Book Interviews, Books, Interviews

Beyond the Book – Lytherus Exclusive: Interview with Leigh Fallon, Author of “Carrier of the Mark”

Lytherus is pleased to bring you an exclusive chat with amazing newbie author Leigh Fallon, author of Carrier of the Mark. Leigh was happy to sit down with us and talk about her characters, Irish magic, and her unique publishing experience. Enjoy!

Not sure what Carrier of the Mark is about? Check out the Lytherus review of the book. 


Lauren Zurchin: Hi Leigh, and thanks for joining us for an exclusive Lytherus interview!

Leigh Fallon: Woohoo!

Lauren Zurchin: I was captivated by the story of your road to publication. For fans that aren’t familiar with it, can you tell us a little about how you got your book on the shelves?

Leigh: I wrote Carrier of the Mark in six months.  I never wrote a book before and had no clue as to how the publishing industry worked, so I bought a copy of the Writers’ Handbook 2010 and started sending out my manuscript to a couple of Irish and British agents and publishers who accepted unsolicited manuscripts, but all I got was rejections. So I started looking for alternatives to getting my book noticed and improving my manuscript as I went.  Then I found a website for writers of teen fiction. I uploaded Carrier to the website and within a few weeks it had risen to the top five of the most loved projects.

It was then reviewed by an editor and HarperCollins who gave me some editing advice on the site. I thought that was the end of it but a couple of weeks later I got an email from her telling me that she LOVED my book and it had really stayed with her, and that she wanted to work with me on it.

Lauren Zurchin: Wow!

Leigh: I was so excited. I freaked out a little.

Lauren Zurchin: I can’t blame you!

Leigh: Then three weeks later I got another email out of the blue offering me a publishing deal. This all happened in under a year! Squeee!

Lauren Zurchin: WOW! That is really something amazing. And unusual too.

Leigh: Sometimes I can’t believe it really happened to me. I was the first to be picked up from inkpop, so I really wasn’t expecting it.

Lauren Zurchin: And that in and of itself is special, as you’re the flagship book, paving the way for future stories to get published.

Leigh: Let’s hope so! Another girl did get picked up a couple of months after me.

Lauren Zurchin: So for fans who are unfamiliar with Carrier of the Mark, give us a little rundown on the story.

Leigh: It’s a paranormal romance set in a small village called Kinsale in the South of Ireland.  It follows the story of Megan, an American teenager who moves with her dad from MA. In Kinsale she finds the home she’s always wanted and the friends she always hoped for. She also discovers that she is part of an ancient Celtic prophesy and has amazing power.

Lauren Zurchin: I love you say that! Oh, and by the way, you’re part of an ancient Celtic prophecy. No biggie! But it really sort of forms the relationship she has with Adam.

Leigh: Yes, it pulls them together. They’re never quite sure if what they feel is actually real.

Lauren Zurchin: That was what I loved about their love story; the fact that it might be guided outside of their hands.

Did you have Megan and Adam formed strong in your head when you started writing?

Leigh: When I started writing the characters formed instantly, but they were sort of shadows. It wasn’t until I really got into the story and the characters started interacting with each other that they started to really develop their unique personalities. They actually went in directions I didn’t expect, they developed quirks and preferences, it was really strange, I’ve said before this was a first for me, so I wasn’t sure what to expect.  It was a very organic process, they became their own person during the writing process.

Lauren Zurchin: I’ve heard that tends to happen to a lot of writers. And it’s great, because it makes them jump off the page and feel real to the reader.

Leigh: Yay! That’s what I was hoping for.

Lauren Zurchin: I personally loved Megan’s down-to-earth voice.

Leigh: Awesome!

Lauren Zurchin: So let’s talk a little about Ireland and Celtic myths. You grew up there, right?

Leigh: Yes, I grew up in Dublin, then moved to Cork in my 20’s

Lauren Zurchin: When the story formed, you knew you wanted it in Ireland, and that has a certain appeal for the story, since Ireland seems wrapped in ancient myth and mystery in many ways.

Leigh: Yes, Ireland was always going to be an important part of the story, it’s nearly like a character. It lives and breaths. It adds to the magic. It makes it that little bit more special, because you know that in Ireland it just might be possible.  There is so much history and historical sites, so many legends and myths. There is a mystical feeling to these places.

Lauren Zurchin: Were you familiar with the Celtic myths before you started, or did that need a little research?

Leigh: I researched.  I knew that I wanted to used Danu and the elements, but I needed to deepen the story to give it wings. I researched some of the sites I mention in the book and tied in some of the legends, I brought in the Druids into the mix as they complimented the story of Danu and her children so beautifully.

Lauren Zurchin: And honestly, people think of Druids when they think of Ireland.

It was great though, the way the truth of Megan’s powers came out to her. It was so much bigger than she could have ever known

Leigh: I loved that! I love the fact that Megan is super powerful. And wait until you see what happens next. Megan takes it to the next level!!

Lauren Zurchin: It must have been a blast to get to play with the elements and think of the different things they could do. I especially loved how Aine’s power tied into everything that was related to the earth, not just the physical earth itself.

Leigh: Yes I really enjoyed writing the powers.  I wanted to give them limitations though. I wanted them to be not fully in control. Through the book you see them growing and developing.  As they learn more about themselves and their elements you get to see just what they can do. Each book has them grow that little bit more, in both power and mentally. It’s a real journey for them.

Lauren Zurchin: If you could choose one of the elemental powers, what would it be?

Leigh: It would be toss-up between Air and Earth.  I LOVE Earth! The fun you could have with it. But Air has the most impact; it can be really kick ass.

Lauren Zurchin: Funny, that’s the same for me too! I love animals, and that Earth element is appealing, but I’m obsessed with birds, and to be able to fly with them would be amazing.

Leigh: Oh yes! Amazing.

Lauren Zurchin: So what’s in store for readers in the next book?

Leigh: Well Megan and Adams relationship continues, but their powers are growing and Adam starts to get effected. Strange things are happening with Aine and Rian, and spanners start getting thrown in the works.  We also have the arrival of a few new characters that gets some sparks flying.

Lauren Zurchin: Sounds intriguing.

Leigh: Megan has to make some very difficult decisions.  We have to say goodbye to a few friends too. *sobs*

Lauren Zurchin: Oh no. That must be so hard to write!

Leigh: I cried and cried writing the last chapter of Carrier 2. But it really drives the story forward.

Lauren Zurchin: Aw! Well, if you’re feeling it, and you know where it’s going, it sounds like it’s going to really get to us, the readers!

Leigh: I hope so. My crit partners felt the same. So fingers crossed the readers will <3 it too.

Lauren Zurchin: Alright! Before we finish the interview, I want to know a little bit about your writing habits. A question I always like to ask the authors I interview is which do you write by: outline or free-writing?

Leigh: On I am a pantser. I don’t outline.  But I do fill up journals with ideas for scenes.  I sit down to write and could write 20K in one sitting. I don’t like doing this 2K a day thing, I write in bursts. I also write out of sequence. I love writing an exciting scene near the end and then go back and write the scenes leading up to that event. Fun!

Lauren Zurchin: Hey, if it works for you, do it!

Well Leigh, this has been lovely. Anything else you want to say about Carrier, book 2, or writing in general?

Leigh: well, expect lots of action and a few answers and a few more questions. The Marked are in for some changes and some of those changes are not going to be liked.

Lauren Zurchin: Thanks Leigh! This has been a blast! I hope for much success for you and Carrier!

Leigh: Thank you so much, Lauren. It was a pleasure speaking/typing with you.


Interested in learning more about Leigh? You can find her at, and on twitter as @Leigh_Fallon.

Book Interviews, Books, Interviews

Beyond the Page – Lytherus Exclusive: Ten Questions with Nick James (Skyship Academy: The Pearl Wars)

Awesome newbie author Nick James was kind enough to sit down and answer some questions for us! His first book, Skyship Academy: The Pearl Wars, hit shelves on Thursday September 8th, 2011. Click here for the Lytherus review.

1)     Hi Nick, and thanks for joining us! Skyship Academy was a great book, and I really enjoyed reading it. Where did you get the idea for the unique premise?

It all started with that opening scene. I had it so vividly pictured in my mind, and the details really started coming from there on. I had been playing around with an Academy-in-the-sky idea for years prior to writing the book. It was just finding the story needed to make it all click. So much of the specific world-building came during revision, but the basic sequence of events were there from the beginning. A lot of the inspiration for the Fringes (a dry, desert-like setting where much of the action takes place), came from Central Washington, where I was living at the time of writing the first draft. In fact, the small town I lived in even features prominently toward the end of the book!

2)     Did you always intend on switching tenses and person when jumping between Jesse and Cassius? It’s not something that I have seen very often as a reader.

That came pretty early on, once I realized that the story was going to demand a shift in perspective to work. It was important to me that readers understood both sides of the world and related to both of the main characters. I wanted their chapters to be as different from each other as possible, which is where the tense/person switches came from. Jesse’s a lot more in your face with his thoughts and feelings, while Cassius is far more removed and methodical. Their characters really drove the writing style more than anything.

3)    One of my favorite parts of the story was the internal struggles of both Cassius and Jesse, and how they each chose to deal with it in their own way. Without giving too much away for those who haven’t had the pleasure of reading this book, tell us about how you developed their internal struggle.

You’re right. Both characters start the story in vastly different states than they end it in. Without getting too specific, it’s almost a direct switch. As one character gains, the other loses. Given that Jesse and Cassius are so different, it really interested me how each would approach the problems thrown at them throughout the book. One of the book’s biggest themes is self-discovery and learning that you can’t rely on other people to dictate who you are as a person.  Much of the internal struggle was focused to lead to this realization.

4)    What was your favorite part of writing this book? And who is your favorite character and why?

Once I had established the world of SKYSHIP, I really enjoyed playing around in it. It’s fun for me to hit as many different facets and places as I can. As far as characters, I really enjoyed writing Jesse’s portions of the book. He has such an honest, sarcastic way of narrating the story. It’s always fun to write comedic stuff like that. But of course, I love all my characters!

5)     Do you think you’ll stay in the Sci-Fi genre for a while, or do you think you’ll dabble in fantasy, horror, or general fiction?

My work tends to mix genres. I personally love stories that contain elements of sci-fi, fantasy, horror and realistic fiction. I think everything I write in the near future will at least contain elements of sci-fi, but I don’t necessarily put limits on myself as far as genre.

6)     All writers have their routines. What works for you? Take us through a typical writing day.

For me, there is no typical writing day. I have a day job, so most of my writing happens in the evenings and weekends. I like to go out to a coffee shop or book store, where I’m free from distractions. I’m very easily distracted! Some days I’ll come in with a word count goal, others I’ll just see how it goes. It gets done either way. I’m all about not making it stressful. Stress shows up in the writing.

7)     How has the writing process developed for you over time? Did you just sit down one day and crank out Skyship Academy, or was there a trial an error process? Any classes, online info, or writing books you’ve studied to fine-tune your craft?

I’ve been writing novels for about a decade now. Four of those have been what I like to call “practice novels.” None were necessarily publishable, but they taught me a lot and helped me hone my craft. Like those early works, SKYSHIP began not because I thought, “ooh, I’m gonna get this baby published!” but because I really enjoyed writing as a hobby. I took some writing classes in college, but most of my instruction (especially during the querying process) came from online sources, forums and other people.

8 )     This is a question I enjoy asking all the authors I interview: outline or freestyle writing?

Freestyle, with a vague outline in my head or (sometimes) on paper. I bore too easily for super detailed outlines.

9)     What’s on your reading shelf at the moment?

I just started Dragon’s Tooth by N. D. Wilson, and I’m really looking forward to The Unwanteds by Lisa McMann

10    What projects are you working on now?

I’m adding the finishing touches to the SKYSHIP sequel, which will be out next year. The title will be revealed soon. Beyond that, I’ve got a secret, unrelated project that I’m very excited about.


thanks Nick! Want to know more about Nick James? Check him out here at

Book Interviews, Books, Interviews

Beyond The Page – Lytherus Exclusive: Ten Questions With Jennifer Knight (Blood on the Moon)

Jennifer Knight was kind enough to take some time out of her busy schedule to talk to us about her first book, Blood on the Moon, her writing process, and how she got into publishing at such a young age.

1) Hi Jen! Thanks for joining us. Tell us a little about where the idea for Blood on the Moon came from.

Thanks for having me! The idea for Blood on the Moon first came to me as I was perusing the shelves of a bookstore with my sister. Back then the amount of vampire Y/A novels was overwhelming in comparison to the werewolf novels. (This isn’t so true anymore because let’s face it: werewolves pretty much rock and authors are jumping on that train left and right.) As I picked up book after book with vampires – who by the way, are dead and suck our blood!—romanticized as heroes…well, I couldn’t quite understand why our sexy friends the werewolves were left out. I wanted to write a book that cast a werewolf as the hero and a vampire as the villain. Thus Lucas and Vincent were conceived.

2) Was it hard to write the dynamic between Faith, Lucas, and Derek? It’s not so much a love triangle as it is a tug of war.

It was very difficult! Not so much with Lucas and Faith, who have enough passion and sizzle to push their relationship forward. But Faith and Derek’s relationship took a lot of work. It was difficult for me to separate Faith’s feelings of friendship toward Derek from her romantic feelings, and keep her from leading him on. I needed her to love him, but not be able love him at the same time. Tricky stuff. Let’s just say I edited them up. A lot.

 3) What inspired your characters?

Well, I imagined Lucas perfectly from the get-go. I’ve always had a thing for the dark, rebellious type and that whole pushing-you-away-for-your-own-safety business is something I not only enjoy reading, but writing as well. So Lucas was easy. Just picture James Dean and give him a moody stare and that’s him. The only trick with Lucas was that his grumpiness and possessiveness (both werewolf features, which he works to overcome) can make him super unlikable. To soften him up, I gave him a really tragic past, and played up the way his curse tortures him. That way we all feel sorry for the grumpy jerk.

Derek was sometimes tricky because I wanted him to be sensitive (the opposite of Lucas) while keeping him manly at the same time. He’s a romantic, and wears his heart on his sleeve, which is also opposite of Faith.

Faith…she’s probably one of the most (if not the most) complicated characters I’ve ever written. She’s a haunted sarcastic loner in the start of the book and gradually learns to trust and love both Lucas and herself. It was a difficult transition to write, but that’s why we authors have awesome editors to help us out.

4) What is your writing day like? Walk us through a typical day.

Well, I don’t write every day (shameful, I know, but I have two kids and run my own small business) but on the days I do get to write, they are glorious. I generally wake up at 7 AM and take my oldest to school. Then, I race back home, flip on my notebook and curl into my bed. Yes, I have to write in bed. Desk chairs make me nervous. Music is a MUST. Something relaxing or whatever matches the mood of the scene I’m writing. Anberlin, Florence + The Machine, Paramore or something. I usually write anywhere from 3-6 hours a day, depending on whether my husband has to work and leave me with the kiddos.

5) Are you a fan of outlining or just letting the words flow, unrestricted?

In the beginning, I never outlined because I felt it took up too much time and was too restricting. But now I cannot live without my outline. Before taking on a project, I go chapter by chapter (sometimes scene by scene) and write out what will happen. I try to think about where I want the story to go, what I want to accomplish at the end of each scene both plot-wise and character-wise. Sometimes it morphs into a freeform brainstorm during which I actually write to myself. Example. Here’s a snatch from something I’m working on in my spare time. I was outlining the book, but for whatever reason, I just began writing to myself: “Maybe they can make weapons out of the soul-power thingy. Maybe there can be an AMAZING BATTLE in book 3, because there will be 3 books. Or four. I just decided. Yay! Anyway. So. Here’s the plan…”

Seriously, laugh if you will, but it works! I have a great many epiphanies this way.

6) In regards to your actual writing, did you take classes in college, read books? How do you work to develop your craft?

I took a few classes in college, but I hated them all. I was a very bad student. I didn’t like being told what to do, so there was never any life in what I wrote for class. When I first decided to start writing, I went to Borders and bought about five writing technique books. The best one was the first I ever read called Plot and Structure by James Scott Bell. It had this amazing prologue which encouraged the reader to keep writing no matter what, even if you think you suck and even when people tell you no (he says it more eloquently than me). Do it because you love it and because you want to. It was this prologue more than anything else that kept me writing. Sometimes I go back and read it when I’m feeling discouraged. Also, I re-read the rest of the book because it’s just chock full of useful info. 😉

7) Let’s talk about your age. You’re rather young, as far as published authors go. How did the publishing process go for you? How did you find a publisher?

Well, I first started writing when I was nineteen. I’d just had my first son nine months earlier, and was feeling discouraged in college. I didn’t know what I wanted to do with my life, and when my sister (who studies creative writing) asked me to help her come up with a story idea, I suddenly thought…hey! I can do this! So I read writing books, I skulked around on writing forums, and I wrote. I wrote like a crazy person. And I sucked at it. Seriously! The first book I ever wrote and tried to pitch to agents was a total bust. It was garbage! But as I was waiting to

hear back from agents on that book, I decided to work on something new. That’s when I wrote Blood on the Moon. I finished it in around two months and sent out about 100 query letters. Of those 100, I got three agents who were interested. Three. One of them was Tamar Rydzinski at The Laura Dail Literary Agency and she ultimately said yes! Granted, she had me do a lot of work on the manuscript before she agreed to sell it, but that was because I didn’t edit back then. (Like I said, I sucked.) Tamar sold the book to Running Press within a couple of months, and about a year-and-a-half later (and after an INSANE amount of editing) here we are.

8 ) A lot of our readers are in your age range. Any words of advice for those who are interested in writing as a career?

I’ll say the same thing to them that inspired me in the beginning: don’t give up! It’s a cliché, and it sounds too easy to work, but it’s the best thing you can do to further your career. People will tell you no. I got over 200 no’s before I received that one perfect yes. You just have to focus on the writing, and how much you love it and don’t worry about becoming published. Yes, it’s ultimately the goal, but if you make that the purpose of your writing, you’re lost.

 9) What’s on your reading shelf right now?

Infinite Days by Rebecca Maizel. Also Forever by Maggie Stiefvater. Oh, and I want to re-read The Hunger Games before the movie comes out. HOW BAD DO YOU WANT TO SEE THAT!?!

10) What projects are you working on right now? Anything new and interesting?

Well, I’m editing Book 2 of the Blood on the Moon series, which is both fun and torturous, as all editing is. And I’m also working on a new idea about demons and faeries, which will hopefully be my next big thing!


Thanks Jen! If you’re curious about Jen and her books, check her out at her goodreads account!

Book Interviews, Books, Interviews

Behind the Page – Lytherus Exclusive: Ten Questions With Rachel Vincent (Blood Bound)

Rachel Vincent is the next author to join our Behind the Page series, taking time out of her insane writing and editing schedule to answer some questions for us about writing and her new book Blood Bound. What’s it about? Check out our review!

1) Hi Rachel, and thanks for joining us. Let’s talk about your newest book, Blood Bound. What was it like starting a new series after so long? Was it hard to switch into the minds of new characters in an unfamiliar world?

Yes, actually, writing Blood Bound was really difficult (Shadow Bound was even more so). I hadn’t started a new series since I wrote the first Soul Screamers book in early ’08, and the Unbound world is much more complicated than any other fictional world I’ve worked in. The really hard part is explaining the rules of that world without confusing people. I’m not sure that was my strength in the book, but hopefully I’ll improve with the sequels. 😉

Also, this was my first experience writing one story from two points of view, and I now have SO MUCH respect for writers who do that on a regular basis. It’s much more difficult (for me, at least) than writing from one POV.

2) I thought the Skills were fun and creative. Where did the ideas for them come about, with all the binding, limitations, inability to break them without pain, etc.?

Lots and lots of brainstorming. I wanted the Skills to be familiar to the audience, but not overdone. Of course, they had to have limits, or there’d be no conflict. I have entire lists of possible Skills that are all crossed through, because they’d be too much like something from Heroes or other fictional worlds.

3) The rough, gritty world you created, with its equally tough characters, seems like a great stage for things to happen. What’s your favorite part of writing this world—the world itself, the characters, or a combination of them?

Probably a bit of both. The world is very dark and the characters are all broken, in their own way, so I kind of grab onto every ray of hope I’m able to find in the stories. Usually, that comes in the form of a character’s self-sacrifice. I love that they’re (the protagonists, anyway) trying to do the right thing, even if that’s actually doing the wrong thing for the right reason.

4) What about paranormal and urban fantasy appeals to you? There are so many different genres and worlds out there; what keeps you coming back to the genres you favor?

Possibility. Things we can’t get/see/do in our own, real world. I write (and read) to escape, so I want things I don’t see on a daily basis, even in contemporary fiction.

5) Let’s talk about sex in fantasy. How important to the story do you feel it is, taking things all the way to that level in your writing? How do you feel it adds to the story?

I’m actually not a huge fan of writing sex, for a few reasons. First, there are only so many variations of the steps we all know and love, and it’s sometimes a struggle to make sure that each new sex scene isn’t just a repeat of the previous ones. Though I AM considering buying a copy of the CookieSutra, just to make sure I’m not missing anything—those gingerbread men know everything!

Second, people tend to assume that when I write about sex, it’s autobiographical, subconsciously, at least. But it’s not. It’s fiction, good or bad, just like the rest of the book. 😉

As for how it adds to the story…if it doesn’t, I don’t write it. Sex in my stories has to change something for the story or for the characters, or I won’t put it in there.

6) Every author has their own unique writing process. What’s a typical day like for you? And do you find it hard juggling series?

I get up, eat breakfast and drink coffee, then get some internet stuff out of the way. Though I never really catch up on that. It just keeps adding up. If I’m writing adult fiction (which is more difficult for me), I write in several one hour/1000 word stints, with breaks in between. This is a recent adaptation aimed at easing my carpal tunnel and giving myself time to relax.

YA fiction tends to flow faster for me, so I just let it flow as it comes.

For rewrites, revisions, and edits, the process seems to change with every book. But between promo, social networking, email, writing, and admin, I typically work 12+ hours a day.

7) What is your favorite part of writing outside of reality?

Power. Writing (good writing, at least) feels like power to me. I like being able to make people feel things that they aren’t personally experiencing. I like writing the moments in a book that make you cry, or wince, or scream. I put as many of those in a book as I can, without stretching the limits of credibility.

8 ) Is there something totally outside of your current “comfort zone” that you’d love to tackle someday?

I’m kind of doing that right now, with the dual POV writing. And it’s hard.

9) What are the current books on your reading shelf? Do you find you tend to read what you write, or do you need a break and steer towards something completely different?

I tend to binge read, after I’ve met a deadline. I’ve been on a contemporary YA kick for about a year now, and I’m a huge Stephen King fan. But reading is less and less relaxing for me, because I tend to see the technique behind the words now. So any book that can make me feel the story rather than see the words is a real keeper.

10) What new and exciting things are you currently working on?

Honestly? Nothing new. In the past 3.5 months, I wrote Shadow Bound, Before I Wake, and a Soul Screamers story, and I’m about to dive into a hefty set of revisions for Shadow Bound. I love the characters and the world, but this series is a lot of work, and while I’ll no doubt be immersed and delighted once I get into the revisions (I LOVE taking a decent book and making it awesome!), right now I’m kind of dreading it.


Good luck Rachel! Want to learn more? Check out Rachel at

Book Interviews, Books, Interviews

Beyond the Page – Lytherus Exclusive: Ten Questions with E. Archer (Geek Fantasy Novel)

E. Archer (also known as Eliot Schrefer) was kind enough to answer some questions about his writing life and his book Geek Fantasy Novel. Not sure what his book is about? check out our review.

1) Hi Eliot (or should I say, E. Archer), thanks for answering some questions for Lytherus. Geek Fantasy Novel was one of the most remarkable and distinct books I have ever had the pleasure of reading. How did the idea for this unusual book come about?

Hi Lytherus, and thanks for having me! Shortly after I graduated college, I wrote a long turgid fantasy novel. It was overambitious and unskilled, and even my best friend didn’t finish. I remember one line from it: “the crowd suppurated a champion.” Hairy stuff. So, years later, I satirized myself (sounds a little dirty, doesn’t it?). I’ve always been fascinated by how strict the conventions of classic sword-and-sorcery fantasy can be, and wanted to (lovingly) play around with expectations.

2) The voice was so different, being from the narrator, who was an actual person writing the story in the book, not just you the author. The asides and emotions that shone through just added to the uniqueness. Why did you decide to tell Ralph’s story in this manner?

When I started the book I decided that all rules were off. That was my one policy. So that set the stage for the meddlesome narrator. But I’ve always been fascinated by self-referential fantasy—novels where the act of storytelling is an essential part of the plot. The Neverending Story with its man on the mountain, Astinus of the Dragonlance books, and in Rushdie’s Haroun and the Sea of Stories.

3)  Did you always intend to have the narrator be one of the pivotal characters, or did that evolve as the story grew?

It evolved. The narrator got really saucy around chapter 3, and instead of being a responsible author and suppressing him, I decided to see where an irresponsible act of an otherwise responsible author could lead.

4) There are three wishes that we follow Ralph our protagonist through. Which was your favorite, and why?

My favorite would have to be Cecil’s quest, the first one. It’s a full-on romp in a way the other two aren’t, and I had a lot of fun writing about imprisoned fairies, fairies used for building material, wasted like sugar packets, and so on. Coming in second (sorry, Daphne!) would be Beatrice’s quest. It was a visit to the Underworld that wound up being more emotionally subtle than any visit to the Underworld has a right to be.

5) I laughed when I saw that your only prerequisite for writing this book was being a geek. What geeky things did you do as a kid growing up that helped shape you into the awesome geeky adult that you are now?  What old or new geeky things do you currently partake in?

You know, I wasn’t whole-hog, full-on geeky. I watched Star Trek only when it happened to be on. I wasn’t in band. But then again, it’s a label I’m really comfortable with. My geekdom was concentrated specifically on fantasy novels. I read all of Forgotten Realms, Dragonlance, MythAdventures, Piers Anthony, Tolkien, C.S. Lewis, LeGuin, David Eddings. Pretty much nonstop fantasist. That and I played violin and organized Risk (or it’s much better cousin Castle Risk) parties. There’s a great picture of me moving armies out on my balcony, wearing a ripped white T-shirt, heavy-framed glasses, an ankh around my neck, and incense burning. It would have been very hard to cast me in Friday Night Lights.

6) How did you get into writing novels for teens?

David Levithan. He read my first two books, which were for adults, and invited me to lunch. Our friendship came first, but then after a while he said he had a great idea for a book and wondered if I would be up for writing it. That’s how The School for Dangerous Girls was born.

7) Readers are always curious about how authors create their works. Walk us through a typical day of writing for you.

I try to write every day, but it’s more like five out of seven. Not because I’m dragging myself to the computer, but because it really feels good. I’m much better at writing in the morning, before the day’s events have cluttered my head. Like right now—it’s 6:30 am, and it’s just me and the blue jay at the bird feeder, doing this Q&A. I write for three hours or so a day, and then that’s it. Tea is always involved. I write on a PC, which is a bit of a scandal to the other writers I know, who are mostly Apple fiends. But I still sort of wish everything still ran on MS-DOS. See, there’s another geek credential.

8 ) Do you use outlines and character sketches, or do you just write and see where the words take you? Is this how you’ve always worked, or, have you developed your craft with workshops, writing books, etc.?

I’ve been a slow convert to outlines. I used to think that planning ahead would prevent the muses from leading me in exciting directions, but the truth of it is that it’s really hard to steer a story in progress. Things fall to shambles quickly. So now I write a long outline first. And it’s not like there’s no magic to writing the outline part. It’s just a much more agile way to construct story and plot.

9) I noticed that you travel a lot for research. Where is the best place you’ve been? Do you find that the locations end up appearing in your books in unexpected ways? If yes, how so?

I generally take the summers off, pack a big backpack, and wander. I think my favorite location was Fiji, though I was in Congo in June staying at an ape sanctuary and that was amazing. I write while I travel, but never about the place I’m currently in. Because of lag time I write about the places I visit a year later. I guess it’s good, because it means only the most important details remain in my head. Also, I write my travels off on my taxes, so I have to make sure I mention every place I go in a book. I always imagine a conversation with an IRS auditor: “Yes, I had to go to Barcelona. Don’t you remember that one character referencing Almodovar movies on page 182?”

10) What new and interesting things are you planning on tackling next?

Next up is a book about a Congolese girl who, during a time of political instability, escapes an attack and hides away, winding up living in a society of bonobo apes. Should be coming out in fall 2012. Much more on that soon!

Bonus question: why the pen name?

E. for Eliot. Archer because, in role-playing games, if an archer profession is offered, it’s always the one I choose. And I find the idea of a nimble, leather-clad archer putting down his bow and picking up his netbook to write a fantasy novel very amusing.

Thanks Eliot!

Thanks for having me! Enjoy your day, everyone.

 Learn more about Eliot’s books and what he’s up to at


Book Interviews, Books, Interviews

Lytherus Exclusive Interview With Cornelia Funke: Part 2

Welcome to part two of the three-part Lytherus exclusive interview with Cornelia Funke. If you missed the first part of the interview, I’d encourage you to check it out, since this one builds on the previous one.

Also, since she talks a lot about her newest book Reckless, here’s a link to the Lytherus review of that book to peruse, for those of you unfamiliar with the story.

All of these questions I asked her stemmed from a lot of general questions she’s answered in previous interviews about her life and work. Click here to link to those.

In part two of the interview, she talks about working with a creative partner, how Reckless came about, being inspired by Neil Gaiman and Guillermo del Toro, books vs. scripts, and more! She takes a lot of little rabbit-trails in this one, but they are fun and interesting, so enjoy the ride!

LZ: Writing with your friend Lionel, how did that actually come about?

Cornelia: It was very weird. Because of course I never would have thought of something like that. I’m perfectly happy writing by myself. I never feel lonely. In fact, I feel completely overwhelmed by having all my characters around me. No, it happened because I met Lionel at a friend’s dinner – and she, interestingly, played Ida in The Thief Lord movie, that’s how she became a very good friend of mine. I met him and his wife, and I thought, oh, a movie producer, well I’ve met a lot of movie producers by now. But then I thought, oh, look at this, he’s not cynical, he’s very sweet, he’s very passionate, he doesn’t feel the need to talk about himself, or isn’t full of himself. I live in Hollywood now, so you know (laughs). But I was so pleasantly surprised. So we started talking, and I said to him, well, if you ever want to try to do a movie together, let’s do this.

So a month later, he called me and he said, “should we have lunch?” and I thought, okay, he picked a book and he wants to talk about it. You know he does the Harry Potter movies, and he does the Sherlock Holmes series with Robert Downey Jr – that is his baby. He started developing that when I started working with him. So Holmes and Jacob are fighting each other ferociously all the time. He had to rush back to Baker St, I’m behind the mirror… Holmes got huge, and they are just cutting the second now. And so, he had to go to London and shoot and we had to work on Skype together, and it was all wild.

So, what happened was that he said, “You know what? I don’t want to have one of your books, we should do a big fantasy adventure for the screen based on The Nutcracker” I’m German, and it’s based on a German story by E. T. A. Hoffman. For me it’s very familiar, The Nutcracker, and I said hmm, that’s interesting, I could do something with that.

So what we did is, we worked together and we realized we are the best team ever when we work together. So we worked for seven months, did a script based on The Nutcracker, and when we were done, another Nutcracker movie was released in Europe. And we were dead on the shelf, as you say. Lionel is used to that. He’s a movie person. He’s done this for twenty years. But I am not. And I said wait, I love the world we created for this, it has nothing to do with The Nutcracker. We did it, and it was our world, it was a 19th century world, it was full of fairy tale and mystery. I said, “would you mind if I take this world and do a totally different thing and I put it into a novel?” And he said “Yes, I love it. But do you think I could be in any way involved?”And I said (laughs), “Well, I don’t know, I’ve never written a book with somebody, you know?” And he said, “Should we try?” And I said “Of course! It’s your world.” And also many of his characters. So we sat down and we started to play with characters, plots, all that I do normally. Normally I work about six to seven months preparing a book. So now it was with one of my best friends, which, I have to say, is fun. In the morning he came with chocolate croissants, and we sat in the writing house, started drinking coffee, and started working.

So, after a few months, I had characters, I had a plot, it started working. It was so much fun. At first I thought it’s just a toy, it’s not really an important book. I was doing Ghost Knight, I was doing other things, but that book just expanded and expanded and expanded.

What we first did is that, every single change I did while I was writing – because the story twists and changes while you’re following it – every single time [it changed] I sent him an email, I called him, we talked. We worked like this for two years. Everything we checked with one another, discussed with one another, so it’s all his baby too.

LZ: So not just the initial seven months, but as you’re creating it…

Cornelia: yes, they are his characters, the scene with the Red Fairy we rewrote fourteen times, so it was the most intense editing I’d ever had.

After that we also did all the touring together, and then he was doing Holmes, so we were… yeah, it was wild. I worked on the set of Sherlock Holmes with him on Reckless. We worked everywhere. It was crazy! (laughs)

With the second [book in the series] he’s had to start Sherlock Holmes 2, which was even bigger, and he had to move to London again for half a year. And I said okay, we have to change the rhythm. So what we do now is we meet for blocks of time, like, let’s say, a month, and work almost every day, and then I go into writing for two or three months, do the whole draft, check with him only with vast changes, but otherwise just play, and then we go back and discuss the next part. And so far that works very,  very well.

LZ: And I’m sure it fits better with your schedule too

Cornelia: Exactly. We don’t have to chase each other constantly, because that was so exhausting for both of us. And when you are also very good friends, you know, Lionel has two daughters, and he had to already balance his family, the set, and then the writing, so as a good friend you’re all the time like, no, wait, first deal with your family. But on the other hand, the book needs decisions, so I think we now find a way. We’ve been working together for five years now. It’s wonderful. You have a creative partner. It’s very very interesting.

LZ: Are you going to work together for the whole series? For all five books?

Cornelia: Yes, I think so. He also just came with another project to me which I like very much, so we will play with that too, which will probably first be for the screen, but we’ll see.

I say that because it’s interesting in my [book tour] readings when I talked, I said to kids,”imagine when you say, ‘Oh, when I’m writing sometimes I have writer’s block'”—there is nothing like writer’s block, but that’s a different thing—I always say to them, “What if you try with your best friend? Try. Maybe it’s more fun. Maybe you get through the crisis better.  Maybe you look forward to sitting down.” And so many kids embrace that. We saw that very clearly. For them it felt like a very natural thing to do, you know. It’s unusual in novels, [but] for script it’s the most usual thing.

LZ: That’s interesting.

Cornelia: Yeah, it is. And I’m sure you see this, working on a website, but the world is changing, we are collaborating in other ways, we are communicating much more, and I think that it is very interesting and very inspiring, and it may change this concept. [For example] Neil Gaiman did Good Omens with Terry Pratchett.

LZ: I’m just about to start reading that.

Cornelia: Oh, you should listen to the audio. I did all my illustrations for Reckless listening to Neil’s books. And I wrote him in between, I said, “Neil, this is just such a pleasure, I listen to your books while I’m working,”and he wrote, “We’re doing art together, how exciting! “(laughs)

LZ: I’ll check it out on audio then. I haven’t started it yet.

Cornelia: You should, it is such a treat. Martin Jarvis reads it, it is just so good.

LZ: Okay, I will!

So, kind of taking that one step further… you said you like to challenge yourself, you like things to be different; going on what you just said, they wrote a book together.  Two authors created this world. Have you ever considered taking that next step? Because, right now you’re creating [with someone], but then you’re writing alone.

There’s also Beautiful Creatures, by Kami Garcia and Margaret Stohl, David Levithan and John Green created Will Grayson, Will Grayson, these famous writers are coming together.

Cornelia: I absolutely would be open to that, absolutely. It’s such an interesting thing, if the chemistry works or not. I just had a wonderful adventure working with Guillermo del Toro. I got an email in January from Dreamworks, and they said, would you be interested to work on an animation project and story-telling on it? And Guillermo wrote me a letter, saying he’d love to work with me. His movie Pan’s Laberynth is my favorite movie, so that was such a treat. For six weeks I worked with him and Rodrigo Blaas on a storyline for a possible animation feature, and goodness he’s a storytelling animal! He’s just, like, genius! It was interesting, we worked in a very different way. Guillermo said to me, “Cornelia, we’re limping on the same leg.” And it was true. We came from exactly the same perspective, from myth, from fairy tales. Guillermo has this incredible house, it’s called the Man Cave, and there are seven libraries on horror and science fiction and fantasy, and movie props and everything. Believe me, it is the most amazing house.

LZ: You must have been just awed.

Cornelia: Yeah. He gave me the tour, it was mind-blowing. So, that was interesting.

With Lionel, I work totally different because he doesn’t come from myth and fairy tales. He loves it – God, he’s been on the Potter films for ages – but he comes more from character. So, if I have a scene with Lionel – I get easily distracted, I’m a storyteller, right? I see the whole thing. So, Jacob and Will let’s say, are in a clearing in the forest, and I’m like, “Do you think there’s a heintzelman running through?” and he’s like “I don’t care about the heintzelman, tell me what’s happening with Jacob and Will!” So he’s so in the main characters, and so wants to hear about the emotional themes, that it’s very wonderful for me as a storyteller when he says, “You do all the heintzelmen and whatever you want to do,” but he gives me the perspective to focus, and many storytellers we know, reading a lot of fantasy, easily get lost in their plots, right?

LZ: Yes! (Pull out A Game of Thrones by George R. R. Martin)I’m reading this right now and it’s all over the place. It’s great-

Cornelia: It is wonderful, it is, it’s still my favorite fantasy, but-

LZ: I have to keep looking at the map to try and figure out who’s going where.

Cornelia: And the thing is, you do that willingly as a fantasy author often. For example, Neil does it willingly. He gets lost in his plot and he wants that. But the thing is it’s interesting to say to yourself, “okay, let’s try it differently,” try to have somebody chop in and say, “wait wait, come back, look at that later,” and I have to say for me as a writer that’s all very inspiring. With Guillermo, once again, it was deepening my aspect of the myth and the fairy tale because he came from that direction, so when you pick a collaboration, it will always do something else, but that is of course so inspiring. But then you have to find your own voice again.  Because if that gets lost, I think the reader will be dissatisfied. There has to be a voice in the book, and it has to be quite strong. So, I don’t know. I don’t think I would be able to write with somebody, because I work so much on language. I’m in my third draft of five drafts of this book, and almost every sentence changes constantly. That is very hard to do when somebody else works on the language as well.

LZ: Especially if they are like, no I love this sentence, and you’re like, no I hate this sentence, or the little things.

Cornelia: That’s difficult. Of course if I have a discussion like that with Lionel that’s fine, but he will always say “I defer to you. You’re the writer.” And in a way I need that. So let’s see. Maybe someday that changes as well.

LZ: But at least you know that about yourself, as opposed to saying, yeah, let’s give, say, Neil a call and try to do this and then you guys are both like this is a disaster.

Cornelia: And also with Neil I would always think he has such an original tone and story I would not even want to get in there, because it’s so powerful, I want his voice. I don’t want my voice mingled in there.

LZ: I believe with Will Grayson, Will Grayson, I have yet to read it, but it’s the story of two boys with the same name and each one wrote that boy. So John Green had one Will Grayson and David Levithan had the other and the chapters alternated.

Cornelia: Oh! Interesting! That makes sense.

LZ: I thought that was smart because they both have unique voices and they both are good at what they do, I think that could be fun, because depending on the character creation you have your own totally different voices.

Cornelia: That makes perfect sense. I could easily imagine that. I think that works. If you pick a perspective, for example in script Lionel and I did that when we worked script, we always rewrote each other’s chapters, so it went back and forth. But that is possible because script is a different thing. Script is not a language. Script needs the dialogue to be very precise.


The conclusion to the interview will be posted on Lytherus this upcoming week, so stay tuned. She talks about the use of semi-precious stones in her stories and their meanings, the inspiration for her upcoming book Ghost Knight, writing for different ages, the Ink world, and more!

Book Interviews, Books, Interviews

Lytherus Exlusive Interview with Cornelia Funke: Part 1


Cornelia Funke came to my hometown of Pittsburgh, Pennsylvania last weekend for an event at our city library. She took an hour and a half out of her busy writing schedule to sit down and chat with me about her books and the worlds she’s created.

A lot of what I asked built on the questions the Lytherus readers asked, which she answers often because they are the ones people are most curious about. To not waste the precious time with her repeating herself, I decided to ask her things that were a little different. To watch or read one of those previous interviews, which answer a lot of basic questions about her life and he work, click here.

In part one of the interview she talked a lot about her newest book, Reckless, so be warned: there are a few Reckless spoilers throughout. If you want to check out the interview, but are unfamiliar with her most recent work, click here to read the Lytherus review of Reckless. She dives into the fairy tale element in the stories, the geography of the Mirrorworld, her thoughts on series and keeping the books fresh, her unique writing style in Reckless, and more!


LZ: Do you know for sure how many books are in the [Reckless] series?

Cornelia: It lt looks like it will be five. You never know with a story, but that’s what it says at the moment, yes.

LZ: You’ve mentioned [in previous interviews] how Inkheart was a stand-alone book originally, and then it became book two, and then book three. You started out form the beginning with Reckless to be a series.

Cornelia: Yes, because you know, with Reckless, there is the idea in there that you play with fairy-tale motifs, and to do that with just the Grimm’s motifs, which is mostly Germany, Austria, central Europe [isn’t enough]. I always felt like, ooh, what if you go, let’s say, to Spanish fairy tales, French fairy tales, and at I that point  thought probably [the series] will be three [books], but when I was in Russia last year I heard about Russian fairy tales, and I had a very strange moment on the Red Square where I suddenly thought, oh my God, I didn’t know about that character, oh my goodness, well, that changes it all.  I guess I will have to do five! So it was a very weird thing. Moscow made my head explode you could say (laughs). It was so inspiring, and it was very interesting, I had already worked on the motif for number two, and when I told my Russian translator about it, she said, “Oh, but that stone is in one of our most famous fairy tales!” So, suddenly, you have these moments as a story-teller where you feel, “well, I guess the story is already showing me once again the way.”

And then I was in Spain, in Barcelona and in Madrid, I did a conference with children where you go into the newspaper, and then children could call in and we did an i-chat. And they were like, “Oh the witches in Galicia are much different from the witch in Catalonia, you have to know all about them!” And I suddenly realized, oh my goodness, in Spain the folktales are very much alive, even much more than in Germany, where they are mostly in a polished version. So I thought, “Oh, I guess, the Spanish fairy tales are also very interesting, so maybe I have to change Jacob all around.” So yes, it does look like it will be a lot.

I sometimes think this will be the world I will spend the rest of my writing life in. It is so multi-layered, that the first [book] was just a glimpse, and I start now exploring it. For example, I have finished the second draft of number two, and it is in Albion, which is England, and in Lorraine, which is France. And then it will go into Switzerland, so the world is expanding. You will see more; I’ve based all the world on the European lands of the 19th century. So I have the geographics, which makes it quite easy and  it’s very nice. And what I do is I look at real places, let’s say, there’s a French town where they still have a myth about two giants. So I take that myth and I say, well, behind the mirror, the giants are real. So it’s much fun, that you almost play with saying, okay, in our world you sometimes get a glimpse of what’s on the other side.

So for example when I read about Pittsburgh,there’s a crystal palace in Pittsburgh.

LZ: I didn’t even know that!

Cornelia: The stadium is called the Crystal Palace. A friend of mine is quite a famous basketball player and he said to me, “When you go to Pittsburgh, you know there’s a crystal palace.” And I was just writing about a crystal palace! So I was like, this is very strange. I looked it up and it is a staduim, but nevertheless, you could play with that. You could say, well, on the other side of the mirror, there may be a true crystal palace. So that is what I want to do more in the next books.

LZ: Is the mirror going to lead to one [mythical] place? We’re not going to know it’s France, [the characters] are going to go and it’s going to be just that world you created?

Cornelia: Well, in the first part it is New York. So, the mirror will stay in New York. So when Jacob goes out, he always ends up in that ruin that you met in the first [book]. But from there you will understand the geography of the world. So I am even counting the coach rides. How many miles, quite precisely, because I think then you will have fun following the travels. So if I say, okay, it takes them ten days to go to Paris from where the ruin is, or to Vienna is five days—Vena I based on Vienna, it is the old name for Vienna. It’s wonderful, I have a huge map in my writing house— I have a little writing house in my garden, , not so little, but yeah (laughs)—but there is a map, and I have little pins in all the places, and it gives you another kind of substance for the world, and I always wanted to write about Europe.

LZ: So this is a chance for you to explore that, which is great.

Going back to the question I asked a few minutes ago, knowing from the start that this book was going to be at least a trilogy, and now is five books,  have you changed your mindset on multi-book series? I know your younger books are series, but I remember you saying specifically [regarding Inkheart], “Oh, I don’t want it to be a trilogy, there are too many trilogies, this is cliché to do,” but now you’re setting out for that.

Cornelia: Definitely. I was completely cured. Because of course, once you see the readers’ reactions to exploring a world like I did with the Ink world, and feeling yourself that satisfaction when you can do that, it’s very hard to get back to one book. To explore the characters, to explore the world, it’s very hard to chop and say, “That’s it.”

There are some stories who don’t ask for more, so it may still happen. For example, I will publish a book next year called Ghost Knight, and that’s one story and I would never say, okay, there has to be more. It’s always possible; I write my books always like that, that the reader feels, oh I could tell that story on. Because we all know from life, no story ends, right? So there are stand-alone stories, and then you suddenly enter a maze. And you suddenly feel, oh my goodness, this is a labyrinth, and you will get lost in it for ages. And then I think you should not back away from it, you should say that’s it.

And also, I’m 52 by now,and you feel like, okay, I have this world now, I love this world, why should I do another and another and another. Let’s see how deep I can get with this one.

LZ: And that makes sense. As a reader, the reason we read, the reason we escape into books is we feel connected, and if you love a character, you don’t want to see them end. You want to know and be with them for a long time. I’m a fan of series because I can’t wait.

Cornelia: You know, you have to make sure the books don’t go stale. I always say to myself, as long as I am sure the next part is better than the part before, I keep on writing. If you feel you get bored with the character or the world, you feel you have told the stories about the world. So for the Ink world, I felt, okay, for now I told it. It can always happen that you go back, for another character, for another story line, but for now, you told it. I think that you have to follow that, and not say, okay, the readers want another one.

I had that once with a series in Germany, where the readers went mad when I stopped it. It’s a reality series called The Wild Chicks. It’s just published in English in England. After five books, and every single book I didn’t want to do, the readers said, “please, Cornelia, make the world a better place, write another Wild Chick book.” So you continue, and after a while I said no, it’s not the world I want to be in.

At the moment another author writes other parts of it, but not under my name, under his name, because the kids were so hungry for it that I said okay, I will not block the characters. If you want more stories, I’ll allow somebody else to continue, but it will not be me, and it will be very clear on the book that it’s not me.

LZ: That’s interesting. I actually had a question from one of our readers: Has support and feedback from your fan-base inspired you in any way or possibly consider changing a story’s plot? So, kind of along those lines, since you get so much feedback from the readers…

Cornelia: We just did a story competition on my website, which was so overwhelming, the quality of what the children sent. Well, not only children, also grown-ups. But we could not even give one award per language. I have a Spanish, an English, and a German website, and we will give nine awards to English language stories, five to German, and two or three to Spanish.  It was so interesting for me to read which characters did the kids love most, which aspect of the world interested them the most. And I was not surprised by much, because I have forseen it. For example, Fox [from Reckless] will be one of the main favorite characters, but nevertheless, it was very interesting how much they loved the Goyl. I had hoped that, but there were many who did also switch into the stone skin. It was very interesting. Because it’s an outcast thing. Therefore, every encounter with readers makes you aware of another aspect of the story, or they ask you a question which you didn’t think about, or they point out something about your character that you didn’t see. I also love to get doodles or a collage, or visual material, and we are working at the moment massively on my website to make it more communicative, so that I see more what the readers do and what they are interested in. Because I write for my readers. And there have been times, for example, with The Wild Chicks, I once had an idea from a child which I took. I wrote her and I said, can I use it, and I used it for one of the books.

Normally of course you follow the story  and the story has its own way, but it’s very interesting to me, to communicate like that.

LZ: The writing style in Reckless was so much different than the Inkheart trilogy. I even actually opened up the first Ink book last night to make sure I wasn’t going crazy. [Reckless] is very abrupt, succinct descriptions and in your face. Why did you choose that? Obviously we know it was as deliberate choice as a writer.

Cornelia: When I was editing Inkdeath, I felt something inside, like, yeah, I’m kind of tired of this style now. I did it, that was for that world,  a baroque, medieval world that needs that kind of language, and I felt at the end of it that I wanted to try something new. I always try something new. The Thief Lord is different from Dragon Rider, and Dragon Rider is different from the Ink books. So, I thought, well, what can I do? And then when I started working on Reckless, it was the first book that I worked on with somebody, one of my best friends [Lionel Wigram], and of course I warned him, I said Lionel, you will get all the blame for everything that I do now differently , they will blame you. That’s great (laughs) !You’re a movie person so they will say, oh, he did make her do that, and he was like “Are you sure?”, and I was like yes, I’m sure, you’ll see!

But the thing is, of course he has no influence on my style. We talked plot, we talked characters, and we just did that for the second [book] again. But I am the writer, so it was Jacob’s fault, because he’s so impatient. He’s so thoughtless, he’s so on the move, that to do that tapestry language is almost impossible with him.  He’s like running away when you do that. He’s much more modern. He’s a New Yorker. He’s someone with European origins, like I am, but he’s American too. And I wanted to capture that.

The second book will probably get a little closer again to the older style because now I’m in the world, he calms down a bit, he doesn’t have to save his brother in the second book, he only has to save himself. I will try to keep it though because I think for this hero I need another language. It will not be right, and also it’s a more modern world, it’s a 19th century world, that tastes like ours already, and I felt I needed that in the language.

What’s very interesting is that when I got the competition stories, they had changed their style. That was the most amazing thing. You look at it, and you have two or three kids that wrote like the Ink world. And then there were four or five who were doing the Reckless kind of language, and to me it was so fascinating, that they took it like a new tool box; let’s play with it, let’s see how it expresses your feelings. Because it would do something else.

I have a wonderful audiobook reader in Germany, for fourteen years I have done all my stage events with him and he reads all my audiobooks, and said to me Reckless is like a pop-up book. Every sentence, you pop it, and a whole world comes out. But you have to pop it. You have to look. So in the first chapter when it says Jacob takes the key for the room of his father out of his mother’s drawer, and it lies next to the pills that make her sleep, of course you can read over that, and you don’t look at it. You can also say wht can’t she sleep? So, I try to do that, and it’s a more mature writing.

I always said for the younger ones, Reckless will be difficult, because I tried something that is, let’s say, more older literature.

LZ: There’s a lot of subtext there.

Cornelia: Exactly. But the funny thing is, the younger ones didn’t have a problem. Because they are fast, so in a way I had ten or twelve-year-olds, and I said, “You shouldn’t read Reckless yet,” and they said, “ha, I read it three times, it’s fine.” (laughs). Okay, okay, whatever you want to do! So it’s interesting and they take other layers. Like for example the relationships between Jacob and Will and Clara are more mature. They are also more twisted, more difficult. In Inkheart the emotions are clear… well, Dustfinger isn’t very clear.

LZ: But he’s kind of the exception in that world, whereas Reckless is the exception, the whole world.

Cornelia: That’s a very good way to describe it. In a way it’s a whole Dustfinger universe! It’s almost what I saw in his character. And that’s what the German actor reader said, “I smelled it already in Inkdeath. I tasted it on my tongue that you would do something different.”

In the next parts now I will do more description, because so many readers said, “Yes, but please, give us more description!”And I respect that. But I want to try to nevertheless keep that style. So I will try my best, to write faster and more mature in the writing, but on the other hand give a little bit more description.

LZ: I don’t feel like your decription was lacking though.

Cornelia: I don’t think so!

LZ: The first scene that pops into my head is with the unicorns. You’re wondering about Jacob’s scars, and they are not these pretty white things, but are actually these monsters, sort of. I mean, they’re pretty, but they mauled him, you know? You didn’t go into this huge long description, but it was just enough,bursts of image.

Cornelia: That’s good to know. When you write yourself, you can see how liberating that is. If you can catch one phrase, it is much more intense. And I have to say, I decided this, but Lionel was such a big help, because he comes from script, so he’s used to melting things down. So when I sometimes had a description he read it and said, “Cornelia, if the moon reflects one more time in a pond, I’ll go crazy!” (laughs). And I was like, oh, sorry, and I cut it out. Because you have your cliches, you know? I just read a chapter before I came down [for the interview], I’m polishing, and I was like, oh God, there you did it again! And then you cut your cliches. And he was very good at that, because if you only do that in your head, it’s much more exhausting than having somebody sit next to you whom you can discuss it with.


In part two, coming Wednesday, Cornelia talks about creating with her friend Lionel, her thoughts on Neil Gaiman and Guillermo del toro, writing with another author, George R. R. Martin’s fantasy style, and more. Be sure to join us then!


Book Interviews, Books, Interviews

Upcoming Lytherus Interview With Cornelia Funke: We Want Your Questions!

This upcoming Sunday I am going to be chatting with international award-winning superstar author Cornelia Funke. For those of you unfamiliar with her work, she is most well-known for her Inkheart trilogy, which got turned into a movie in 2008 starring Brendan Frasier. She is also the author of Dragon Rider and The Thief Lord, among others. Her newest book, Reckless, is the first in an awesome new trilogy set in a world on the other side of a mirror. 

We want to hear from you! Is there something you’ve always wanted to know? Here’s your chance. Post your questions in the comments. I’ll be taking a list of the best questions with me to the interview on Sunday. So get creative and get thinking!

Book Interviews, Books, Interviews

Web-Chat with Danielle Trussoni, Author of Angelology

I recently read Angelology by Danielle Trussoni, specifically because I had seen this web-chat advertised by Penguin to promote the book coming out in paperback. A lot was discussed in the hour we had with her, and I would recommend checking out my review of the book first, so you have an idea of the premise of the story. I haven’t included all of the chat, because there was a lot of casual banter, but I hope you enjoy what I had the chance to ask her, along with some good questions from other fans. There are a few minor spoilers, but I don’t think they’ll take away from the story. Enjoy!


I wanted to know about the research that went into this book. Were you raised catholic? I was a religious studies major in college, and I found the level of complicated detail wonderful and believable. I was just curious about your research process.


To answer your question, Lauren–I was raised Catholic. I went to Catholic school for five years and this allowed me a seemingly endless amount of time for daydreaming while in church. But I actually was not a religious person as an adolescent and thus, when I found myself writing Angelology, I was on my own.

[Comment From another guest, katherine ]:

Danielle, can you talk a little about how you came to write this novel?


The research took over a full year, and I was literally in the library every day with stacks of books. Every location that you find in Angelology is an actual place that I have been, and the information about angels is all taken from Biblical texts. The research was a huge part of writing the novel.


So are angels the new vampires? 🙂


That’s what they tell me…

[Comment From another guest, megan ]:

I hope you’ll be using all of that research toward a next novel. Danielle, is there anything that you can let us know that you’re working on?

(the author here went on to mention the next book in the series, Angelopolis, due out tentatively next year some time)

[Comment From another guest, Danielle F ]:

Danielle, what other authors or books have had an influence on you as an author. And, what are you reading now (if you even have time!)


Well, I don’t have much time to read at the moment, although I just read a beautiful book called The Night Circus that is coming out in the fall. The books that have influenced me are, for the most part, 19th century novels, such as the books by Wilkie Collins. Contemporary authors such as AS Byatt (Possession) and Elizabeth Kostova (The Historian) and Umberto Eco’s Foucault’s Pendulum were all very influential.

[Angelology] took about one year, although when I construct a scene, I like to refresh my memory, and so I tend to do research even as I write.


I’m curious about your a-ha moment with this book, when you thought, wow, now that would make a good story. The whole replacing Noah’s son element was brilliant!


The a-ha moment came when I went to Saint Rose, and when I realized that I could use the history of angels in a dramatic way. So glad you like the Noah story!

[Comment From another guest, William Fraser ]:

Do you think you will ever allow the book Angelology to be turned into a movie. and i would really like to see Evangeline


Angelology has been bought by Sony pictures, with Will Smith producing and Marc Forester directing, so there may be a film soon. fingers crossed

[Comment From another guest, Kim ]:

FYI – I found myself reading the book then running to the shelf to check out some of your biblical facts, locations, etc. It was astounding your skill at weaving these things together.


Kim–Thank you. That was the biggest challenge in writing Angelology. I was always very aware that the research had to be accurate.


What was the hardest scene to write? What was your favorite scene from the book?


Lauren: The hardest scene? Probably the chase scenes, which are less intuitive for me. My favorite section was all of Sphere Two (1939 and 1944)


I know you said research took a year, but from start to finish, how long was the process?


It took about four years to write Angelology, but that includes a whole draft that I didn’t end up using. It was a bit of a long process. I hope Angelopolis won’t take so long!


Wow — do you think we might be seeing some of that unused draft later on?


We could use pieces of the unused draft. Although it gives me nightmares to read some of it!


curious, were you happy with the cover? I’ll confess, when I saw it I thought it was about something totally different than it was.


Hi Lauren, I actually love the picture of the angel (I am assuming you’re talking about the US cover?) It looks like a different kind of book, you’re right, but there is something haunting about the image.


yes, the US cover. I agree it has some sort of power to it–it is what drew me to the book in the first place.


Lauren — what did you think the book was about when you saw the cover?


Good question, moderator.


it was the nudity that threw me. I thought it was a romance-based book, maybe about a relationship between a girl and an angel, the typical stuff.

Gotta say I was pleasantly surprised! 🙂

Ahh! That is interesting Lauren. Do you think people would have liked that better?

So glad–I like to surprise people. 🙂

Um, I don’t necessarily think so. I work in this industry, and that vein is pretty saturated. I liked the evil element, the beauty, and the fact that the main character was a nun led me to believe that it wouldn’t be all about sex from start to finish. There was a lot more going on there, and that combined with your precise research made it much more enjoyable than the run-of-the-mill idea, personally.

About your writing, would you mind walking us through a typical writing day? I know nothing is really typical, especially since you said you like to do research while you write so it’s fresh, but in general, do you have a routine?

Hi Lauren, I actually do have a typical day. I’m up around 8 and writing as soon as I’ve had breakfast. I work until 12:00 or so and then have lunch. In the afternoon, I edit what I’ve written. So I have a pretty typical work day.


I’m sitting here trying to pinpoint what my favorite part of the book was, and I think I’d have to say how you blended the past and present. Weaving the characters’ lives together, old and young, getting insight from all these different places, that was my favorite part. I really enjoyed connecting them in my mind as the story continued.


Thank you Lauren. I love going back and forth in time. There is a little bit of that in Angelopolis, but not as much as in Angelology.


Any advice for those wanting to be on the other side, so to speak? (the published writers side)


Lauren–Just write as much and publish as much (in magazine and online) as possible. Building a portfolio will help you get an agent.

There is potential for a more exclusive interview in the future, so stay tuned!