Just in time for Valentine's Day, Lace and Blade 4 offers a bouquet of sensual, romantic, action-filled stories.Order it from iBook, Kindle, Kobo, Nook. Table of contents is here.
Heather Rose Jones is the author of the Alpennia historic fantasy series: an alternate-Regency-era Ruritanian adventure revolving around women’s lives woven through with magic, alchemy, and intrigue. The series so far consists of Daughter of Mystery, The Mystic Marriage, and Mother of Souls as well as some shorter pieces. Heather blogs about research into lesbian-like motifs in history and literature at the Lesbian Historic Motif Project and writes both historical and fantasy fiction based on that research. Her short fiction has appeared in Sword and Sorceress and at Podcastle.org. She works as an industrial failure investigator in biotech.
Deborah J. Ross: Tell
us a little about yourself. How did you come to be a writer?
Heather Rose Jones: I’ve
been writing in some form or another most of my life, whether stories, songs,
or poetry. I’ve always loved working with language. So it’s hard to point to
any particular time point or process of “becoming a writer.” It’s a bit easier
to talk about how I came to be a published writer. For that, I got a solid push
by getting to know various other published science fiction and fantasy authors
in the SF Bay Area, whic got me used to the idea that it was a possible thing
to move from having written something to getting it published. My first short
stories appeared in the Sword and
Sorceress anthology series back in the 1990s. I was working on some novels
at that time that still sit in file folders, but my first published book series
is one I didn’t start working on until after I’d finished my mid-life PhD and
decided I needed an entirely new approach to my fiction writing.
DJR: What
inspired your story in Lace and Blade 4?
HRJ: “Gifts Tell
Truth” is set in the same world as my Alpennia series: a mildly alternate
Ruritanian early 19th century with magic. One of the things I love to do when
exploring characters it to make offhand references to events in their past. Events
where I may not know all the details of what happened, just that it shaped them
in some way. One thing that is very clear about Jeanne, Vicomtesse de
Cherdillac, one of the protagonists of The
Mystic Marriage and a continuing character throughout the series, is that
she is a “Woman With A Past.” The more I write about her, the more fascinated I
am by how she came to be the person she is in the novels.
The events in “Gifts Tell Truth” haven’t been specifically referenced
in the books, other than a passing comment about how the stories of her youth
aren’t appropriate for innocent ears. But I knew in a general way that during
the French occupation of Alpennia, just after Jeanne’s unexpected marriage to a
much older French aristocratic émigré, she led a wild and scandalous life,
spurred on by a tragic event in her coming-out season (which will be told in a
later story). The current story grew out of wanting to explore the origins of
some of her later attitudes and reflexes, with the added bonus of showing the
start of an odd but enduring friendship that features in the novels.
DJR: What authors
have most influenced your writing? What about them do you find inspiring?
HRJ: I always
have a hard time talking about influences. It’s not that I don’t think I have
them, or that I think I’m a “self-made” writer, but I spent so many years
simply devouring so many good (and not so good) books that I don’t know that I
could identify my conscious influences. It’s a bit like the majority of my
historic background research: I’m constantly tossing material into the compost
heap, and when I need the fertilizer to grow a story in, there it is, but it’s
digested and changed. If we’re talking about stylistic influences, the only ones
I can point to with any certainty are the short stories I’ve written in
imitation of various genres of medieval literature.
But I can identify some writers who inspire me in terms of the
shape of their career. Writers who are being a direct inspiration by
encouraging me when I feel like the publishing world doesn’t have a place I fit
into. That would be people like Kate Elliott and Beth Bernobich and Melissa
Scott. I’m going to stop with the first three that came to mind because
otherwise I’ll worry too much about who I’m leaving out. The non-author who
most inspires my writing is the proprietor of the website People of Color in
European Art History. Just as she is doing with people of color, I’m trying to
write queer stories back into the history they were always present in.
DJR: Why do you
write what you do, and how does your work differ from others in your genre?
HRJ: It’s almost
a cliché, but I’m writing the books that I wanted to read that nobody was
writing for me. I’m writing fantasies about smart, geeky women in historical
settings, whose lives (and loves) revolve around other women, and who are
subverting the patriarchy, not in dramatic ways, but simply by supporting each
other in their various endeavors.
To discuss how my work differs from others in my genre,
first I have to decide which of my genres I’m comparing it to. My novels are
published by a lesbian press (Bella Books) which primarily focuses on
contemporary romance. This might seem an odd fit, but when I was deciding where
to send my first novel, I looked around and couldn’t find any mainstream
fantasy publisher that was putting out anything that looked like what I was
writing. And I heard all the stories about writers being told to de-queer their
characters, or only being offered contracts for the ones with straight
storylines.
To some extent, it’s still hard to find anything quite like
my books today. I’m writing quiet, thinky fantasies-of-manners that just happen
to feature a slate of queer women as protagonists. If you took my books and
made the characters straight, I could give you comparables. If you made my
characters a lot more edgy and transgressive, I could give you comparables. The
field has shifted, though, and I think today I might have taken a different
path.
If you’re comparing my work to the lesbian fiction genre,
one big difference is that romance is only one of the many threads woven through
the stories, rather than being the major focus. But I think a bigger difference
is that my work is more in conversation with mainstream fantasy than with the
SFF side of lesbian publishing. It’s a matter of flavor and structure, more
than subject matter.
DJR: How does
your writing process work?
HRJ: I always
tell people that when I’ve settled down into a single writing process, I’ll let
you know. I’ve had a different process for each of my books and expect it will
continue to change. The most significant logistical aspect of writing for me is
fitting it in around my day job (which I absolutely love and which is a
constant source of inspiration to me) and my commute. So my current process is
to get up very early in the morning and dictate a scene into a handheld
recorder while driving in to work. Then I stop off in a coffee shop for an hour
or two, transcribe the dictation, clean up any plot notes from the day before,
and do some blogging. If I get snippets of dialogue or text or even simply plot
ideas during the work day, I e-mail them to myself to include in the next work
session.
I tend to work best as a “start to finish” writer. I do a
very ugly first draft, full of placeholders and notes and redundancies. I try
to avoid doing any revision until I have something that’s functionally
complete. For my first novel I was so much of a pantser that I had no idea how
the story was going to come out for the first half of the draft. Now I tend to
be more in control of the big picture, but I still avoid thinking ahead in too
much detail. I tend to lose the crispness if I run the movies in my head too
much before writing them down.
After that, there are a lot of revisions and generally two
rounds with beta readers and subject matter experts before the story goes out
the door to anyone else. I enjoy revising, almost more than I enjoy drafting.
At that point the clay is all made and I get to work on the pottery.
DJR: What have
you written recently? What lies ahead?
HRJ: At the time
I’m writing this I have two active projects. The fourth Alpennia novel, Floodtide, has its ugly first draft and
is resting a bit before I start the revisions. I’m trying to take a slightly
different genre angle with each book in the series and this one is meant to be
something of a young adult story that can be an independent introduction to the
series. The second current project is probably going to end up a novella. It’s
called “The Language of Roses” and started off as a cynical reaction to yet one
more Beauty and the Beast interpretation. I’m trying to see how dark I can get.
I don’t have a lot of practice in writing dark.
As for what lies ahead, the Alpennia series is planned to be
at least seven novels total, plus an assortment of short fiction to fill in
some gaps. I have plenty of other ideas for novels, but a lot depends on where
I want to take my career when I’m done with Alpennia. I’ve been trying to write
more short fiction, too. I have a quartet of stories inspired by the medieval
Welsh Mabinogi (with lesbians), of which two have been written and published by
Podcastle. I have my stories from Sword
and Sorceress that I plan to self-publish as a collection with a concluding
novelette, which is waiting for me to have the time to work on the logistical
parts.
And through it all, I’m constantly working on the Lesbian
Historic Motif Project and its associated podcast, which is intended as a
research resource for people writing queer women in historic settings.
DJR: What advice
would you give an aspiring writer?
HRJ: There’s all
the usual advice, like “seek out good writing and study it” or “a writer
writes, so start writing and you aren’t ‘aspiring’ any more.” But in the current
state of the field, I think an important piece of advice for new writers is to
have patience. Not meaning to sound like an old fogey (though of course I do),
but your first book isn’t necessarily going to be worth publishing. In fact it
probably won’t be. That’s ok. That’s not failure, it’s part of practicing to be
better. A lot of aspiring writers think that their first book needs to go out
into the market no matter what. If you can’t get an agent or a publisher
interested, then publish it yourself. Self-publishing has become incredibly
easy, and that can be a good thing. But just because something is easy doesn’t
mean it’s a good idea. How do you push yourself to improve if you think that
your first efforts are good enough? If you picked up a violin and played it for
the first time, would the result be good enough to be recorded? When you pick
up a paintbrush for the first time, do you expect the result to be hung in a
gallery? Writing is a craft; it takes effort and practice and analysis. Have
the patience and persistence to learn your craft well.
Heather Rose Jones is the author of the Alpennia historic fantasy series: an alternate-Regency-era Ruritanian adventure revolving around women’s lives woven through with magic, alchemy, and intrigue. The series so far consists of Daughter of Mystery, The Mystic Marriage, and Mother of Souls as well as some shorter pieces. Heather blogs about research into lesbian-like motifs in history and literature at the Lesbian Historic Motif Project and writes both historical and fantasy fiction based on that research. Her short fiction has appeared in Sword and Sorceress and at Podcastle.org. She works as an industrial failure investigator in biotech.
What a fascinating and insightful interview (as chatting with Heather always is). Thanks!
ReplyDeleteGlad you enjoyed the interview. I love Heather's work and hope to edit more of her stories in future anthologies.
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