An Interview With Indie Author Connie Lacy

Connie worked for many years as a radio reporter and news anchor, with a couple of brief forays into TV news along the way. Her experience as a journalist shows up in some of her novels. She also dabbled in acting in college and community theater. She uses those experiences in some of her books as well.

Her novels are fast-paced stories featuring young women facing serious challenges set against the backdrop of some thorny issues. She writes time travel, magical realism, historical fiction and climate fiction – all with a dollop of romance.​

Bill: Connie, how and why did you become a writer, and can you tell us about your creative process?

Connie: When I was in 5th grade, I read The Little House series of books by Laura Ingalls Wilder. I decided I should be a writer too. I started with my biography. After filling a page and a half, I couldn’t think of anything else to say. Ha!  I transitioned into writing angsty, teenaged poetry, then switched to short stories at 15, tried writing children’s books, YA novels, and eventually settled on writing adult novels. My creative process involves channeling my concerns about a variety of issues, including social injustice, personal failures and climate change. To shine a light on a topic, I use it as a backdrop for my story. Racial injustice is featured in several of my books—A Daffodil for Angie (Young Adult) The Time Capsule,and The Going Back Portal. Then I work on building a main character to inhabit that world. I get to know her first, then outline a story arc for her. That changes sometimes as she interacts with other characters. But I always know how the story will end before I begin writing. My first draft always stinks. It’s messy, inconsistent and redundant. I go through many, many re-writes. The revision process always generates better ideas for scenes, and in my forthcoming novel, created a different ending. That’s the first time that’s happened.

Bill: Time travel figures in several of your novels, but not in a science fiction kind of way. Talk about that.

Connie: I’ve always liked time travel stories. Ideas pop into my mind. The Time Telephone grew out of this exact thought: what if you could call someone in the past on a time telephone? The novel also grew out of a situation within my extended family where a parent abandoned their child. So I combined the two—writing about a teenage girl grieving her mother’s death, lamenting the fact that even when her mother was alive, they never had a real mother-daughter relationship. There’s that element of fantasy, but it also deals with the very real-world issue of child abandonment. In The Going Back Portal, a young woman’s grandmother appears to be descending into Alzheimer’s disease, talking about a Cherokee Indian woman living in the woods behind her country cottage. But it turns out there’s actually a time gate that leads the protagonist to 1840 where a Cherokee woman is struggling to survive the brute who’s taken control of her land and her life. The novel delves into the wrongs perpetrated against Native Americans. That’s what appeals to me – not the sci-fi type of time travel story.

Bill: Would you describe several other of your books?

Connie: My concern about climate change prompted me to write a trilogy set a hundred years in the future against a backdrop of runaway global warming. I wanted the story to be romantic and exciting. So I mixed all of that together to produce The Shade Ring TrilogyThe Shade Ring, Albedo Effect, and Aerosol Sky. My novel, VisionSight,        is about a young woman who can see the future, including the unexpected challenges that “gift” brings. The novel I’m publishing this fall is another time travel story. This one is set in the 1850s and features a suffragette living with an abolitionist family in the Philadelphia area.

Bill: You just finished producing your own audiobook version of The Time Capsule. What was that like for you?

Connie: In a word: EXHAUSTING! I worked in radio news for many years. With all my experience in front of the mic and my experience editing, I foolishly thought “How hard can it be?” I was humbled by how hard it can be. Delivering the news is nothing like narrating a novel. There are character voices to do. Even if you don’t want to get too carried away, you still have to differentiate between characters. Of course, the sheer length of the novel is a big factor. The audiobook version of The Time Capsule is 9 hours and 21 minutes! Agh! Then there’s mouth noise to deal with. Multiple takes of every paragraph to hopefully get a usable take, often editing a sentence from one take into another paragraph take. The editing was a fulltime job. And don’t forget the technical issues, including hiss and extraneous noises (airplanes flying overhead,

barking dogs, etc.) I had to get up at 4:00 a.m., go down to the basement to my makeshift recording booth so I could record for a couple of hours before all the noise started. Will I ever do another audiobook? I’m still pondering that question.

Bill: What advice would you give to other indie authors?

Connie: There are lots of blog posts and newsletters out there with specific advice on publishing, plotting, character development, pacing, etc. I don’t want to get into all of that. I think a good piece of advice is to read a lot. Read the kinds of books you want to write. Notice what the good authors do—how they transition, how they handle dialog, how they develop character. Think about those things when you notice them and imagine how you might adapt those techniques in your own writing. It can also be educational to read poorly written books, although not as enjoyable. In that case, you might notice things you, yourself, never want to do—like using a character’s name

over and over and over and over when he/she, him/her would be better.

Thanks for having me, Bill. BTW—here’s my website.

A note to my readers: My interview with Connie first appeared in my October Newsletter. If you haven’t subscribed yet, here’s the link. I promise it’s spam-free, and I will not clutter your inbox!

An Interview With Indie Author Shawna Reppert

Shawna Reppert, an award-winning author of fantasy and steampunk, is proud of keeping readers up all night and making them miss work deadlines. In addition to the Ravensblood series and the Werewolves and Gaslight series, she has written several stand-alone novels.

Bill: Shawna, please tell us how and why you became a writer and how your creative process works.

Shawna: I became a writer because I couldn’t imagine not being a writer. As soon as I realized that someone wrote the stories in my Little Golden picture books, I knew that that’s what I wanted to do. One of my earliest memories before I could even block-print my name was insisting that my mother write down a story I was telling her.

As far as process, I started out as a pantser, as I think a lot of us do. I had some idea of story arcs and character arcs and how to put a story together. I knew the character I wanted to write about and generally how the book or story would end, and off I went. But repeatedly writing yourself into corners isn’t fun.

Then I took a seminar with the amazing teacher, Eric M Witchy. Eric insisted he didn’t make me write an outline. (He kinda did.) But in the process of writing the outline, I realized that if I had pantsed that novel, I would’ve ended up in a world of hurt when I reached the last chapter. I would’ve had to do a substantial rewrite of the entire book to weave in a character that made the resolution possible. I took to outlining with the fervor of a convert.

I tend to use the hero’s journey as outlined in Vogler’s book The Writer’s Journey as the outline to my outline, if you will. I feel the universal archetypes and story patterns slip past the conscious mind to speak to the soul of the reader.

For a while, I had a complex system of index cards, color-coded for POV and labeled with the part of the journey that each scene represented. I’m now 10 novels in and I’ve internalized the structure of story and character enough that I no longer need quite such a formal process. But if I find myself bogging down in a chapter, I’ll outline the section to get a better idea of what needs to happen and in what order to make the novel work.

A lot of writers, especially beginning writers, think that outlines are dull and that outlining takes the joy of discovery out of the creative process. For me, it’s just the opposite. It’s like stepping back from the painting to see the whole picture more clearly. When I outline, I can make connections between characters, events, back-story, etc. that I didn’t see before. I can then strengthen those connections for a deeper and more powerful story. Maybe because I’m a story geek, I find the whole thing very exciting.

Bill: I’m a big fan of “walking the streets and alleyways of Alternative Portland” in your Ravensblood series. Can you tell us about the books and what gave you the inspiration for them?

Shawna: Ravensblood is a dark urban fantasy with a strong redemption arc. My protagonist is a powerful dark mage seeking redemption by becoming essentially a double agent for the Guardians (The division of the police to handle magic crimes in my alternate universe). He is spying on his master William, whose ambition to rule threatens the Three Communities, perhaps even the world. To keep his cover, he has to commit acts that threaten to pull him even further down into darkness.

In later books Raven, having won his pardon, has to learn to accept his dark past, redefining himself and reintegrating into a society that isn’t always ready to accept a reformed dark mage into its midst, all while helping the Guardians with new (and old) threats.

I lived in Portland for a little over a decade and still live just under an hour away. I love the Pacific Northwest, and so wanted to use it as a background. Some of the places mentioned exist in the real world, some are purely fictional. Some are a little of both—for example, in Ravensblood, OMSI has an extra ‘M’. (It’s the Oregon Museum of Magic, Science, and Industry.) The bullet-nosed Stude that makes a cameo in the first book of the series actually was parked for years in a SE Portland neighborhood very similar to the one in which that particular ambush took place. I particularly like putting in those quirky little spots that make Portland so…Portland.

My late editor said that various McMenamins pubs show up so much that the company should give me free beer for life (I prefer hard cider, if anyone has a connection…)

I think it makes it fun for readers. I’ve been putting little notes in the front or back matter about some of the places of interest that are real-world so readers can do their own exploring.

Bill: When I started reading your Werewolves and Gaslight series, I thought “Sherlock Holmes and werewolves—cool!” But then the lightbulb went on, and I realized there was a deeper meaning there. Can you tell us about that?

Shawna: For me, it’s not enough to write a gripping whodunit without a rich, vivid backdrop to help it come to life. And while it’s lovely to read about (and to write about) splendid balls and fine dresses, and all of the beautiful things the Victorian era had to offer, it’s dishonest to do that without facing the dark underbelly of that time. There were a lot of people living in abject poverty in conditions you can barely imagine, and this is a dichotomy we are starting to see more and more in our own times, with an economy that seems designed to channel resources ever upward, so that more and more of the wealth is in the hands of fewer and fewer people.

Among other things, what drew me to writing steampunk were the parallels between the Victorian times and our own. The stereotype of Victorian times as being very frozen and set in their very strict morals and social code overlooks that it was actually a time of great flux.

Women, at least those of means, were able to accomplish a lot more than they ever had before. They were able to travel to Egypt and ride camels to pyramids. Women were even able to get higher education at Oxford. (Of course, they couldn’t actually earn a degree because, you know, let’s not go crazy.) They were starting to do things that were making the male establishment pretty uneasy. The whole image of woman as domestic goddess, unable to comprehend things like finance and politics and too delicate to be troubled by anything going on in the outside world, fit only to make the home a lovely sanctuary for their hard-working men, that was a pushback against the advances women were making towards being something other than helpmeet to men.

Social mobility was becoming a possibility. Not a probability, mind you, but the very notion that one could rise above the station one was born to was pretty revolutionary. It challenged the notion that one’s place in the world was decreed by God.

In Victorian times, people of the working class could get an education. Benevolent religious organizations were holding free schools, where even an absolutely dirt-poor beggar kid could learn to read and write. There was a lot of concern among the upper classes that working people would start “getting above themselves.” They were feeling threatened and pushed back by trying to make certain the rigid social lines that protected their privilege were kept in place.

We see the same sort of dynamic in our own times. There have been great strides toward justice and equality. We had a black President. We have a marriage equality act. These are all things I never thought I would see in my lifetime, and I am very, very glad to have been wrong. And now we are facing rapidly escalating push-back by people who are vested in preserving the former status-quo.

The London of my steampunk world faces the social inequalities of the real Victorian London, plus it has werewolves, the very bottom rung of the social ladder. Sometimes it’s easier to talk about hot-button issues by moving the discussion into another time and (slightly fantastical) place.

Bill: You’ve written several other books besides these series. Would you care to highlight some of them?

Shawna: I’ve published three stand-alone novels with a more traditional fantasy feel. The most recent of my stand-alones, Brother to the Wolf, is sort of a passion-project. I didn’t want to do another version of Robin Hood. There’s plenty of those out there already, some good, some great, some that…er, don’t add a lot of merit to the subgenre. But since I love the Robin Hood legend, and especially the older, more pagan versions of the tale, I created an alternate world with similar history and conflicts and wrote an original tale with similar themes.

Where Light Meets Shadow is a male/male fantasy romance with elves, healers, and bardic magic. I definitely wanted a plot that encompassed more than just a romance. There are two races of elves in an uneasy détente following a bloody war in which neither side was entirely right or wrong. The two lovers will either help heal the divide between their two peoples, or be torn apart in a second war. Because the main protagonist is a harper, I also got to geek out over Celtic music and ask my Irish musician friends a ton of questions.

The Stolen Luck was my debut novel, another male/male fantasy romance. I actually didn’t set out to write it as a romance. I was interested in exploring what would make a good man go against his own beliefs and values, and I wanted to make that reason compelling enough that the reader could feel like, in the same set of circumstances, they might make that same choice. The romance came up as I followed that age-old advice to writers: put your protagonist in a tough situation, and then make it harder.

Bill: Shawna, thank you so much for your time. I think I can speak for all of your fans in wishing you every success with your latest project.

Would you like to learn more about Shawna and her books? Please visit her at Sign up for her newsletter and get a free gift!

Also check out the Northwest Independent Writers Association at

An Interview with James M. McCracken, President of the Northwest Independent Writers Association

—How did you get started writing?

I guess you could say I was intimidated into writing. I’ll explain.

During a high school basketball game, I sat in the bleachers drawing a picture. The older sister of a schoolmate sat down beside me and asked me what I was drawing. I showed her and she wanted to know the story behind the picture. I told her there wasn’t a story. It’s just a picture. She said there had to be a story otherwise I couldn’t draw it. So, to get her to leave me alone, I made up a story and told her. She said, write it down. The next time I come to visit my brother, I want to read it. I said I would but had no intention of actually doing it.

A month later, I heard she was back and looking for me! I stayed in the dorm and didn’t leave until I heard she was gone. As I walked out of the building a van stopped in front of me. It was HER. She motioned me over and asked to see the story. I told her I hadn’t finished it yet. She said I had a month and she’d be back. She was bigger and stronger than me and a bit intimidating.

Once she left, I bought a ream of typing paper and 450 pages later, I still wasn’t finished with the story. I had figured out the ending and couldn’t finish it. My schoolmate’s sister never did read the story, but I was hooked.

I continued to write shorter stories but never let anyone read them because I was afraid they would think the story was dumb.

I love disaster movies and in 1975 I wrote a story about a 747 that crashed into the ocean and managed to stay intact, but sank. The story followed the typical disaster storyline – survivors trying to escape. I tucked it away with the rest of my stories and forgot about it.

Two years later, in 1977, I was walking past the bulletin board and noticed the movie ads. My jaw dropped when I saw the ad for Airport ’77. I thought if someone else could come up with the same premise as me, maybe my stories aren’t so dumb after all.

So, I began to take my writing more seriously. But I still wouldn’t let anyone read any.

—Tell us a bit about your craft. How do you begin a new book? 

I am what some people have described as a pantster, I don’t use an outline.

Most of my stories start out as a dream. When I wake up, I begin writing down the dream. Depending on the story, in order to keep the characters straight, I search the internet for pictures of people and use the pictures to keep my descriptions consistent.

I research the details in the story as they come up.

I try not to think too far in advance because I know myself and once I figure out the ending, it becomes more difficult if not impossible for me to finish. So, I am sometimes as surprised by the ending as you, the reader, are.  

—What would you most like your readers to take away from your writing?

Many of my stories deal with family and life, I would want people to take away that in life there is no such thing as “happily ever after.”  Life is a complex timeline filled with moments, some good, some not-so-great, some we cause by the choices we make and some that are unexpected. It’s those moments that collectively shape us into the people we are.     

—Can you give us a sneak peek at your latest work-in-progress?

I’m currently working on a new series tentatively titled, In My Mother’s House. It’s a soap opera inspired by a true-life family. The series covers eight years in the lives of the Holts beginning with an unexpected death and ending when the last of the Holt children moves out of her parents’ house.

The synopsis:

Life is finally starting to turn around for
Robert and Abigail Holt and their seven children.
Robert is working a steady job.
Abigail’s business is thriving.
The family is settling into their new home.
The future is looking bright.
Then one phone call sends them on a roller coaster ride
no one could have predicted. . .
or did he?


—Thank you so much for you time, Jamie. And for my readers, here’s the link to his website, where you can check out all of his books and more! James M. McCracken