1. For those who are new to your work, tell us about Seabird.
Seabird is the first book of the "Narentan Tumults." It's a fantasy novel in which a young woman from Earth is whisked away to another world (a favorite plot device of mine), where she is told she is to be that world's savior. She encounters a world very unlike our own, and is irrevocably changed by the experience.
2. A couple of reviewers have commented that “Seabird” is rather “dark”. Do you agree?
Yes, it is. For one thing, the story takes place during a time of war so dark themes should be expected. In my opinion, the author cannot depict realistic scenes during a war unless there is the danger of serious harm or death. On the other hand, I took great pains – or rather delight – in depicting joy, awe, love and delight.
In addition, I believe one or two reviewers are contrasting the mood of Seabird with that of The Chronicles of Narnia, which was written for a much younger audience. The difference in target audience alone has an effect on appropriate ranges of mood and subjects treated in a work.
3. From the moment you conceived the idea for the story, to the published book, how long did it take?
Hm. My situation is radically different from that of most authors. I began working on “Seabird” back in 1979 and finished its first draft in 1980. I also wrote first drafts of other manuscripts during the 1980’s and early 1990’s.
However, I was working fulltime at a very demanding job back then. I wasn’t able to focus on revisions to “Seabird” and looking for a publisher until after I retired in 2000.
4. Describe your working environment.
“Recently upgraded, but still in flux”.
Well, I live alone so I can indulge myself. (Oh, my two cats are going to get me for that!)
Seriously, my computer work station takes up the half of the living room closest to my dining room. I used a standard computer table until just over a year ago when I switched to a cabinet for the tower, flanked by finished wooden cubes arranged in a kind of counter for my two lamps, keyboard, monitor, printer and scanner. Most of the time I type with the keyboard on my lap. (I’m on the lookout for a small footstool.)
5. When did you decide you wanted to become an author?
Decide? Never. I began making up stories to entertain myself when I was a preteen. It just kind of happened because it was something that I needed to do at the time.
As for seriously becoming an author in the hopes of having a book published, that would have been in 1979.
6. Were you an avid reader as a child? What type of books did you enjoy reading?
Yes, I began reading early and I wasn’t much interested in reading children’s stories when I was young. That got me into trouble at school a couple of times. Everyone is my family read. We all trooped to the library every weekend. I remember my parents being surprised when I asked for help to finish the newspaper crossword puzzle I had nearly completed.
7. How would you describe your creative process while writing this book? Was it stream-of-consciousness writing, or did you first write an outline?
I hate outlines. That doesn’t mean that I don’t do outlines.
When I begin working on any book, including “Seabird” I think of a general scenario for the story and then try to come up with a couple of main characters. Next, I immerse myself in those characters until I know far more about them than I could possibly use in the story. All sorts of personality changes, startling motivations, and idiosyncrasies pop up.
By this point, my plot is usually beginning to emerge. I write down the major events that I foresee happening and try to break these down into chapter-sized chunks. I subdivide the chapters into scenes and try to make sure that each chapter will aid in both characterization and in plot development. (This sounds far more rigorous than it feels like when I am doing it!)
That’s the outline – such as it is – unless I later have trouble with a chapter or a scene, in which case I may outline more rigorously, keeping in mind what I need to achieve in that chunk of the story. After that stream-of-conscious really kicks in. While I do refer to my outline and notes, I do it mostly if the “stream” isn’t coming along.
Inspiration out of nowhere altered “Seabird” in a number of places and in ways that I never foresaw when I began writing the book. I am still astonished by many of the choices made by my characters and by scenes and their settings “turning up” out of the clear blue.
8. As a writer, what scares you the most?
Not getting everything completed that I have started.
9. When it comes to writing, are you an early bird, or a night owl?
Are you kidding? I am a super night owl! Unless I have to do otherwise, I go to bed at
Since I retired in 2000, I have been able to follow my body’s own natural biorhythms for the first time in my life. Even as a child, I always did my story creation after I was presumably in bed asleep. Creativity kicks in for me late in the evening—or rather everyone else’s evening.
10. Technically speaking, what do you have to struggle the most with when writing? How do you tackle it?
I hate revising when I know that something is wrong with a scene but can’t put my finger on why it isn't working. Sometimes fellow authors will agree with me about a scene but they don't know what's wrong with it either. That’s when a really good beta reader comes into their own.
11. What is the best writing advice you’ve ever received?
Keep writing, preferably every day.
12. Where can readers learn more about you and your work?
http://khivasmommy.googlepages.com/authorintro The Scroll Chamber (main website)
http://tree-lady.livejournal.com/ "Scribblings" (blog)
http://narentantales.blogspot.com/2008_04_01_archive.html
Sherry Thompson Red Room Writer Profile Red Room
Sherry, thank you for chatting with us and best of luck with your books
My pleasure!
