Tag: wild ink

A Conversation with Riley Kilmore

By Emily Groff

While a wide variety of hats have topped Riley Kilmore’s head across the years, the only one you’ll see these days is that of an author. Kilmore has worked as a police officer, as an EMT and firefighter, has driven a forklift in a flooring factory, and even served as the Administrative Assistant to the president of a chemical waste management firm. Still, throughout the years and changing jobs, Kilmore was always writing.

“I don’t think there’s any kind of work that doesn’t ‘mix’ with a career as a writer,” Kilmore told me. “People driven to write will find ways to fit it into their lives no matter what else they do.” Kilmore went on to express the belief that varied employment experiences can inform an author’s writing—often in ways not always apparent on the page.

The published author of award-winning poetry, essays, and short stories in multiple genres, Kilmore also served as a regular columnist for several online publications, including The Illuminata, a Sci-fi/Fantasy webzine. These days, Kilmore is most recognized as author of our particular favorites, Shay The Brave, a middle grade fantasy, and its newly released sequel, Alexy, Strong And Silent. We want them to be your favorites too, so let’s dive into this interview to learn more about the author and these fantastical books.

When did you first know you wanted to start writing? What got you interested?

Most authors are going to tell you they knew they wanted to be writers from the moment they picked up a pencil and learned to scratch out letters on a piece of wide-ruled paper in grade school. It’s a common refrain, but it’s really not an origin story. I think perhaps there are more pointed ways to ask this question. Maybe, “What was the first story you attempted to write as a child?” and “What was the triggering incident that drove you to try to recount it as a story?”

I’m pretty sure I still have some of those earliest writings—opening chapters to books that ended up stillborn—but the lives of the lost remain with us and continue to inform our work. One early story, Sada of Onada, featured a lonely kid convinced she was an adopted alien. Another story, Shibboleth, was inspired by a biblical tale about a fortress that recognized enemies by their inability to pronounce carefully crafted passwords. My spin on it was that the “enemies” had a lisp. The story was going to be an allegory about discrimination.

Recalling these early attempts at storytelling, I’m able to draw a thread through to today and see that most of my writing throughout my life has centered on themes of not fitting in. Prevailingly, across genres, my stories feature characters who, in one way or another, couldn’t (or wouldn’t) toe the lines societies draw for their (accepted) members.

**Tell me about each of your books: Shay The Brave, Share With Shay, and Alexy, Strong And Silent.**

All three books are part of the Oldenshire Series, a set of quirky middle-grade fantasies that, while clearly not set on Earth, take place in a pre-industrialized time reflective of our own Medieval period.

Shay The Brave takes place in the village fortress of Oldenshire itself, and features a feisty protagonist animal lover (young Shay) who wants everyone to stop eating meat. Hers is a family of means, but she is against classism and ablism—her pal is Alexy, the laundress’s son, who also happens to be mute. The story is an allegory promoting animal rights, intercultural friendship, and trans dignity: a small book filled with big ideas.

The Share With Shay Workbook invites young readers to project their own ideas and creativity over the world of Oldenshire, especially as it reflects social issues at play in the real world. The workbook is a great companion to Shay The Brave, offering hundreds of prompts that encourage kids to ignite their imaginations and delve into their own origin stories—both cultural and individual.

Alexy, Strong And Silent is the second installment in the Oldenshire Series. The story follows the sidekick from Shay The Brave as he must venture afield from the only home he’s ever known and face a larger, crueler world. This second story takes place in the town of Indusdorp. Perhaps think of it as an Oldenshire take on Oliver Twist meets Jumanji. While Shay isn’t featured in the second book, she does appear, as do other beloved characters from Book One.

How did you get the idea for each of these books?

Shay was a filler book to engage my spare time during my MFA program. My thesis novel was a sweeping 400-page Sci-Fantasy family saga with anticolonial themes, so I wanted to try something different. Honestly, I didn’t know what, so I just sat down at my computer, pulled up a blank page, and decided to write whatever occurred to me. No plan. No outline. I ended up writing a chapter a day, and in three weeks Shay The Brave was born. In a way, it felt more like a channeled story than one I wrote. The workbook was the brainchild of Abby Wild, owner of Wild Ink Publishing. The idea for Alexy came from Shay. It was Abby’s idea to expand Shay The Brave into a series. How I approached that was up to me, so I decided there was more to Alexy’s story to be told, more of his character to unfold. He deserved a book of his own.

Why should readers read your book? What is your target reader for each book? Why did you choose to write for this audience?

I’ve written eleven books, yet Shay The Brave was my middle grade debut. My other works are geared more for young adult, adult, or YA-crossover readers. That said, I do market Shay The Brave as having been written for “kids from nine to ninety-nine,” because it appeals to readers of all ages, especially fans of books like Lewis Carroll’s Through The Looking Glass or Lemony Snicket’s A Series Of Unfortunate Events.

I think I eventually gravitated toward writing for younger readers by realizing how deeply influential books were in my own formative years. Authors who most influenced me include Mark Twain, Louisa May Alcott, Marguerite Henry, Lewis Carroll, and Helen Garrett. By reaching out to younger readers, authors have an opportunity to plant seeds of better and broader thinking in the coming generations. Writing for young audiences is an act of hope, an investment in the future, and a declaration that young minds are the fertile landscape whereon our entire world’s survival hinges. Writing for young readers (and for the adults who will be reading our works to them) is a way to pass on tidbits of wisdom we’ve garnered along the way.

Do you have a specific genre that you write in? Why this genre? Do the books you read tend to influence this?

Throughout my teens and early adulthood, I did read a lot of sci-fi and fantasy, so yes, the books I read definitely influenced my writing. I’d say the bulk of what I’ve written through the years could be considered one or another sub-category of fantasy. I’ve written novels in other genres as well; they simply haven’t found their way to publication yet (i.e.: romance, family drama, western). In more recent years, I’ve actually been reading fewer and fewer works of fantasy or sci-fi—probably because I feel I can simply imagine more engaging stories on my own. For instance, I’m no fan of dystopian or vampire or zombie stories, and nowadays a lot of work seems to center on those sorts of things. Frankly, my first and lasting love has always been non-fiction, especially history and biography, yet I have no driving desire to write non-fiction like I do fiction. Go figure!

You write in multiple different formats—poetry, short stories, novels, etc. Which format is your favorite and why?

I can’t claim a favorite. Each form of storytelling fills a different need, in the writer and poet as well as for the reader. One can’t replace another. Poems that are most memorable pack a strong emotional punch; they leave us feeling something. You might call them “emotional snapshots.” Short stories that stick with us the longest tend to have unexpected endings, twists that leave us thinking something. I’d categorize them as “cognitive snapshots.” But novels are entire photographic albums in word form. The most memorable ones run us all up and down an emotional flagpole while at the same time making us think—usually about things we didn’t show up prepared to think about at all.

What is your writing process like? Do you have any particular tips, methods, or writing strategies that help you?

My personal “process,” if one can call anything I do a process (Inner monologue: Is flying by the seat of your pants a process?), is to walk a lot. I used to run a lot, but now it’s mostly walking. This is my development time, the space and place where my stories and poems are seeded and begin to grow. Then, at night, that sweet twilight between lying down and falling asleep becomes the fertile ground wherein those seeds shoot up, spread out, and blossom. Finally, the following day, I sit at my computer or take pen in hand and gather the harvest, weaving it into words on a page that garden of ideas, smells, sensations, emotions, images, events, and conversations.

As for tips or strategies, my take is pretty straightforward: you do you. Do whatever works best for you as a writer. I’d suggest the way to discover that is by sampling many different approaches. Try writing at different times of the day. Write in different kinds of light. Write in different rooms and locations. Explore a variety of mediums (pen and paper; computer; audio recordings). Maybe try writing to music, then while wearing sound-cancelling headphones. Eventually, you’ll discover your personal writing sphere, which will lessen your writings fear.

Tell me a fun fact about yourself.

As a teen I was once runner-up to the Chicken Corn Soup Queen in my hometown. That’s probably a pretty small club. Also, at both my wedding and my police academy graduation—unbeknownst to me until it was all over—I had my hat on backward. That’s embarrassing (you’d have thought someone might say something, but no!). Also, I have some vision issues, so I’ve pulled a number of what I call my “Mr. Magoo” stunts. I once mistook a fellow shopper for a mannequin and began feeling up her outfit, admiring it; I nearly had a heart attack when she moved. Another time I gave an extended lecture to an up-ended mop in the corner of my kitchen till I realized it wasn’t my daughter quietly sulking there.

To learn more about Riley Kilmore visit https://rileykilmore.com/.

An Interview with author Sarah Floyd

By Emily Groff

Publishing your work means putting your heart and soul out into the world for everyone to read. It’s a scary process, but it is also a fantastic process that brings connection and joy. But what happens if your publisher shuts down and can no longer sell the book you worked so hard on? Sarah Floyd experienced this and feared what this meant for her book. Would no one get to read it anymore?

Our favorite publisher, Wild Ink Publishing, made sure this would never happen. Securing the rights for Floyd’s Butterfly Girl, they made sure the re-release was even more special. With what seemed like all hope lost, Butterfly Girl made its comeback and is ready to hit the shelves of stores near you. Learn more about Butterfly Girl and its author in this interview with Sarah Floyd.

When did you first know you wanted to start writing?

My dream of becoming a writer started in childhood. I loved to read, and if you had asked eight-year-old me what I wanted to be when I grew up, my response would have been “a children’s book author!” But, I landed in Communication Studies instead of English Lit and moved into professional sales after graduating from college. I have always loved to write, and I wrote ads and brochures for my real estate career. However, I didn’t start writing books until after my son was born, when I began reading to him. At that point, I took a break from real estate and started helping my husband part-time with administrative tasks in his home office, a flexible job that allows a lot of free time for writing. My first published book was a children’s picture book, Ten Clever Ninjas. Butterfly Girl came next, and my new novel, Survivor Mountain, will be released later this year.

Tell me about your book Butterfly Girl.

Butterfly Girl is a coming-of-age, middle-grade novel about family, friendship, and finding the courage to chart your own course.

In the summer before seventh grade, Oregon farm girl Meghan McCoy-Lee discovers there’s magic in the sap of her family tree. She follows instructions in her great-grandmother’s journal… and grows leathery wings! When Meghan’s story goes viral, her absentee mother swoops back into town with superstar plans for her Winged Wonder Girl. Grandpa says stay on the farm and ignore the paparazzi, but her charismatic mom wants her to leave for Hollywood and start a new life together. The popular girls at school wouldn’t miss her– they want her gone, like yesterday– she’s getting way more attention than they are. One thing is certain: Meghan is going to make up her own mind, and with the help of her friends, she may even find a way to bring the popular girls down a peg or two. Then Meghan must decide if a Hollywood life with the mother she longed for is worth leaving the friends who stood by her, and Grandpa, who loved her before the whole world knew her name.

How did you get the idea for this book?

Butterfly Girl, or at least the idea of flying, has percolated in my mind for as long as I can remember. As a child I often dreamed of flying, and on one particularly windy day in kindergarten, I ran across the playground with my umbrella open and lifted myself two feet off the ground! It was thrilling, but my teacher didn’t think it was a great idea. Later, as a fourth grader, my friends and I tried to levitate. During lunch period, we would sit cross-legged on our school’s tall lab tables, eyes closed in meditation, whispering “light as a feather” and waiting to float toward the ceiling, mind over matter. And in sixth grade, we created wings out of cardboard and duct tape and ran down the hills of San Francisco, where I grew up, flapping our arms and trying to fly. None of our attempts were successful, but there was a delicious sense of almost flying, that the secret was ever so slightly out of reach. That secret, that mysterious missing ingredient, is magic—and magic is the secret ingredient that gives Meghan wings in Butterfly Girl.

Why should readers read your book? What is your target reader?

I think many of us wish we could fly, and Butterfly Girl takes us there… but it’s a deeper story too, of self-acceptance, courage, and finding the strength to be your authentic self. The target audience is ages 9-13, but many of my readers are adults. I think one of my reviewers, YA author Bruce Buchanan, said it best: “Kids of any age will love it– even those of us who haven’t technically been kids in quite a while!”

What are you most excited about with your release of Butterfly Girl?

Butterfly Girl was actually released by a smaller publisher back in 2019, but that publisher experienced a distribution collapse and was unable to consistently fulfill orders. I was thrilled when Wild Ink acquired the rights! They have now republished Butterfly Girl with an editing update and a beautiful new cover, created by one of Wild Ink’s talented artists, the amazing Melanie Mar. It’s a wonderful feeling to see this story, the book of my heart, find such a strong and dynamic publisher.

What books/genres do you tend to read? Do these books/genres influence the genre that you write?

I mostly read YA and MG, but I like adult books too, as long as there’s no graphic horror or extreme violence. I don’t read fiction at all when I’m writing, to keep my own voice and themes clear in my mind. Instead, I re-read my favorite books on craft, such as Blake Snyder’s Save the Cat, Orson Scott Card’s Characters & Viewpoint, or Donald Maass’ The Emotional Craft of Fiction. If I need inspiration, I re-read Stephen King’s On Writing, Anne Lamott’s Bird by Bird, or I revisit Julia Cameron’s The Artist’s Way. When I’m reading these books, my subconscious somehow merges “craft” with “story” and I’m able to deepen my own characters, ramp up the stakes, and tighten the turning points.

What is your writing process like? Do you have any particular tips, methods, or writing strategies that help you?

My writing process is slightly bonkers. When I have a great idea in the works, it starts to take over my life and I work hard to find balance. Butterfly Girl literally woke me up at 5:00 every morning, demanding to be written. I navigated daily life distracted by thoughts of magic spells, wings, frenemies, farming, paparazzi, and first crushes. I became a master list-maker and relied on timers to pry myself away from the manuscript to take care of my family and other responsibilities. Some days my head was so full of characters chatting with each other and plot points twisting and turning that I could hardly fall asleep at night!

For writing strategies, I’m a combination of “plotter” (plotting with an outline) and “panster” (writing by the seat of my pants and letting the story develop spontaneously). I write a long narrative summary to capture the overall story (“plotting”), and then I dive in and free write the first draft (“pants-ing”). When the first draft is complete, I refer to screenwriter Blake Snyder’s Save the Cat beat sheet to make sure the pacing is on target.

Tell me a fun fact about yourself.

I’m a certified scuba diver! It’s the closest I can get to the sensation of flying. There’s a line from Butterfly Girl that says, “It’s like swimming on the wind. Easy once you get the hang of it.” Scuba diving is fun and challenging, and it’s the closest I can get to the sensation of flying. But instead of birds and butterflies, there are dolphins and tropical fish. I love it!

To learn more about Sarah Floyd, visit https://wild-ink-publishing.com/sarah-floyd/, sarahfloydbooks.com, or connect on X/Twitter: @kidlitSarah.

Getting to Know Wild Ink Author Melissa R. Mendelson

By Emily Groff

We write because there is nothing else that touches our souls or our hearts, the way the written word does. Words of every language are printed on paper and are grasped by millions around the world. We write what we feel, and we authors can only hope it connects with others and helps them think, cry, and mend. No matter how much or how little we write–one word, one sentence– we are writers.

Author Melissa R. Mendelson writes because she loves it. She writes because she can express herself and her emotions. She writes to become the most vulnerable version of herself that she can be. Although Mendelson works as a full-time Administrative Assistant for the State of NY, she writes when she comes home from work and spends her weekends with pen and paper in hand. Working as an Administrative Assistant is tiring, forcing her writing after work to be brief, but it is on the weekends that she saves her energy and writes, entering into another world of her own.

Mendelson has had numerous stories and poems published. Our favorites, UnCensored Ink: A Banned Book Inspired Anthology; Ourania’s Orrey of Imagination; I’m Not The Villain, I’m Misunderstood; Calliope’s Collection of Mystical Mayhem. While all these publications draw us in, we are excited about Stories Written on Covid Walls, especially. Meet Melissa R. Mendelson and her new short story collection, Stories Written on Covid Walls.

(Picture of Stories Written on Covid Walls)

1. Tell us what your book, Stories Written on Covid Walls, is about.

During the pandemic, when I wasn’t writing poetry, I was writing short stories involving the pandemic that ranged from dystopian to drama, and touched on a lot of topics, including family, loss, depression, and anger.

2. What made you want to write in poetry? Do you find poetry more compelling?

Writing, for me, is how I express my emotions, how I let them out. A lot was going on in 2020 with the pandemic with my infertility, and my family. If it wasn’t for writing, I don’t know how I would express how I really feel inside.

3. How do you get the idea to write these books/poetry collections?

During the pandemic and my infertility, I needed a way to cope, so my way of coping was writing both poetry and short stories, switching back and forth and back and forth depending on how I felt and what was going on in my mind.

4. Is there a common theme or genre that you tend to write in? Why that specific theme or genre?

I’ve always leaned toward Dystopian, and it’s fitting with everything going on right now. I don’t believe in happy endings, and when I pay attention to what is going on around me, I see the dark side of it.

5. When did you first begin writing and what got you interested in writing?

I had two great seventh grade teachers that believed I was going to be this talented writer, and it took some time for me to see that. But in high school when I was dealing with family issues and bullying at school, I buried myself in my notebooks. I was writing short stories like Lizardian and Porcelain and I was writing really dark poetry. Luckily, my poetry is not that dark anymore, but some of my stories are.

6. What is your writing process like? Do you have any particular tips, methods, or writing strategies that help you?

I try to budget my time, especially in the evenings and weekends. If my energy is low, then I aim to do small projects, work on ten pages, maybe write a page or two, and get myself going.

7. Tell us more about you!

I love taking pictures. Other than being an author and poet, I am a photographer, and at some point, after I complete some projects, I would love to focus on that and try to get my pictures out there. Right now, I use a lot of them for my website and match them to my stories and poetry.

To learn more about Melissa R. Mendelson, visit her website: https://melissamendelson.com/

Getting to Know Wild Ink Author Abigail F. Taylor

By Bruce Buchanan

Abigail F. Taylor is an award-winning author who leans into her roots to craft unforgettable and spine-tingling stories. Her next two books are both signed to Wild Ink Publishing, with MARYNEAL, 1962 coming in June and currently available for pre-orders. Her subsequent novel, A HOME IN TISHOMINGO, is soon to follow.

In the following interview, Abigail shares more about her books, her approach to writing, and how her heritage shapes her work:

1. What got you interested in writing fiction? When did you first know you wanted to tell stories?

My family is full of storytellers. So, in a lot of ways it was a natural progression. I enjoyed writing ever since first grade but only began to see it seriously as an option in high school when a creative writing program was offered for seniors.

2. Much of your work falls under the horror umbrella. What is it about horror that appeals to you? And why do you think readers love scary stories?

Horror is a safe space to explore the intrusive thoughts, the grim and gory, and the unknown. I think that’s why it appeals to so many people, both writers and readers. It’s a chance to have revenge when the system fails victims and it’s an opportunity to explore different perspectives and cultures. Horror is one of those genres that has been inclusive for a long time. Its subgenres, like splatterpunk, were created as a push back and a form of rebellion against the status quo. Most of all, horror is a genre of hope. No matter how grim the outcome, the trials and tribulations of the main characters, there is always the fight for survival and to persevere through the darkest hours.

3. So tell us about MARYNEAL, 1962, your Wild Ink Publishing debut novel! What is this book about, and how did you come up with this story?

I basically came up with the story because I wanted to challenge myself to write for Young Adults. For about a decade I’d been working and querying in adult spaces with little to no traction. So, I decided to take a pivot. Then coming up with the story itself was an amalgamation of events. The setting was the hardest part to figure out. How do I write a horror without cellphones and without the crutch of ‘the no cell service’ excuse to fall back on. I also wanted to explore the reasons a thriving city would suddenly become a ghost town. I wanted a story where the protagonist was like the women I grew up with. There wasn’t a lot of representation when I was writing the first draft for tall girls with a mixed race background. I didn’t want it to be an ‘issues’ book either. I wanted my protagonist to exist in a space as a whole and complicated person without having to preach to the choir on a soapbox. This isn’t to say that Maryneal doesn’t explore these things. Throughout the book Delah is challenged by her own small town prejudices. Topics like sundown towns, interracial relationships, and the Indian Relocation Act are integrated as part of the wider narrative. Lastly, I knew I wanted to have a monster book that inverted the tropes that had been on the rise in paranormal and urban fantasy. The monster is not cute and cannot be saved by a single kiss.

A portion of pre-order sales will be donated to The Family Place, an organization that has been helping Texas families escape domestic violence since the 1970s.

4. Your first book, a horror novella titled THE NIGHT BEGINS, received a great deal of acclaim. What did you learn from that experience that you applied to writing MARYNEAL, 1962?

Actually, I wrote Maryneal first! The Night Begins came several years later. I’d shelved Maryneal and wrote A Home in Tishomingo, then had to shelve that as well. A few friends and mentors encouraged me to try short stories, which made me nervous. I hadn’t excelled at that in my college courses but in the same way I knew I could challenge myself to write YA and I knew I had to try short stories again. I thought Maryneal wasn’t getting picked up because it wasn’t ‘horror’ enough. So I took those same themes: Mixed families, small town, Indigenous and Irish folklore, and I put a real effort into exploring what frightens me. It’s not exactly a short story (I’m still working on mastering those!) but I wrote it in December and was signed in February. My first book signed and the sixth one written! It was horror and it was a success. So, I knew the time had come to dust off Maryneal, 1962 and try again.

5. Your family’s indigenous heritage and your roots in rural Texas are threads that run through your work. Tell us about that and why this is so important to you.

What it boils down to is the old adage, “write what you know”. Although, I will admit that I struggled for a long time (and still do to a lesser degree) about whether or not I had a place in talking about indigenous issues and I avoided it for a long time because I didn’t feel ‘enough’ but as I got older and more seasoned in my writing, I realized how important the discussion of ‘what is enough?’ is. Once I started putting that in my writing, I started getting seriously published. I’m white because my grandmother passed and decided to live and marry white. She didn’t see an outcome of successful living for her children and I think if there had been better representation for her when she was young, she wouldn’t have been so afraid to exist in the world as she was. That’s why it was so important for me to have characters who looked like her and the rest of my family.

Native Americans have a long and complicated relationship with the entertainment industry. The way tribes are depicted on films often had a direct correlation with what was happening with the US Government. The ‘uncultured terrorists’ of the Wild West became the ‘noble savage’ of the 1960s. In men’s adventure books, you’ll often find that one Apache guy who can see in the dark and hear hoofbeats from one hundred miles away. Nowadays, indigenous characters are treated too preciously. It is important for me to write about raw and dirty and complicated people who aren’t mystical or villainous. They’re just trying to collect their paycheck like all the other characters. In the decade since I first wrote Maryneal, there has been a golden era of indigenous stories. So many wonderful books and shows have come out into the mainstream. It’s wonderful to see!

6. You also are a prolific short story writer, including writing a story for Wild Ink’s PROM PERFECT and BANNED anthologies. Why do you enjoy short fiction, and does it help you as a novelist?

Short fiction is a challenge for sure! When I first started writing seriously, the advice often given was that a first chapter should be a strong first story. I don’t know if that’s still being taught but I think about it often. When it comes to writing shorts, it’s almost like puzzling out a math equation. The more characters and settings you have, the longer the story, and if you only have 250 words to create an entire narrative? Forget about it! As a novelist, shorts help me find characters quickly. I’m somewhat of a gardener when it comes to writing. I have a brief idea of where structure and plot should be seeded, but everything else develops as the story grows. With shorts you have to establish characterization and world building fast so that the rest of the story can breathe on its own.

7. You’ve signed a second novel with Wild Ink, A HOME IN TISHOMINGO! What is this book about? It represents a departure from horror, correct?

Maryneal, 1962 is actually my departure. I’d been writing poetry and contemporary paranormal fiction long before I decided to pivot into Young Adult. When It comes to A HOME IN TISHOMINGO, it was like coming back to an old friend. This is a book I’ve been wanting to write since I was sixteen but, as mentioned above, I didn’t know if I was the right person to do it. I also didn’t have the skillset to take on the challenge.

It is a novel heavily inspired by my paternal great-grandparents and the challenges they faced and choices they made as a mixed race, polyamorous family surviving during The Great Depression. It dips into magical realism, although some of the outcomes and situations in their lives definitely lean towards horror, it’s a horror of reality and not of genre. The book spans from 1915-1935 and centers itself around Skunk Lowery, an Irish-American sharecropper, and the magic that he uses to gain the system. He’s run out of town for being a witch and settles in Choctaw Territory where he meets his wives, re-invents himself to become a person of influence. Eventually, his past catches up to him and once again he has to use the magic he swore from doing to protect his family, even if that means killing the ones he loves.

Visit Abigail F. Taylor’s website to learn more.

UnCensored Ink Interview – Thom Hawkins

Hey everyone,

Ian Tan here, lead editor and project coordinator of UnCensored Ink: A Banned Book Inspired Anthology, set to release this October 29. Here is the UnCensored Ink interview series to introduce you all to the incredible writers, as well as the local bookstores and libraries that gave them safe creative spaces. Hopefully you can put these incredible places on your to-visit list, and feel inspired to support your own local bookstore, library and indie authors.

Today I am with Thom Hawkins from Maryland. He has written books soliciting anecdotes from people on a particular topic (In Name Only, A First Time for Anything, Alphabetical Orders, Musical Madeleines)—as well as children’s books (The Yeti Made Me Do It, Baldwin, Two Kings, Claudine)—and has co-authored several poetry books (Thirty Placebos; O, DeJoy; Slight Refreshments). His video art and drawings have been displayed at exhibitions or in performances in Baltimore, Wilmington (DE), Philadelphia, and New York. Thom has also appeared with the Baltimore Improv Group, Ignite Baltimore, Ignite DC, and on The Stoop Storytelling podcast.

1. You’ve written a fine piece for UnCensored Ink: A Banned Book Inspired Anthology. Can you give us a synopsis? How did the idea for this piece come about?

I have four poems in the anthology. “New Policies” is extrapolated from a real incident where I tried to ban hugging across the department at work. “On Reading Bukowski to a Baby” is also based on a real-life situation where I tried to combine reading with soothing an infant (my son, who is now sixteen!). “The True Word” was inspired by something I read about history and culture; history is so strange and magnificent, it is often the point of departure for things I write. Finally, “Being and All” combines stories of aggressive policing with the philosophy of being. I think of myself primarily as a storyteller, whether in prose or poetic form.

2. Now, we would love to know you more! What do you enjoy doing in your free time, what is your favorite book quote, and how did you get into reading and writing?

As soon as I learned how to read I was hooked. My interest in writing didn’t come along until high school. I went to a Jesuit high school, and the priest who taught the religion class my sophomore year said that he liked my class reflections and offered that I could write a short story in lieu of taking an exam. So, really, I was just trying to get out of work. For my undergraduate degree, I went to Washington College in Chestertown, MD, known for the U.S., largest undergraduate writing prize. I didn’t win, but I did earn the school’s very first minor in creative writing. I later got a master’s of library and information science at Drexel University in Philadelphia, PA, and I’m now enrolled in an information sciences PhD program at a school in California. I’m fortunate that there’s a lot of overlap between my job (which is technical in nature), my education, my research, and my writing. It’s often difficult to know whether I’m doing something for work or personal reasons!

3. Do you have a favorite local library or bookstore? Also can you remember bookstores and libraries from your childhood, if they are not the same as the ones now?

If I’m looking for a specific book just to read or reference temporarily, I first try my local public library. If I’m looking for a book I might want to keep, I go to bookshop.org, where I order through Washington DC’s Solid State Books. With my busy schedule, it’s much easier for me to read short books, so I’ll often pick short books from another culture to be exposed to different times and places. It’s hard to pick just one favorite store, but to represent my home town of Baltimore, I have to go with Normals Books and Records. I’ve bought so much from there over the past twenty-five years, I joke with the owner about acting as their offsite storage facility. I’ll give shout-outs as well to some other fine used bookstores I frequent: Baldwin’s Book Barn in West Chester, PA; Second Story Books and Capitol Hill Books in Washington, DC, Midtown Scholar in Harrisburg, PA, and Bookhaven in Philadelphia, PA, where the owner described his buying strategy as “when someone buys a book, I buy more books by that author”–the result being that I often find books I didn’t know about by authors I love.

4. Tell us more about this bookstore/library. What do you love most about it?

I love to browse used bookstores–especially for the magic of finding something I didn’t know existed. If it’s not in their inventory, librarians will always help you find what you need.

5. What do you have to say on the importance of sustaining bookstores and libraries?

It’s wonderful to see, in what certainly seems like a time of adversarial conditions, a resurgence of independent bookstores, including co-ops, and a diversity of owners and employees. One of my favorite things to do is ask an employee for recommendations–books that they find exciting and well-written. It’s a great conversation-starter with someone you know also loves books. Libraries and librarians are also a wonderful resource. I taught my kids at a young age to go to the information desk to talk to a librarian about what they were looking for, or for recommendations. Using the catalog is like using GPS–it will take you right to where you need to go, but you will miss a lot along the way.

6. Do you have any projects that your current and future readers can look forward to?

I’m currently writing a book about people who do jobs related to music–critics, DJs, engineers, teachers–and how their work impacts their relationship to music. At the moment, I’m studying the structure of oral histories to inform how I’ll develop the interviews into a cohesive book.

Well, that’s Thom Hawkins from Maryland, everyone! Stay posted till the next one, we’re heading further south into North Carolina!

Preorder UnCensored Ink at Barnes & Noble

Preorder UnCensored Ink at Amazon

The Hidden Gems of the Publishing World: Why Indie Publishers Might Be Your Best Bet

By Torina Kingsley

In the ever-evolving publishing industry, authors have more choices than ever before. One option that has gained significant traction recently is working with an indie publisher. Independent publishers, often smaller than their traditional counterparts, offer a range of benefits that can make them a great option for lots of authors. Whether you’re a first-time writer or a seasoned author looking for a more personalized experience, an indie publisher might be the perfect fit.

Here’s why indie publishers are great:

1. Niches Don’t Scare Them

One of the most significant advantages of working with an indie publisher is the level of creative control you retain over your work. Unlike traditional publishers, who may ask for changes to make a book more commercially viable in the wide marketplace, indie publishers aren’t afraid of niches. Books that might be overlooked by larger publishers due to their niche appeal often find a passionate audience when published by an indie publisher with expertise in that area.

Many authors who’ve partnered with indie publishers have praised the freedom to maintain the integrity of their story, especially when it comes to niche genres or unconventional narratives.

If your book caters to a specific niche or a less mainstream audience, an indie publisher might be better equipped to market your work effectively. Indie publishers often specialize in particular genres or market segments, allowing them to target and reach the right readers more effectively.

2. You’re Not Just a Number

Indie publishers typically work with a smaller number of authors, which means you’re more likely to receive personalized attention throughout the publishing process. From editorial feedback to marketing support, indie publishers often provide a more tailored experience.

Authors frequently cite the close working relationship with their indie publisher as a key factor in their book’s success.

3. Faster Turnaround Times

The traditional publishing route can be notoriously slow, with timelines stretching from months to even years before a book sees the light of day. Indie publishers, on the other hand, are often able to move more quickly, getting your book to market faster.

Many indie publishers operate with streamlined processes, allowing for quicker decision-making and fewer bureaucratic delays. This efficiency can be particularly beneficial if your book is time-sensitive or if you’re eager to start building your author brand.

4. More Author-Friendly Terms

Indie publishers often offer more flexible and author-friendly contracts compared to traditional publishing houses. This might include better royalty rates, shorter contract terms, and the ability to retain certain rights to your work, such as audio or foreign rights.

Indie Publisher vs. Vanity Press: How to Tell the Difference

Not all publishers are created equal, and it’s important to understand the difference between an indie publisher and a vanity press.

What is an Indie Publisher?

An indie publisher, short for independent publisher, is a small, often niche-focused publishing house that operates independently of the major publishing conglomerates. Indie publishers typically offer traditional publishing contracts, meaning they don’t charge authors to publish their work. Instead, they invest in the production, marketing, and distribution of the book, earning their profit from book sales.

Key Characteristics:
- No Upfront Costs: Indie publishers do not charge authors to publish their books.
- Editorial Support: They provide professional editing, cover design, and other services as part of the publishing process.
- Revenue Sharing: Authors typically receive royalties from book sales, and the publisher covers the production costs.

What is a Vanity Press?

A vanity press, on the other hand, is a company that charges authors to publish their books. Unlike indie publishers, vanity presses often make their profit from the fees paid by authors, rather than from book sales. While vanity presses may offer similar services to indie publishers—such as editing, cover design, and marketing—these services come at a cost, often with no guarantee of quality or distribution.

Key Characteristics:
- Upfront Fees: Vanity presses require authors to pay for the publishing process, often with significant costs involved.
- Limited Distribution: Books published by vanity presses may not have the same reach or distribution as those published by traditional or indie publishers.
- Quality Concerns: Since vanity presses make their money from authors rather than book sales, there may be less incentive to ensure the book’s success in the market.

How to Tell the Difference:

To distinguish between an indie publisher and a vanity press, pay attention to the submission process and the financial arrangements.

Submission Process: Indie publishers typically have a selective submission process and do not require any payment from the author. Vanity presses, however, often accept all manuscripts—provided the author is willing to pay.
Contract Terms: Review the contract carefully. Indie publishers offer traditional contracts with royalties paid from book sales. Vanity presses, on the other hand, will likely include fees for services like editing, design, or marketing.
Reputation and Reviews: Research the publisher’s reputation within the industry. Indie publishers often have a track record of producing quality books and supporting their authors. Vanity presses may have mixed or negative reviews, particularly regarding the value of the services provided.

Do You Need a Literary Agent to Work with an Indie Publisher?

One of the first questions many authors ask when considering publishing options is whether they need a literary agent to work with an indie publisher. The answer isn’t always straightforward and largely depends on the specific publisher and your own goals.

When a Literary Agent is Beneficial:

While it’s true that many indie publishers accept direct submissions from authors, there are still benefits to having a literary agent. An agent can help negotiate the best possible contract terms, ensuring you retain valuable rights and receive favorable royalties. Additionally, agents bring industry expertise and connections that can open doors to marketing and promotional opportunities you might not access on your own. If you’re new to publishing or unsure about the nuances of publishing contracts, having an agent can provide peace of mind and ensure you’re not missing any key opportunities.

When You Might Not Need an Agent:

Many indie publishers pride themselves on being accessible to authors without representation, offering straightforward contracts that don’t require extensive negotiation. If you’re confident in your ability to evaluate a contract or if you’re working with a smaller press that offers fair and transparent terms, you might choose to go it alone.

Having a literary agent has advantages, but it’s not always necessary when working with an indie publisher. Evaluate your own comfort level with contract negotiations and consider the specific publisher’s reputation and submission process before deciding whether to seek representation.

While there’s no one-size-fits-all answer to the question of how to publish, the benefits of working with an indie publisher are clear. From retaining creative control to enjoying personalized attention and flexible contracts, indie publishers offer a compelling alternative to the traditional publishing route. If you’re looking for a partner who values your vision and is committed to your success, an indie publisher might just be the perfect choice.

Torina Kingsley has always dreamed of becoming a published writer. By the time high school came around, her mind was swirling with tales ready to be told. She finds inspiration for her stories from viewing things from a different perspective, including THE KING’S DECREE, a spin on the well-known Russian folktale, The Princess Who Never Laughed.

Kingsley believes that a great story needs to be relatable and completely captivating, dropping the reader into a whole new world. When she isn’t writing thought-provoking and socially conscious young adult stories, Kingsley teaches music and loves working with her students. She lives with her husband, two kids, and two rescue dogs in the Chicago area where she enjoys reading and spending time with her family.

The Facts and Fantasy of ‘Bestselling’ Author

by Marla Miller

Los Angeles author Joe Ide, a frequent speaker at conferences and seminars, is delighted with the success he has enjoyed since selling his first novel, IQ at age fifty-eight, delighted and making no bones about this when he addressed a room filled with writers at a recent Southern California writers conference. Few writers reach the heights of bestselling. Part of the magic motivating us to remain seated at our writing place includes nurturing the fantasy that our stories will someday resonate, too.

The dream of becoming a bestselling author is perfectly fine to dream. After all, at our core, writers are dreamers. But is this why we write stories? For fame and fortune? The answer is no and if chasing fame/fortune provides the only motivation, this segment of writers eventually moves on to other ventures.

Craft vs Business

We write stories because we have to write them and why Joe Ide’s keynote so resonated with me. In his time at the podium, Ide delivered many terrific tips about creating characters from our everyday living, echoing what we know about our tribe: at our core, writers are nosy. I videoed what I could and had to hear more so I attended Ide’s Sunday morning workshop. He did not disappoint. Ide talked craft, the creative side of publishing, co-mingling solid craft ‘pointers’ with the business side of publishing, sales and making money. Again, he pulled no punches, straight talk from his own experience about what bestselling means in terms of dollars and cents.

Defining Publishing ‘Advance’

Joe Ide’s latest novel, The Goodbye Coast: A Philip Marlowe Novel garnered a six-figure advance. Sweet, right? Absolutely, and Joe wasn’t complaining as he broke down what the six-figure sum meant to his bank account. Some writers, likely those new to our tribe, don’t know that getting an advance from a traditional publisher requires the author to earn back that sum in book sales before seeing any more money from the publisher. Since Ide’s novel centered on a famous person, Raymond Chandler’s ‘Phillip Marlow’ character, permission to use this name came with a price. Raymond Chandler’s estate had to be negotiated with before Ide could publish his novel. I don’t know what the estate required but when I negotiated with the Women’s National Team to write All American Girls: The US Women’s National Soccer Team (with full access to the team) that sum was 50% of a very nice advance offered by my publisher, Simon & Schuster. Joe Ide pointed out other facts: his agent’s take of 15% as well as Uncle Sam’s portion. All of a sudden, that six figure advance has a bit of a different context in reality.

Why Writers Write

Even before traditional publishing took a pummeling from the arrival of the worldwide web, writers have nurtured fantasies about bestselling books, national book signings, film options, TV interviews and oodles of money. None of these fantastical imaginings are rooted in facts. I share this story often in my workshops, a story told by one of my writing mentors, the founder of the Santa Barbara Writers Conference, Barnaby Conrad, a multi-published, bestselling author in fiction and nonfiction. In the early 1990’s, as we gathered for the opening night SBWC ceremonies, Barney announced that this SBWC session had attracted the greatest number of conferees in its (then) 20-year history. He asked us to look around the packed auditorium brimming with 400 writers and so we did. Then he said, “…At the most, one to three writers sitting here will be offered contracts from New York publishing.” The audience let out an audible gasp to which he replied, “We write stories because we have to write them.”
Wisdom shared from a man who had enjoyed a storied career himself, Barnaby Conrad.

So, write on. That’s what we writers do.

Marla Miller segued to the writing life in midlife. Her writing credits includes editor-in-chief of a lifestyle magazine and books published by traditional and independent publishers. Her e-novel, Deadly Little Secrets is available on KDP. Her novel, SweetSpot: Now and Then, whose setting includes a writers’ conference, will be published by an independent press in Fall 2024. Since 2003, she has delivered workshops at The Santa Barbara Writers Conference and The Southern California Writers Conference.

Where to find Marla Miller:

https://linktr.ee/Writersmama

MarlaMiller.com

TikTok Twitter & Instagram:@writersmama

Medium

Facebook: Hooking Readers

Substack: writersmamasubstack

Amazon Author Page: https://bit.ly/4avJTRX

Meet Your Heroes!

by Greg Jones

I’ve heard it said to “never meet your heroes.” However, there are certain people who impact your life in such a profound way that it would be a disservice to yourself and to them if you didn’t seek them out when possible to have the chance to maybe engage on a more personal level. I personally believe, in this ever-distancing world, that these encounters are more important now than ever.

A literary hero might be the most elusive of all.

I had the good fortune of meeting Clive Barker at a Harry Schwartz bookshop in Milwaukee about 20 years ago. It, to this day, plays on repeat on the highlight reel of my life.

To say he is a major influence in my life is a vast understatement. At 14, when I first read his short horror fiction, I knew this was something unique and special. His writing brought poetry and elegance to a genre that was sorely lacking in those qualities up to that point. It has influenced and inspired my art and my writing ever since.

To those not familiar with Mr. Barker, he was very prolific in the 80’s and 90’s, moving from horror to dark fantasy to full adult fantasy novels. In 2012 he fell into a coma after a dental procedure left him battling toxic shock syndrome, which has affected his health ever since. He recently posted that he would be doing a handful of personal appearances throughout 2024 and then focusing entirely on various unfinished projects.

This news came the same evening as my final cover reveal for my upcoming horror poetry collection from Wild Ink. I learned that he would be coming to Chicago at the end of March and I made arrangements to make the trip.

I arrived at the convention center with a framed photo of the two of us from that first Milwaukee meeting as well as a binder containing a selection of my strongest poems, a copy of the cover art for my book and an emotional letter explaining what a profound effect he has had in my life. Two hours later we would meet for the second and, most likely, last time.

He shook my hand and said ‘’Hello” and I was taken aback at the frail man before me. It was emotional to say the least.

I showed him the photo of the two of us and he commented how we were both “children” back then. We reminisced on the picture and then I asked him if I could give him something. I handed him the folder and told him about the pending publication and that it would not even exist if it weren’t for him. I could see he was affected by this and he shook my hand again.

He leafed through the pages and asked me how long I had been writing poetry and “why” I had started writing. Again I told him “because of you.” He said he was honored and actually asked ME to autograph the sampling for him. I was astounded. It was surreal as I signed my name to a dedication to him!

He asked my wife if she was proud then asked her if “I” was proud, to which we both responded, absolutely. He ended by saying what a huge accomplishment this was. Before I left I shook his hand again and told him my contact information was included inside and if he ever felt the urge to send along any words of encouragement or advice I would be forever grateful.

I left deeply moved and affected and filled with many feelings. Validation, pride, hope, and a bittersweet sadness knowing this might be the last time I ever speak to him. It was a complete full circle moment for me and I am beyond grateful for his words and attention and just for being the genuinely decent human being I remember from 20 years before. I hope on some level it meant as much to him as it did to me.

I have been fortunate enough over the years to meet or have interactions with many of the people I look up to and respect. It is a gift to share these moments with individuals who have moved or inspired you and I would encourage anyone to take that chance if it presents itself.

Born in 1970, I grew up, in my opinion, in the pinnacle of all things. The best films, music, comic books and those fantastic 80’s horror novels. No matter where my mind wandered it eventually found it’s way back to something with a monster in it. I spent my adolescence hunched over a drawing table, occasionally writing and living my life in pursuit of personal creative goals. In my current role at the local library I am surrounded by books all day and inspired daily to keep creating my horror inspired poetry.

“Meet Me in the Flames” is my first published work and I am diligently scribbling away on a new poetry collection as well as a series of short stories.

When not reading, writing or working on some kind of art you can find me listening to old country records, watching anything remotely creepy or traveling the globe in search of the perfect mountain sunset.

I live in Wisconsin with my loving wife of 30 years and my three amazing daughters all of whom contribute to my writing with editing skills and strong stomachs.

Don’t Quit Your Day Job (and Why That’s a Good Thing!)

By Bruce Buchanan

Making full-time living writing fiction is living the dream—but for most authors (even ones with book deals), being a writer means working a day job.

If you are one of those writers, you are in good company. Octavia Butler wrote by night and punched the clock at a potato chip factory by day. T.S. Eliot worked at a bank, even after publishing “The Wasteland.” Charlotte Brontë served as a governess to wealthy British families; her experiences in this job helped her write Jane Eyre.

When I’m not clicking away at the keyboard on my next YA fantasy book, I’m…clicking away at the keyboard in the corporate communications realm. Like many other colleagues, I chose a career that allows me to use my writing skills, albeit in ways that don’t involve a magic-using princess or a blacksmith’s heroic son. I know writers who are English, writing and drama teachers (both on the high school and collegiate levels), librarians, editors, and journalists.

But plenty of other fiction authors have day jobs that don’t focus on writing or literature. One author friend manages a medical facility, putting her master’s degree in healthcare administration to good use. Another author I know recently retired as a funeral director and now is the office manager for her family’s small business. And one talented horror writer I’ve met delivers online orders from restaurants. She keeps a notebook in her car so she can write between deliveries.

Balancing any job with a writing career requires strong time management skills, though. Conquest Publishing novelist S.E. Reed recently gave a great presentation on “Tips for Busy Writers” at the Writer’s Workout Virtual Conference. S.E. juggles a full-time career, three school-age kids, and a flourishing writing career, and she shares some best practices on how writers can manage their time.

My personal tip is to carve out a short amount of time every day for writing. I do a 20-minute daily writing sprint. This means no social media, no TV, no distractions—just head-down writing for 20 minutes minimum. You’ll be surprised at how much you can get done in an intensive burst if you eliminate distractions!

Once you figure out how to balance your work with your writing, there’s a big upside in having a day job. Writing gets to be your passion project—the thing that you love to do. You can write what you want when you want to write it.

Obviously, if you are working with a publishing company, you must keep their deadlines and commercial considerations in mind. But it is liberating to know your next meal or your family’s mortgage payment doesn’t depend on writing a story. Even the best jobs invariably become responsibilities (as one colleague put it, “It’s why they call it ‘work.’”) Writing doesn’t have to be that way—it can remain something that brings you joy.

I’ll give the last word to Kurt Vonnegut, who sold cars in addition to writing some of the most enduring works of the 20th Century:

“Practice any art, music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction, essays, reportage, no matter how well or badly, not to get money and fame, but to experience becoming, to find out what’s inside you, to make your soul grow.”

Bruce Buchanan is the senior communications writer for an international law firm by day. His debut YA fantasy novel, THE BLACKSMITH’S BOY, is coming soon from Wild Ink Publishing. A longtime lover of fantasy and heroic fiction, he lives in Greensboro, N.C. with his wife, Amy, and their 17-year-old son, Jackson. Follow him at @BBuchananWomble and @brucebuchanan7710.

Welcome to the Void

By Ollie Shane

in a year after back to the future three made you scream “give me the future”

Said future gives you more unreal than reality, headlines the type the onion et al could dream of

will we be all right? will we survive the anthropocene/climate chaos

is it any wonder you’ve lost hours falling down rabbit holes?

is it any wonder you come away thinking the end of the world is nigh?

There is a place where the rabbit holes meet, where your pessimism finds a soft spot

it’s called the void, as dark as the darkest night

before or even during the dawn

the void hopes that the more time you spend, the more you find yourself (or the parts you do not want to think of when thinking of Self (and the other))

you’ll learn about yourself

but also the world

you’ll take notes in a nice journal, in pen scrawl

notes from the void coming soon.

About Ollie Shane

Ollie Shane is a poet, undergraduate English major, and the number one tote bag carrier and iced coffee sipper in the Tri-State Area (Delaware and Pennsylvania).He is Autistic and their special interest revolves around literature (currently on 20th century literature (such as W. Somerset Maugham, who they’re doing their thesis on) in conjunction with contemporary poets such as Danez Smith, sam sax, Franny Choi, Terrance Hayes, Mary Alice Daniel and others). Also, he is constantly looking for more poetry and prose recommendations.

On a writerly note, they are the author of the chapbook I Do It So It Feels Like Hell (Bottlecap Press, 2022), and their work has been published in Thirty West’s magazine AfterImages, Poetry As Promised, Palindrome Journal, and elsewhere. They also have a newsletter on Substack called Not Another Newsletter. To see more of their work, check him out on Instagram @aolshane and Chill Subs under olshane17.