Interview with Simon Rose

My guest today is Simon Rose, an author of science fiction and fantasy novels for children and young adults, with a recent novel, Future Imperfect that will thrill your socks off. I met Simon some time ago through his awesome show, Fantasy Fiction, when we discussed science fiction, ecology and why we write.

I recently had a chance to invite Simon aboard my intelligent ship, Vinny, orbiting the Earth. An SF veteran, he didn’t blink an eye when I suggested the crystal-beam transporting device to get us aboard (it makes even me a bit squeamish). After settling in the aft lounge with some pockta juice, and a gorgeous view of Earth, we began the interview:

SFgirl: Tell us about your latest novel.

Simon: Future Imperfect is an exciting technology-driven adventure featuring teenage geniuses, corporate espionage, and mysterious messages. In the novel, we’re introduced to Andrew Mitchell, who was one of the leading experts in highly advanced technology in Silicon Valley, until he vanished following a car accident, which also injured his son, Alex. When a mysterious app later appears on Alex’s phone, he and his friend Stephanie embark on a terrifying journey involving secret technology, corporate espionage, kidnapping, and murder in a desperate bid to save the future from the sinister Veronica Castlewood.

The story will appeal to all young readers for whom technology plays such a large role in their lives, whether it’s cell phones, laptops, tablets, gaming, or the online world, but it’s also a very compelling adventure story, with lots of cliffhangers, twists, and turns.

SFgirl: I think it’ll be more than young readers enjoying it, Simon. Where can people buy Future Imperfect?

Simon: Future Imperfect is available at local bookstores, online at Amazon Canada, Amazon USA, Indigo/Chapters, Barnes and Noble, Amazon UK, and other locations, and autographed copies can also be purchased directly from me via my website.

SFgirl: You called me prolific once, but after seeing your collection, I think you’re the prolificest … Is that a word? Anyway, tell us about your other novels for young adults.

Simon: Future Imperfect is my tenth novel for young adults. The other novels include The Alchemist's Portrait, The Sorcerer's Letterbox, The Clone Conspiracy, The Emerald Curse, The Heretic's Tomb, The Doomsday Mask, The Time Camera, The Sphere of Septimus, and Flashback. I’ve also written more than 80 nonfiction books for children and young adults, but have also written books for adults. These include The Children's Writer's Guide, The Working Writer's Guide, The Social Media Writer's Guide, School and Library Visits for Authors and Illustrators, Exploring the Fantasy Realm, and Where Do Ideas Come From?

SFgirl: What are you working on now?

Simon: My previous novel, Flashback, is a paranormal adventure involving psychic phenomena, ghosts, imaginary friends, mind control experiments, secrets, conspiracies, and time travel with a difference. Flashback has two sequels coming out in 2017, one in the spring and the third installment in the summer. These are already completed but there will be revisions and editing along the way later this year. I’m developing plans for some sequels to The Sphere of Septimus and Future imperfect may generate more adventures too. I’ve also recently completed a parallel universe trilogy, which I’m currently exploring publication options for.

SFgirl: What kind of marketing and promotion do you do?

Simon: I’m in all the usual places online and on social media but I’m also active in the local writing community and conduct book signings at local bookstores on a regular basis. In the spring I was at the Calgary Comic and Entertainment Expo and also connected with readers at schools and libraries in Montreal and Quebec City during Children's Book Week. In August I’ll also be appearing at When Words Collide in Calgary.

SFgirl: I’ll see you then; I’m going too! So, what do you do besides write?

Simon: I work as an instructor for adults at Mount Royal University and the University of Calgary. These classes and courses focus on writing for children and young adults or preparing your work for publication. I also offer coaching and editing services for writers in all genres and conduct online writing courses, such as Writing for Children and Young Adults and Writing Historical Fiction. I write screenplays, articles for magazines, and offer copywriting services for websites, blogs, social media, and businesses.

SFgirl: Simon, do you have any advice for new authors?

Simon Rose

Simon: Writing is in some ways the easy part. It can be a very long process not only to write a book, but also to get it published. Most authors go through many revisions before their work reaches its final format. Remember too that your book will never be to everyone’s taste, so don’t be discouraged. A firm belief in your own success is often what’s necessary. After all, if you don’t believe in your book, how can you expect other people to?

Read as much as you can and write as often as you can. Keep an ideas file, even if it’s only a name, title, sentence or an entire outline for a novel. You never know when you might get another piece of the puzzle, perhaps years later. You also mustn’t forget the marketing. You may produce the greatest book ever written. However, no one else is going to see it if your book doesn’t become known to potential readers. Be visible as an author. Do as many readings, signings and personal appearances as you can. Get your name out there and hopefully the rest will follow. Especially for newly published authors, books don’t sell themselves and need a lot of help.

SFgirl: Excellent advice! Where can people learn more about you and your work?

You can visit my website at www.simon-rose.com or subscribe to my newsletter, which goes out once a month and has details of my current projects and upcoming events.

SFgirl: Thanks so much for joining me on Vinny, Simon.

Simon: My pleasure, Nina.

SFgirl: You didn’t finish your pockta nectar…

Simon: It was … interesting … but I’m on a cleanse right now.

Well done, Simon! You can find Simon on the following Social Media links:

Facebook 

Twitter 

LinkedIn 

YouTube 

Google + 

Pinterest



Nina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.

Mass Intelligent TV and the Age of the Disposable Hero--Valar Morghulis

The word out there—at least according to The Economist Group—is that “smart is the new cool”. John Parker of Intelligent Life (sister magazine to The Economist) posits that, “in its appetite for culture, the world is wising up more than it is dumbing down.” Parker suggests in his article “The Age of Mass Intelligence” (Intelligent Life, 2008) that this apparent increase in the “mass intelligent” can be seen in the growing appeal of museums, blockbuster exhibitions, literary festivals, and operas. What he fails to mention is how the increased sales of good literature translate into actual reading and synthesis.

According to Susan Jacoby, scholar and author of The Age of American Unreason, Parker’s article exemplifies a culture-as-commodity perspective: “If we are going to more literary festivals graced with celebrities and greased with abundant alcohol, if we are spending freely in the museum shops of world capitals and if we are willing to give Anna Karenina a try because Oprah Winfrey has conferred her imprimatur on Tolstoy and his doomed heroine, why, we must be getting smarter.” Ultimately, adds Jacoby, “It is not a question of whether people read Dickens and Tolstoy, as opposed to Dan Brown and Barbara Cartland, but whether they read anything longer than the text bites that constitute "reading" on the web. I place the word in quotation marks because most of us are engaged online not in uninterrupted traditional reading but in a vulture-like swoop to gather tidbits of information.” Jacoby describes Parker’s phrase, “appetite for culture”, as not only allegorical but as symptomatic of a growing culture of addictions. Culture commoditized; something to be consumed, digested and excreted as opposed to experienced, processed and enlightened by.

“The defining phenomenon of our society during the past three decades has been the triumph of video over print culture in general, and of shorter blocks of text over longer, reflective articles. This process began in old-fashioned print media and has reached its apotheosis on the Internet,” says Jacoby.

Evidence undeniably shows that more people are being exposed to aspects of culture. Computers and now smartphones have created an “instantly accessible” information-rich society.  Eighty-five percent of young adults are smartphone owners, who use their mobile devices in a host of information seeking and transaction. A majority of smartphone owners use their phone to follow breaking news and share local events—as they happen. Buckminster Fuller observed that human knowledge doubled every century until 1900; by the end of World War II it was doubling every 25 years. It now doubles every 13 months.

Does this reflect a genuine rise in “mass intelligence” or does it simply demonstrate better marketing and an improvement by society in absorbing packaged information?

Mass Intelligent TV and the Age of the Disposable Hero (with apologies to those of you who

currently enjoy Game of Thrones)

Like a gestalt barometer of a culture, the story narrative reflects upon and expresses humanity’s artistic soul. The stories of a culture convey its values and qualities. And, ultimately, they carry a culture through its own evolution.

Emily Gardner of the Economist Group contends that HBO’s immensely popular medieval fantasy Game of Thrones, with its complex character plotlines, intrigue, and elegant world-building, exemplifies a rising “mass intelligent”, coined by Economist CEO Andrew Rashbass to describe a rise in the ‘nerdy’, smarter more discerning TV viewer.  Granted, the TV series, based on George R.R. Martin’s fantasy/horror book series A Song of Ice and Fire, contains intelligent characters with depth (superbly played by an accomplished cast), and some of the best world-building ever shown on TV. However, Game of Thrones also drowns these with copious graphic scenes of mutilations, dismemberments, flailing, crucifixions, castrations, beheadings and random axes in heads—not to mention ceremonious displays of these various parts. The script, though intelligent at times, is fraught with misanthropic voyeurism that borders on sociopathic. Heroes and villains alike are unceremoniously tortured, flayed alive, dismembered and worse—with no recourse for transcendence or redemption.

The producers defend the graphic brutality of Game of Thrones with the assertion that it is not a Disneyesque fairytale version of the world; rather, they meant to capture the gritty reality of the world. however, as Internet commenter Todd Geist wrote, “Game of Thrones is very compelling. But so is a train wreck.”

Good fiction—unlike a reality show—tells a purposeful story with fictional characters who play a purposeful role—usually in a journey of change and a story arc based on a meaningful theme. This doesn’t have to entail a happy ending, but it does include meaning and fulfillment—even if only for its audience. Without a meaningful arc, a character (and its empathizing viewer) remains unfulfilled. When too many heroic characters are subjected to such an abrupt ending (with their arc unfulfilled), the viewer will distrust the narrative and distance herself. Reluctant to invest in any heroic character, she becomes less story-participant and more distant-onlooker. The narrative arc, once collapsed, naturally gives way to the thrill-seeking pattern of the addict, anticipating the next thrill. Moreover, when theme-carrying characters fail to prevail, this puts into question the very theme they carry, further disassociating the viewer. This is best represented by the Stark family of Winterfell, who are all but destroyed by the second season of the show.

According to Tom Gualtieri of Salon, in the land of Westeros naivety is punished and cunning is more valuable than honor. “The Red Wedding, like so much that happens to the Starks, makes integrity seem like naiveté,” says Gualtieri. “The Starks’ belief in honor is a noble trait which impairs their judgment, blinding them to the treachery of others.” Gualtieri’s cynical assessment demonstrates how Game of Thrones has strayed from its initial story promise by making its theme-carrying heroes disposable.

With Season Five of Game of Thrones poised to simulcast to 170 countries on April 12, news feeds scramble with teasers to whet the unruly addiction of fans, gripped by the frenzy of the “game”.

Game of Thrones may indeed epitomize the concept of a rising “mass intelligence” with its intriguing, compact bite-sized subplots and disposable heroes. The “mass intelligent” culture prizes information over understanding and knowledge over wisdom. We empower our smartphones with an attention we fail to bestow on our friends. We are a sensory-deprived culture, addicted to piece-meal thrills and sensationalism to carry us through our otherwise meaningless days. We obsess over but dare not empathize with the disposable heroes of our stories. Our TV programs increasingly feature the gritty anti-hero (or even villain) as main protagonist. A growing discussion among those who study story challenges the Jungian-Campbell archetypal narrative of change and transcendence and favors alternative plot structures with no hero, no goals, and no achievement. “Reality shows” and fiction narrative increasingly blur as we enter the ‘zero narrative’ “Age of Mass Intelligence”.

The hero is dead, long live the hero! 

Nina Munteanu is an ecologist and internationally published author of novels, short stories and essays. She coaches writers and teaches writing at George Brown College and the University of Toronto. For more about Nina’s coaching & workshops visit www.ninamunteanu.me. Visit www.ninamunteanu.ca for more about her writing.

Why You Want to Go To A Writer’s Convention

Nina Munteanu and Tom Doherty share a panel on ecology

I'm about to attend (and participate as a panelist and guest author) tomorrow for four days at the World Fantasy Convention in greater Toronto (The Sheraton Hotel in Richmond Hill). And I’m all jazzed about it! Why?... Well, let me tell you why…

If you haven’t yet attended a writer’s conference or convention, it’s high time you did. Because, not only are you missing out on an education, you are missing out on a sub-culture that may change your life as a writer, help feed the hungry and align the universe.

The last World Fantasy Convention I attended was several years ago in 2008. It was held in Calgary, Alberta, when I still lived in Vancouver, British Columbia. The ten-hour drive through some of the most glorious Canadian wilderness and mountains was bracing and we were lucky that the weather played fair. It was an auspicious start to a wonderful journey of self-discovery.

Nina introduces Toulouse to author  Lynda Williams

Hosted by toastmaster Tad Williams, this world-class convention featured guests of honor, David Morrell, Barbara Hambly, Tom Doherty and Todd Lockwood. The World Fantasy Convention promised great things and delivered them. And I’m not just talking about that white chocolate cranberry-date-nut dip that had me loitering at the hospitality suite. Or all those midnight parties that served savory wine with salted almonds, sharp cheese and colorful conversation with the likes of David Hartwell, Tor editor and impeccable dresser (gotta love those ties!). I’m not even talking about the hot tub that sprung a leak on the 18^th floor at 1 am or the entertaining panels and readings, which rocked for both writer and reader.

What made the con great for me was seeing my writing community (both writing colleagues and readers who followed my writing) and meeting new people, all lovers of books.

Nina meets an old friend...

I was rudely eyeballing someone’s nametag on his chest, when I collided with the Prince George crowd that included authors, Lynda Williams (herself responsible for some pretty nasty intergalactic wars), Nathalie Mallet (who cages princes) and publisher Virginia O’Dine of Bundoran Press (rumored to have been somehow responsible for the hot tub fiasco). I also chummed with Jennifer Rahn, author of The Longevity Thesis, who was charmed by my sly cat (she’s a softy at heart). Toulouse just kept charming his way through the crowd right to the book fair. We wandered to the back where Anita Hades of Edge Books gave Toulouse her usual greeting (a feline move that was a cross between Sophie Marceau and Brigitte Helm; both she and Toulouse have French blood coursing through their veins, after all—c’est vrai!).

I’d come a long way from the first writer’s conference I went to as a budding writer of a few short stories and non-fiction articles…

Toulouse meets all the babes...

Here’s what author Susan Denney says about her first writer’s conference: “Going to my first writers' conference was an act of faith. I was just starting to make some freelance sales when the members of my writers' group encouraged me to join them at a conference a few hundred miles away. The expense didn't seem justified to me. The cost was far more than I had earned through writing that year. But they convinced me at last and it proved to be a great investment. The benefits of a writers' conference are there for anyone who has a desire to be a better writer.”

Here are some reasons why you can’t afford NOT to go to a conference or convention:

Contacts: you will make contacts with people working in the industry, an extremely valuable asset; this industry is a social one, based on trust, respect and joyfulness. While there’s no guarantee that you will meet anyone famous or influential, you will definitely meet people who know more about writing than you do. Just hanging out with professional writers, editors and agents is educational. If nothing else, you will gain some confidence and ease with industry people, who are real people too. Some may become friends; some may become colleagues; some will become both.

Appointments: through agent/editor/author appointments, you will have a chance to have a quality private conversation with a professional on all aspects of writing and publishing. This is your chance to pitch your novel or ask that one burning question. You know you’ll get a candid and professional answer. That in itself is invaluable and may be enough reason to attend the con. Appointments are also your best chance of getting your manuscript read. This is because it bypasses the slush-pile and months of waiting for a response. More and more editors and agents look to conferences to meet potential authors. For them, meeting an author in person is a bonus to their gauging potential success in a relationship with them.

Toulouse meets an old friend...

Education on Craft & Marketing: you will learn something about craft and marketing, no matter what stage you are in your writing career. Depending on the conference or convention, aside from good information from panels, you may also get personal mentoring, 1-page critiques, or attend small themed workshops. Feedback from an experienced writer can save you months of frustration and grief. Just hearing about what is currently going on in the industry is also valuable and conferences are a good way to get the skinny on what the current issues in the writing and publishing industry are. Getting it from those who are working inside avoids the idle and potentially harmful gossip.

Community: you will be exposed to a community of writers, hundreds of creative people in various stages of their careers. By interacting with both those you can help and those who can help you, you will gain a measure of both humility and confidence and satisfaction. We learn so much by helping others. Simply being with other writers can help hone your people-skills, the same ones you will need when approaching agents, editors, publishers and research sources during your career as a professional. Remember, if you aren’t having fun, you are missing one of the most important aspects of attending a writer’s conference, and you will lose your own effectiveness.

Energy: there is nothing more energizing than a common sharing among those of like-minded thought and vision. Writing is primarily an individual pursuit, often thought to belong to the introvert; but, to succeed in the writing/publishing industry a writer must display staying power, persistence, confidence and enduring energy. There is nothing quite as inspirational as hearing an accomplished writer provide their story of victory against odds. I will never forget the moving words of Ray Bradbury at a conference in Palm Springs years ago. I have repeated those words many times since. If you come to a conference with the right mind-set, I guarantee that you will leave with more energy than you came and with a burning need to write.

Nina meets an old friend too...

Exposure: depending on the kind of conference or convention you attend, you will have the opportunity to expose yourself to something different (e.g., different fiction genres and associated communities; fiction vs. non-fiction; different media; etc.). I attended a romance writers conference a few years back (I write mostly science fiction and fantasy—but often with romance elements in them) and found it bracingly educational.

New Markets & Ideas: conferences attract writers of all kinds. Conferences provide fertile ground for cross-pollination of ideas, markets and marketing ploys. Writers, like you, are generally a nice crowd; most are willing and eager to share their successes and failures. And contacts. Sharing is one of the great things that happens at conferences. There may be a common pin board set up for people to share. Most conferences are Twitter and Facebook enabled for quick and easy viral sharing. If you don’t come away from a conference with at least one new idea, contact or market, you haven’t done your job: talk to people.

Here are a few do’s and don’ts for when you go conferencing:

1.     Wear comfortable but not sloppy clothing and shoes (it’s likely that you will be doing a fair bit of standing and walking); you want to make a good impression. Be yourself and dress accordingly.

2.     Bring promotional material with you (e.g., business cards, flyers on your book, stories, etc.). Have something to share and exchange with other writers and professionals. Most conferences also have tables devoted to shareware. This is your chance to introduce you and your writing to others.

3.     Take something to write with (e.g., notebook and pen or iPad, etc.).

4.     Talk to people. Chances are that everyone there is interesting.

5.     Respect the time, particularly other people’s time, and keep your appointments and meetings.

6.     Don’t bring your heavy manuscript with you to the conference. Agents and editors don’t have the time or inclination or space in their suitcase for it. Use the conference to make an impression and get an invitation for something later in writing.

7.     Keep all of your interactions verbal and face-to-face. Don’t rely on memorized speeches or a folded up written pitch in your pocket. Keep it casually professional. Make eye contact and speak from the heart. Show your passion.

8.     Have fun. And don’t be afraid to show it; there’s nothing more infectious and attractive than someone having fun.

Nina Munteanu is an ecologist and internationally published author of novels, short stories and essays. She coaches writers and teaches writing at George Brown College and the University of Toronto. For more about Nina’s coaching & workshops visit www.ninamunteanu.me. Visit www.ninamunteanu.ca for more about her writing.