Interview: Graduate Jason S. Ridler (Part 2 of 2)

ridler2005 Odyssey Writing Workshop graduate Jason S. Ridler is a writer, improv actor, and left-wing military historian. His novels include Hex-Rated, the first installment of the Brimstone Files series for Night Shade Books; Rise of the Luchador; and Death Match. He’s also published over sixty stories and numerous academic publications. FXXK WRITING! A Guide for Frustrated Artists collects the best of his column of the same name, and his next historical work, Mavericks of War, is forthcoming from Stackpole Books. A former punk rock musician and cemetery groundskeeper, Mr. Ridler holds a Ph.D. in War Studies from the Royal Military College of Canada. He lives in Berkeley, CA and is a Teaching Fellow for Johns Hopkins University.

Part 1 of this interview, posted last Sunday, is available here.

Your latest novel, Hex-Rated, is about a PI investigating supernatural happenings in the 1970s Hollywood porn industry. As a historian, what drew you to writing about the 1970s and the porn industry? How did you handle mashing multiple genres together?

The 1970s, especially the early 70s, are about dreams and hopes dying and being reborn (a theme in my own work and life). It’s the end of the Love Generation and the birth of the Manson murders, of peace movements helping end Vietnam and the return of soldiers with PTSD, of drugs eating through the hearts and minds of people as much as expanding their consciousness. Heavy metal and proto-punk is screaming at the sincerity of the folk-rock and Woodstock crew. It’s the shifting sands of violence in the civil rights movement as desegregation takes hold and black nationalism refuses to bow to white power and privilege and searches for alternatives to the power structures that abide. And it’s the emergence of the modern adult film industry.  Continue reading “Interview: Graduate Jason S. Ridler (Part 2 of 2)”

Interview: Rhiannon Held

Rhiannon Held is a graduate of the 2006 Odyssey Writing Workshop. She lives in Seattle, where she works as a professional archaeologist. Unfortunately, given that it’s real rather than fictional archaeology, fedoras, bullwhips, aliens, and dinosaurs are in short supply. Most of her work is done on the computer, using databases to organize data, and graphics programs to illustrate it. Her debut novel, Silver, is the first in an urban fantasy series from Tor. You may visit her website at

Congratulations on your book deal with Tor! Can you tell us what inspired Silver?

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Interview: Lane Robins

Lane Robins is a 1999 graduate of Odyssey. She was born in Miami, Florida, the daughter of two scientists, and grew up as the first human member of their menagerie. When it came time for a career, it was a hard choice between veterinarian and writer. It turned out to be far more fun to write about blood than to work with it. She received her bachelor’s of arts degree in creative writing from Beloit College and has attended the CSSF Novel Workshop based at the University of Kansas. She currently lives in Lawrence, Kansas, with an ever-fluctuating number of dogs and cats.

Can you talk about your pre-Odyssey writing process? What kind of writing schedule, if any, did you keep?

I was working as a retail manager in a dying outlet mall. The stores were pulling out right and left and I had no staff at all. The clerks in the stores that remained had nothing better to do than wander back and forth talking. It was a very bizarre time, but it also gave me a great chunk of time to write. I also worked part-time in a bookstore, shelving books, which gave me lots of time to think. So basically, I worked on stories while people paid me to stand around. When I went home at night, I put my scribbles into the computer. On my days off, I sent stories out.

What made you decide to attend the Odyssey Writing Workshop?

I was getting really frustrated and I felt like I had stalled in my writing. I knew something was wrong, but couldn’t put my finger on it. I needed fresh eyes and I needed instruction. I heard about Odyssey and thought that it sounded like it might be exactly what I needed. That Odyssey was six weeks was an extra plus for me. I was beginning to have doubts about my dedication to writing–it’s hard and sometimes lonely work. I figured if I couldn’t work on writing, critiquing, and revising non-stop for six weeks, then I should stop wasting my time, go back to school and get a more marketable degree. Turned out I loved spending all my focus on writing and was energized at the end of the workshop.

How do you feel your writing and writing process changed as a result of having attended Odyssey? What insights did you gain into your own work?

I’ve always been an epiphany learner, muddling along until that bolt of lightning clears my head and makes me go, “Oh, I get it!” Odyssey was like being in a lightning storm, often overwhelming, insanely useful. In the first week, I learned what a POV (point of view) violation was and to stop doing it. I learned what story structure was and that I didn’t have it. I learned that stories should have a reason for existing beyond being a “cool idea.” I learned that plots should make sense both as you read the story and when you thought about it afterward. I think the only things I had going for me when I went in were basic grammar skills and some gift for characterization.

Can you describe your Odyssey experience? What surprised you most about Odyssey?

I had a lot of fun at Odyssey; it was like some bizarre ideal summer camp, except without all the camping. Still had the crazy squirrels though. It was scaldingly hot and we kept the front and back doors open to our little townhouse. We created a squirrel shortcut–they were always running through the first floor. Weird, but entertaining.

What surprised me most was how helpful critiquing other people’s stories were. I’d sit in the room, read stories that felt not-quite-right and see some of the same flaws that were pointed out in my stories. Critiquing as a whole turned out to be invaluable: it taught me how to recognize the flaws in my own work without depending on someone else to point them out. Listening to critiques on other workshoppers’ stories was also incredibly helpful because I could see not only the problems identified, but hear suggestions on how to fix them, without having the emotional response of it being my work critiqued. My personal knee-jerk response to critiques on my own work is a “No, you’re wrong!” which is why I’ve learned to just listen, take notes, then sit down later and really consider what was suggested.

When and how did you make your first sale?

I’m bad with dates, but my first sale was actually a poem, which is crazy because I don’t write poetry. It was “Villanelle by Moonlight” published in Weird Tales. It was actually a very painful experience! I had been out rollerblading, tripped, slaughtered myself on a cement hill, came home limping horribly, checked the mailbox, found the acceptance letter, and started leaping up and down again. Mistake. Ouch. I had a broken wrist and a twisted knee. But I was so happy, I didn’t care.

The poem ended up published in the same edition of Weird Tales as Carrie Vaughn’s “Kitty Loses Her Faith.”

The first story I sold was to the now-defunct Fortean Bureau, a comic piece about gremlins. The editor, Jeremy Tolbert, requested a rewrite and guided me through that process.

How many stages does your work go through before you send it off to a publisher? How much of your time is spent writing the first draft, and how much time is spent in revision? What sort of revisions do you do?

These days I’m concentrating on novels and meeting deadlines (trickier than you think). Maledicte, the first book I wrote, went through what seemed like a zillion drafts. I wrote the thing without an outline of any kind, without any real idea of where the novel was going when I began it. I had to revise it three times before I wasn’t ashamed to show it to anyone; then I hit up some of my OdFellows [Odyssey graduates] to critique it, revised it again. After that, my agent gave me a revision letter, and then I revised it once more when I got the editorial letter. I honestly haven’t read that book since it hit print.

Now, things are a lot different. I make a rough outline so I have goal posts to aim for, then do a detailed outline for the first five chapters. Write those, outline the next five, and so on, until I have a draft.

If I’m not butting up against deadline, I tend to set the draft aside for a little bit to get some distance. Then I come back with a revision checklist and start going through it again. I’ve built this list up over several years, trying to hit the weak spots I see in my writing, the same mistakes I make over and over and over again.

It’s probably 70 percent of time spent writing, 20 percent revising, and 10 percent dealing with editorial requests, copy-editing, and proofing.

What’s the biggest weakness in your writing these days, and how do you cope with it?

Sad thing is: each book I write seems to have a new and appalling weakness. I think I’d have to say pacing, currently. I just went back and retooled the first third of the novel I’m working on because the plot I’d outlined allowed the protagonist to learn too much, too quickly. I think I’m going to be struggling with pacing for a while.

You write under two names: Lane Robins and Lyn Benedict (for your Shadows Inquiries, urban fantasy series). What would you say would be the biggest difference between those two personas?

Time. Lyn Benedict writes urban fantasy. The modern setting, modern dialogue, and a familiar world means smaller quantities of research.

Lane Robins gets to write second world fantasy which means: tons of research into political analogues of what I want, extremely picky setting work–I don’t want to spend five pages describing a single place, but when you’re in another world, you can’t count on the reader filling in a blank the way you want. And then there’s dialogue. In Maledicte, I spent an inordinate amount of time dealing with dialogue, trying to stamp out any anachronism, looking up origins of words. It was all fun, but time-consuming. For second world fantasies, I’ll end up with a much longer list of research topics.

As the daughter of two scientists, how did you find a creative outlet?

I didn’t really have a problem. My mother’s a double-threat, an MFA as well as a PhD; she’s a sculptor. My father’s sort of a renaissance guy. Everything interests him, and he has a huge love for literature. It’s sort of a family joke that my taste for dark fantasy is all his fault, but he used to read me Poe in the crib. He also gave me Have Spacesuit–Will Travel, and Starman Jones. Both of them put up with my voracious reading, even encouraged it. I don’t think they were surprised at all when I started writing my own stories.

As a graduate of the Odyssey Writing Workshop, what do you think is the most important advice you can give to developing writers?

Two things have helped me enormously. 1) Be persistent. 2) Remember to enjoy yourself. Whenever I get all stressed, I like to stop and think what about writing do I like? What keeps me going? For me, I have a huge fondness for revelation scenes. If I’m tired and unhappy with what I’m doing, I’ll stop and write random revelation scenes, the cheesier the better. What? My dog is a superhero? Kind of things. It’s very silly.

What’s next on the writing-related horizon? Are you starting any new projects?

Right now, I’m working on book three of the Shadows Inquiries, with book four lined up after that. I also have another urban fantasy style novel I’m trying to market, and a second world fantasy I’d really like to write. I figure at this point, I’ve got enough books I want to write to keep me busy for the next six years or so, universe willing.

For more information about Odyssey, its graduates and instructors, please visit our website at

Interview: Laura Anne Gilman

Laura Anne Gilman will be the writer-in-residence at this summer’s Odyssey workshop. Before she took the first plunge into murky writing waters and submitted her first story to a professional market, she was an editorial assistant at the Berkley Publishing Group in 1994. An almost immediate sale to Amazing Stories followed. She didn’t make another fiction sale for more than a year, which taught her humility and patience. And the fine art of perseverance.

Over the next few years, in addition to a number of short stories published in magazines and anthologies (many garnering “Year’s Best” honorable mentions), she wrote or co-wrote four media tie-in novels (Quantum Leap: Double or Nothing; Buffy the Vampire Slayer: Visitors and Deep Water; and Poltergeist: The Legacy: The Shadows Between). In the meanwhile, she moved up the corporate ladder to be Executive Editor at NAL/Penguin USA.

In 2003, after a great deal of planning and soul-searching–and with a three book contract in-hand–she left editorial to become a full-time writer. In 2004, her first original novel, the urban fantasy Staying Dead was published by Luna. It was followed by Curse The Dark, Bring It On, Burning Bridges, Free Fall, and Blood From Stone. The first in a spinoff series, Hard Magic, will be published in May 2010.

The first book in The Vineart War trilogy, Flesh and Fire, was published by Pocket Books in October 2009. The second book, Weight of Stone, will be available October 2010.

To-date, she has sold over thirty works of short fiction, ranging from mainstream to science fiction to horror. She is also the author of the Grail Quest YA trilogy for HarperCollins (2006), and a number of nonfiction books for teenagers. Writing as “Anna Leonard,” she has also written four paranormal romances (The Night Serpent, Dreamcatcher, The Hunted, and Mustang).

Laura Anne also co-edited the anthologies OtherWere: Stories of Transformation (Ace), Treachery & Treason (Roc) and The Shadow Conspiracy (Book View Press). As part of the Book View Café (, she is involved in expanding the definition of publishing beyond the traditional models, experimenting with the writer-to-reader connection.

More details about her work can be found at

Once you started writing seriously, how long did it take you to sell your first piece? What were you doing wrong in your writing in those early days?

I have a terrible confession to make. I sold the first short story I ever submitted to either the first or second place I sent it to (“All The Comforts of Home,” Amazing Stories, 1994). It freaked me out a little, because I knew damn well it wasn’t supposed to be that easy. But it took another eighteen months to get past the form rejection stage for anything else, so the scales balanced.

Continue reading “Interview: Laura Anne Gilman”
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