next writer for the "hot seat" will be Carolyn Haines, author of the Sarah Booth Delaney mystery series and recipient of a 2009 Richard Wright Award for Literary Excellence. Check back soon to see what Carolyn has to say.

Jeannie