I Get Speculative and Rejecty With Ross Willard

bloody rossRoss Willard, a Colorado resident, has been writing speculative fiction in one form or another for as long as he can remember. A longtime member of the Penpointers critique group, Ross can often be found reading or writing at his local independent coffee shop, or working on his website, www.rosswriter.com.

 

Ross Willard. I met Ross way back in 2009 at the Pikes Peak Writers Conference along with a ton of super cool people like Aaron Spriggs. Ross had just come out of a pitch session and he looked devastated. What happened? I’ll get there, I’ll get there.

I then saw Ross at the 2009 RMFW Gold Conference where he was a finalist for his novel, Sparrow and the Toad. It was a super hero novel like no other.

And I didn’t see Ross for a long time. I suffered for it because Ross is an amazing bloke. So when it came around that he was getting his first book published, I jumped at the chance to interview him. And so, here is the interview.

But first, a little about his debut novel, System Purge:

SYSTEM Purge - 1400A 14-year-old prodigy with a mysterious past. A genetically-engineered soldier with a deadly present. A sentient machine fighting for his future. They come from different worlds, but they’ll have to trust each other if they want to survive.

Aaron: Okay, Ross, I tried to throw out a hook in the first paragraph about your first pitch session, and here is where we fulfill the promise. Or should we wait? Let’s wait. I can feel the tension building. Okay, when was the first time you ever dreamed up a story? Give us a little pitchy poo.

Ross: Ah, my very first story! I remember it well. Okay, that’s a lie, I remember it vaguely, partly because it was a very, very long time ago, and partly because I try to block my memory of stories that bad. The first story I ever remember writing was about one of the characters from He-Man. I don’t remember what his name was, but he was the guy with wings. Anyway, long story short, it was a very short story, and while it had no character development, or arc, and was, I think, one paragraph long, it did one very important thing, it made me realize that the stories I loved so much on Saturday morning did not drift down from on high—they were created. And that people created them. That I could create them. I know that if I ever found that story that I scrawled in a notebook way back when I was . . . I don’t know, five? Four? Six? Whenever I would blush at just how horrible it is, but I’m glad I wrote it. It was the first step on the journey to becoming a writer.

Aaron: What was the first thing you ever queried to an agent or publisher? How was the experience?

Ross: Oh no! Dredging up that? It was terrible! Basically, it went like this: after years (and years) of wanting to be a writer, and scrawling down anything that popped into my head, I finally finished my first ‘novel.’ In retrospect, it was awful. I mean, really bad. But it was done, and I, after years and years of trying and trying to actually FINISH a story, was finally ‘ready’ to publish it. But how? I’d never finished anything before, so I hadn’t needed to figure out what to do. Not an insurmountable obstacle, after all, my parents had the internet, and everything is on the internet. So I got online and started plugging in various combinations of ‘book’ ‘finished’ and ‘published.’ It didn’t take long to strike gold! A publishing company! It took a bit of scrolling around and digging, but eventually I found their submission guidelines. Uh oh. They wanted stories that were at least seventy-thousand words long? Let’s check that . . . I’m only at forty-seven? Uh oh. I can’t possibly add thirteen thousand words to this story. Oh! I know! I’ll add a subplot that barely relates to the main storyline, that’ll work. (time passes) Okay, that’s done, now where do I send my manuscript . . . But wait! A query letter? What the hell is a query letter? I mean, I know what a query is, it’s a question. A question letter? I’d better look that up! Another internet search in another window brought me information about these mysterious beasts. Apparently, I was supposed to write them a letter asking if they wanted to read my book. But that didn’t make ANY sense. How would they know that they wanted to read my book from what I wrote in a letter? I’d spent so much time and energy on the book, how was I going to express all of that in a single page? Still, it was what they wanted. I did more research into these ‘query letter’ thingies, and realized I needed some kind of hook. Oh, but I knew that! They wanted to know why they should read my book, I should tell them what was wrong with other, really popular books, that way they’d know how good I was!

Allow me to sum up: it went poorly!

Aaron: You said you submitted something to a publisher and their turnaround was a year. Tell us that story.

Ross: No-no. I submitted to a publisher who CLAIMED their turnaround time was a year. The upside was that they just want you to send them your entire book, which is already done. No query letters, no synopses (yes, that is the proper plural for synopsis), just the book itself! If you’ve ever had to wait four months for an answer to a query letter, then four more months for the reply to the partial and synopsis, only to get rejected anyway, then you know that waiting a year for a simple ‘no’ isn’t a terrible thing. The problem was, it didn’t take a year. I sent in a full manuscript and, after about thirteen months received a rejection from them . . . but not for the book I’d sent in a year before. I received a rejection for a manuscript I’d sent in so long before that, that I’d forgotten I sent it in at all! The manuscript I was waiting for took a full TWO years to get rejected.

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Aaron: Okay, I think we’ve left everyone in suspense long enough. What happened at your first pitch session?

Ross: Exactly what I expected. It was a disaster. First, you have to realize that I have an anxiety disorder, social anxiety. Second, I was unmedicated at the time. I talked to people about what to expect, practiced my pitch, and proceeded upstairs where a very nice, very pleasant woman listened to my mumbly, awkward elevator pitch, asked a few questions, and basically told me that it didn’t sound like something she’d be interested in. I think she phrased it in a way that included letting me send her a partial if I wanted, but basically it was a ‘no thank you.’ But that wasn’t why I was so upset. I was upset because all of the planning and practice meant absolutely nothing. I’d gone in, started talking and suddenly all of my ideas sounded stupid. Everything I said was more idiotic than what I’d said before, and I felt like a fool. I knew that becoming an author was what I wanted to do with my life, it was more than a career for me, it was a calling, but I couldn’t talk about what I’d written without feeling like a fool. And when I feel foolish, I get upset. Okay, fine, I cried, I can admit it!

Aaron: So after all the trauma, where do you think you’ve grown the most in your writing life over the years?

Ross: Well, having joined a writers’ group when I moved to Colorado, my writing has grown a great deal over the past few years, but if I had to pick one area . . . I’d have to say focus. Early on in my writing I had a tendency to meander in the storytelling. I was a fly-by-the-seat-of-your-pants writer, to such a degree that I often didn’t know where my story would be ending. I had sub-plots that didn’t go anywhere, backstories that didn’t matter, but that I had to share . . . these days I’ve cut that to a minimum, and, while not every single word on the page is absolutely crucial to the plot, the story continues forward, instead of taking a brief tangent to Australia, every couple of pages.

Aaron: When we talked, you said self-publishing was the next logical step. What did you mean by that?

Ross: For most of my life, I held self-publishing in low regard. After all, anyone can self-publish, there are no gatekeepers, so there’s no guarantee of quality when it comes to the writing. But over the years I’ve become bewildered at the state of the publishing industry as well. I’ve read amazing books that suffered rejection after rejection, and I’ve picked up books in bookstores, published by major publishers, that were, in my opinion, a waste of paper. Publishers seem to be more interested in picking up books that fit a certain type, than books that measure up to a certain quality. The problems with traditional publishers combined with advances in technology (thus lowering of prices and raising of quality in self-published books) have started a shift in the paradigm of publishing. I don’t know where that shift is going, but I do know this: in the end, books are judged by the readers. But to be judged, they have to be available. In order to find out where my writing stands, I need it to be judged by readers, and instead of submitting the same manuscript time after time after time to publisher after publisher after publisher, I’ve decided to present my work directly to the people whose opinions actually matter. Maybe nobody will like it. Maybe everyone will love it. I can wish and hope and dream all day, or I can take a step forward, and find out.

Aaron: So the book you just published, System Purge, what drew you to write it?

Ross: I wrote System Purge several years ago (the first couple of drafts). Specifically, I wrote it around the time that I moved, for the first time, out of the town, and the state, where my parents lived. I’d lived away from home before, of course, but never farther than a quick drive away. I was in my late twenties, but it was still a sort of coming of age experience for me. A second coming of age. The themes in the book revolve largely around self-reliance, figuring out who you are apart from your parents, and connecting with people who seem, in many ways, to be quite different from you.

Aaron: I was reading back through some old interviews, and I asked Kate Evangelista this question. It’s the best question ever! If your novel System Purge was turned into a religion, what would be the tenets of the religion? And could I join?

Ross: That is a good question, and a tricky one. I’d say:

  1. There’s more to everyone than what you see on the surface.
  2. The choices we make are what define us, not where we come from.
  3. It doesn’t matter how much technology advances, it is human nature that prevents us from advancing as a species.

Aaron: As the captain of your writing career, what is on the horizon? Where are you going to steer your ship?

Ross: As the captain of my writing career, it’s hard to know exactly what the future will bring, but as I am enjoying some of the benefits of self-publishing, specifically the control I retain, I would kind of like to set up my own small press someday.

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More on System Purge:

compass ross willardFourteen-year-old Tommy Philips doesn’t know where he comes from.  He has questions that his foster parents can’t answer, questions about who he is and what makes him so different from everyone around him.  When he stumbles across evidence that one of his teachers has been guarding him for years, Tommy begins an investigation that will uncover a history he never could have guessed.

Rowan Darren wasn’t just born to be a soldier, he was made to be one.  The Nospious, a collection of twelve Houses of genetically-engineered humans, live in silent conflict, fighting quiet political wars against each other and the outside world, constantly trying to advance their interests to the detriment of anyone who gets in their way, while concealing their existence.  Rowan, of the House of Aries, is no exception.  After years overseas, expanding his House’s influence, Rowan is coming home, but the home waiting for him is anything but simple, and survival will require more than a few modified genomes.

Though he goes by Samuel, his name is ‘Three,’ and ever since The War claimed the lives of his siblings, he has been the oldest living synthetic lifeform on Earth.  Maintaining control over the increasingly restless Society of Machines has always been difficult, but a second war has been brewing for years, and if Samuel doesn’t get in front of it in time, it will cost the Society both lives and the secrecy that they’ve cultivated for years.

Three lives moving in very different directions will all meet at a crossroads, and all three will be forever changed.

Step 5 Introduction: My History as Bart Simpson

Step 5 – Admitted to the world, to another person, and to ourselves the exact nature of our disease.

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Writing is a solitary thing. No, really. One of my favorite bits from the The Simpsons is the summer where Bart breaks his leg. And he’s alone. And he gets weird. At one point, Lisa invites him out for something, and Bart, reduced to a pale, raccoon-eyed creature, hisses at her, “No, Lisa, I can’t. I’m working on my play.”

Spending large amounts of time alone is not good for human beings. We get strange. But as a writer, that’s one of the job hazards. I got used to being alone, though, even before I chose to write in every spare second I had.

I grew up in the basement of my house watching TV and working on my play. I was pale. I had dark circles under my eyes. And I was alone. I built multiverses out of legos. I read dark tomes. I watched Happy Days. Lots of Happy Days. Real life couldn’t compete with all that alone time.

I can still go there, and so I can write books. If I had been more well-adjusted and popular, I probably wouldn’t have wanted to be a writer. What’s done is done, though.

The thing is, after I wrote in isolation for years and years, fourteen years and hundreds of thousands of words later, I wasn’t making much progress. And I was lonely.

Somehow, I got the idea that writers were like high school theatre people. Not sure where I got that. It’s not the truth. I was driven to meet other writers because I was desperate to improve and I needed help. So I reached out.

We write alone, but we are not alone.

All of that is a long intro to Step Five. Step Five in its basic form is reading our inventory out loud to another person. A real-life person. Someone who can listen and keep quiet about what they heard. Some people use priests for this. Others call 411. True story, someone dropped an inventory on the poor gal working the information desk.

The process of reading our inventory, listing our inventories, admitting to our petty resentments, makes it real. As we read, we are admitting to ourselves what is really going on. Another person bears witness and represents the world. Get out your rosary beads, light the incense, get your Catholic on—this is a confession.

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We’ll talk more about step five next week.

I Get Blue and Gray With Historical Fiction Writer Quinn Kayser-Cochran Part 2

quinn k 9863dd3Ready for more Civil War?  Of course you are!  Everyone loves the Civil War!  It was so Civil.  And so warry.

Okay, now for part II of the interview.  Charge!!!!!!!!!!

AARON: In the West, which side would you have wanted to fight on? Don’t worry, if you say Confederates we won’t say you’re racist. We’ll just think it.

 

Quinn: The Coloradans, no question. Come on, Aaron: no real Coloradan shoulders arms so that Texans can overrun our state—we have real-estate agents for that.

AARON: What would have been the worst part of fighting in the Civil War? The drab uniforms? The bad coffee? Dysentery?

Quinn: Probably everyone agrees that dysentery is worse than chicory coffee (I’d say that everyone agrees, but people are strange …), and chicory coffee (made from ground, roasted endive roots, chicory coffee was more-readily available than the real thing—especially to Southern troops later in the war, as the Union’s naval blockade curtailed imports of every kind) is—in my opinion—worse than a drab uniform. And besides, early in the war some regiments wore hilariously theatrical uniforms (the 11th New York Infantry Zouaves spring to mind—their uniforms were patterned on those worn by French colonial troops in Algeria: gray MC Hammer-pants with red and blue trim, leather leggings, red fezzes, etc.).

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Seriously, though? As in any war, many men struggled with the emotional toll of killing other humans. Even those who believed in the correctness of their cause, or those whose church leaders had exempted them from normal strictures against killing, struggled to process the things they’d done (speaking of which, Lord, you wouldn’t believe the contortions some religious leaders went through to justify the wholesale murder taking place within their parishes). Of course, back then there was no such term as Post-Traumatic Stress Disorder—rather, men unhinged by the war were said to have a “soldier’s heart.” This legacy of violence, coupled with residual bitterness between barely-reconciled veterans, accounts for much of what made the West wild in the decades after the war. Men who’d killed dozens or even hundreds at Antietam, Shiloh, or Franklin, were less likely to show restraint during barroom brawls in Dodge City, Bodie, or Bannack. John Potts Slough, for example (the temperamental commander of Union forces at Glorieta Pass and a major supporting character in my novel)—who received a patronage appointment after the war as postmaster of Santa Fe—was shot dead during an argument with a political rival in the lobby of the La Fonda Hotel.

Other miseries? Lice. Smallpox. Loneliness—missing family and friends. Boredom, too. Boredom intercut with horrifying violence, as the Civil War marked a turning point in the scope and scale of warfare: 18th Century tactics were pitted against modern weapons (e.g., frontal charges with bayonets against entrenched enemies with rifled muskets and artillery), and the weapons won. The killing was almost without precedent. Indeed, European observers were so impressed by Confederate entrenchments at Petersburg, VA, that early in World War I, military thinkers revisited their doctrines and decided that trench warfare was the way to go (trenching by South Africa’s Boers also fired the British military’s imagination). And of course, back then, soldiers marched everywhere: a) Sibley’s poorly-supplied Texans marched 800 miles from San Antonio to Santa Fe (farther than Napoleon’s epic march on Moscow)—and back, with their supplies in even worse condition; and b) the First Colorado Regiment marched 300 miles from Denver City to Fort Union in 13 days—they averaged a marathon a day, despite being struck twice by blizzards. Push comes to shove, probably everything about fighting in the Civil War was miserable.

AARON: What was the best book you read in preparation of your novel, best hike, best coffee shop you wrote in? Best one thing?

the-battle-of-glorieta-union-victory-in-the-westQuinn: Best Book: the best non-fiction book I read while researching was Don E. Alberts’s The Battle of Glorieta, Union Victory in the West. It is well written and well annotated, and while several books on the subject indulge in apocrypha, Mr. Alberts sticks to facts. Best fiction was re-reading Erich Maria Remarque’s All Quiet on the Western Front, and while it’s about World War I instead of the Civil War, it reminded me how grim humor functions in wartime.

Best Hike: The Indian Creek Trail in New Mexico’s San Mateo Mountains. New Mexico Highway 107 strikes south from the town of Magdalena and more or less follows the route of the Texans’ retreat from the debacle at Peralta. Indian Creek is more or less where I imagined my fictional Confederates taking a wrong turn and dooming their escape. I hiked there in April once, and even that early in springtime, already it was awfully hot, dry, and windy, which pretty much set the tone for Glorieta’s ending.

Best Place to Write: Apart from my home office, where all the heavy lifting gets done, the two places I most enjoyed working on Glorieta were: a) New Mexico’s highways—I didn’t write while driving, but I did keep a digital recorder handy and narrated the sights as I went; and b) Evengelo’s Lounge, 200 West San Francisco St Santa Fe, NM 87501‎. The owner, Nick Evengelo, is someone everyone should meet—a total character, but decent and kind. I sat at Nick’s bar on a cold, quiet January night, and he kept the drinks coming and inquired occasionally to see how the writing was going. Very well, as I recall, or at least until those drinks kicked in. Very happy memories of that place.

AARON: What is the best story that didn’t make it into your novel, or did all the great stories make it in?

Quinn: A lot was cut, condensed, or simply faded away from the first draft to the final, but I think that everything truly essential survived. I cut a good bit of the Coloradans’ (i.e., the fictional miners who enlisted just before the First Colorado Regiment set off for New Mexico) back-story, and I think they seem a little weird as a result, but I really didn’t want to go over 500 pages or chop the story into halves. Other stories were cool but didn’t directly advance the plot, so these, too, were cut: at one point, historic Central City figures Aunt Clara Brown and Mary York—one black and the other white, but both fugitives from slavery—helped my fictional miners in their flight from crooked justice; and I compressed a section on the Taos Rebellion—which spread far beyond Taos—so that only events affecting one antagonist’s family were retained. Also, I moved a great deal of biographical information about actual persons, including their post-war lives, to my websites, quinnkaysercochran.com (and/or westlandbooks.com.)

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AARON: Why do you think the Civil War in the West is such a “hidden” story?

Quinn: I think there are several reasons. The first is scale: relatively minor battles back East involved thousands, even tens of thousands of combatants; at Glorieta, Valverde, and Peralta, there were never—even with both sides combined—more than 3,500 men on those fields, and by far these were the largest battles in the far West (remember, in mid-19th Century America, Missouri, Kansas, and Iowa were considered “west”. The Mississippi River was a de facto West Coast—anything farther was Terra Incognita). The westernmost cavalry skirmish (i.e., between actual soldiers and not partisans) of the Civil War, near Picacho Peak west of Tucson, involved about twenty men on each side—small wonder only diehards and history buffs know about it. Cataclysmic events at Cold Harbor, Fredericksburg, and Manassas deserve more attention simply because of the numbers involved, and because their outcomes had a far greater impact on the war’s result.

The idea that Confederate victory in New Mexico could have turned the entire war in the South’s favor is a stretch. They simply didn’t have enough men or matériel to execute their plans. Had the Texans conclusively won at Glorieta (they did win, but had gained little, left their enemy largely intact, and had to retreat once they discovered that Union raiders had destroyed their supply train), they would have continued toward Fort Union, likely under harassment from Union troops, and found it stripped of supplies. Even if they’d reached Colorado and seized its mines, there’s no conceivable way they could’ve made it then to Salt Lake City (at that time, there was no road through the Rocky Mountains—they would have had to go out of their way north through Wyoming). And west to Los Angeles—where they planned to rally the secession-minded populace and seize its port—the conditions were at least as difficult. Really, their whole enterprise was doomed from the outset.

Another reason few people know about these battles is that they occurred in isolation. Even today, events in the Midwest and West receive comparatively slight coverage in the national press—if anything, in 1862 this disparity was even greater. Huge battles (20,000+ combatants) in Arkansas and Missouri were hardly noticed in New York City, Philadelphia, and Boston, and of course Washington, D.C., Richmond, VA, and Charleston, SC, were front-line cities with problems of their own—people there didn’t have time to notice rather minor events in the far West. Isolation from Eastern population centers also meant less documentation in the press—less of a paper trail for historians and researchers to follow—so the perpetual analysis that accompanies most Civil War events does not occur.

Finally, most history books don’t consider the many Western Indian wars concurrent with the Civil War as part of the Civil War, though surely they were. A partial list includes the Snake War in Idaho, Oregon, and California; the Dakota War, which roiled Minnesota and Iowa; and the proxy war fought between tribes exiled to Indian Territory (today’s State of Oklahoma. How’s that for wretched irony? Tribes expelled from the North and South fought against each other on behalf of their former homelands …). All these conflicts drew men and resources away from Eastern campaigns—who knows what might have resulted had they been deployed there instead? The best non-fiction book I have found that treats the West as a theater of the war is Alvin Josephy’s The Civil War in the American West.

chivingtonEven here in Colorado, the Battle of Glorieta Pass is largely unknown, which is odd, given that we supplied the troops that helped turn back a Confederate invasion of New Mexico Territory. However, in 1864, less than two years after the heroics east of Santa Fe, John Chivington led the First Colorado Regiment against an Indian encampment on Sand Creek in eastern Colorado Territory. Primarily women, children, and the elderly (most fighting-age men were away hunting), these Indians had camped at the U.S. government’s instruction, and flown both U.S. and white flags to signify their peaceful and cooperative intentions. At first, resulting slaughter was hailed as a great victory, but once stories about the camp’s true nature and body parts from desecrated corpses began circulating in Denver, the scandal that erupted resulted in Congressional inquiries, the murder of a witness before he could testify, and disgrace for the perpetrators. Indian tribes previously disposed to be neutral or friendly toward white settlers no longer trusted the U.S. military, and in no small way, this led to the really awful Indian wars that erupted once the Civil War concluded. All of this is rather heavy for fourth graders, which is the level at which most American schoolchildren learn their state’s history. Ergo, here as much as anywhere, hardly anyone knows about what happened at Glorieta.

In my novel, I tried to make John Chivington as complex as I could without excusing his numerous flaws. By all accounts, he was a good family man (aren’t they always?) who hated slavery, and who, prior to Sand Creek, usually sided with right against wrong. He could also be calculating and bombastic—his was the only opinion that mattered. From historic documents and contemporary writings, I couldn’t fully discern his relationship with the First Colorado’s first colonel, John P. Slough. After the war, he defended Slough’s leadership at Glorieta, though this may have been politically motivated revisionism. Certainly, the First Colorado was riddled with feuds, large and small, so it’s not hard to imagine that these two outsized personalities had theirs, too. As well, Glorieta Pass and Sand Creek may be viewed as halves of a whole, at least where Chivington is concerned. At Glorieta, he led a raiding party intent on flanking the Confederates’ main thrust eastward from Santa Fe. Instead, they overshot their goal, stumbled upon the Texans’ lightly guarded supply train, and destroyed it, which forced the Southerners into retreat. At Sand Creek, it’s possible he had the same mindset: knowing that the Indians’ fighting forces were absent and seeing the lightly defended encampment as a supply base for hostiles (nevermind that the tribes in question had foresworn violence), he destroyed the camp, believing that he was forcing a potential threat to withdraw. Who knows? Whatever his thinking, he made himself a pariah even to this day.

AARON: If you had a time machine that could only take you back to the 1860’s, where would you go and why?

Quinn: Any one of several mining camps in Nevada: Treasure City in White Pine County, Austin in Lander County, or Virginia City on the Comstock. Just to see a mining rush of that era at its zenith—can’t really explain why, other than to concede that I’m weird. In Roughing It, Mark Twain tells a story about how Virginia City came to a standstill as the sun set beneath heavy clouds, spotlighting an American flag that flew from the top of Mount Davidson, west of town. There was a buzz on the streets, as people who saw this phenomenon took it as an omen, not knowing that Union forces had just turned back Robert E. Lee’s invasion of the North at Gettysburg, PA, or that Vicksburg, MS, had just fallen to U.S. Grant’s Army of the West (again, see what was considered “west?”). However, Twain being Twain, who knows if this was several events conflated for effect, or for that matter if it was entirely fabricated? Either way it’s a good story—but it sure would be fun to see for myself.

Thanks, Aaron, for this opportunity to ramble about things oddly near and dear to my heart.

Thank you, and yeah, I’ll pass on the chicory coffee roasted endive roots?  We shan’t be seeing that in Starbucks any time soon!