A Grim Trilogy by Jennifer Reinfried #amwriting #horror

Today our guest is author Jennifer Reinfried for her book series ‘A Grim Trilogy‘. Jennifer is an avid reader, loves gaming, comics, zombies, and playing bass. We have conducted an interview with her about her books in ‘A Grim Trilogy’:

1. Eventually, did one of your lead female characters (as you had aspired before the start of writing this story) become who you had wanted to create? What has changed?
Definitely. In the first couple of drafts, the character Emma started out as more of a love interest, even though she was one of the criminals trying to take the city’s superhero down. For a long time, I considered her to be kind of on the side, which definitely reflected in the writing. Betas said they had a difficult time connecting with her. After a suggestion of a new beta, I gave Emma a different history, one readers could sympathize more. Once that was added into Grim Ambition, her entire character changed in amazing ways. She had new goals for her life that reflected in her interactions with other characters, especially Isaac and Shawn. It is also very interesting watching her interact now with the other lead female of the trilogy, Mari, who doesn’t show up until book two (Grim Judgment). Emma became stronger and smarter than she’d ever been, and is now a pivotal part of the entire trilogy.

2. How did the character art and bios process become more interesting or challenging? 
I’m very happy so far with how the character art has turned out. The biggest challenge of doing the art is making sure I perfectly communicate to the artist how every single character looks in my mind. Often, I will use actors that have a similar look, and send the artist a long, very detailed description of each character, in addition to some excerpts of the book itself. The artist has been very good at communicating back and forth with me during the creation of each piece. So far every one of them has turned out better than I ever imagined, and I’m very excited to see more of them. The downside of it is, if I get a piece back and end up not liking it, the artist has to start from scratch. That hasn’t happened yet, and I think, with how well he portrays what I see in my mind, I never will.

3. Which new experience(s) did you gain after editing and re-writing your first book in A Grim Trilogy?
I learned so much from the people that helped me edit and revise my book. One huge thing I took away from it all was the difference between a “telling” and a “showing” sentence. If you have too many parts that are telling, it slows the story’s flow and can even become boring, so it’s very important to make sure your writing shows the reader what is happening instead of simply telling them. Something else I now make sure I do while writing is use “he said,” “she said,” etc. Once in awhile isn’t bad, but it’s never really even needed. Instead, using action tags in place of them helps the story keep its pace and gives the readers more to visualize with the action while the person is speaking.

4. The logo design and campaign was really exciting and creative. How do you intend to spread it out further?
I’m having a blast with promotion! The logo opened up so many other ways for me to be creative. In two of my contests, people could gain points when they drew the logo somewhere in public and posted a photo of it on social media, tagging the site. I also have a lot of merchandise available on Redbubble for people to buy, such as t-shirts, coffee and travel mugs, framed art, iPhone cases, and much more. Promoting the logo and the book itself in advance helps spread the image around. When Grim Ambition is published and available in stores, people who have seen the logo or the art somewhere before will remember it when they recognize the book on the shelves.
To continue to spread it further before publication, I intend to hold more contests, and release more art and excerpts. The more people share my work on their own feeds, the more the word gets out to people I am unable to reach. Those that have been supportive and help share my posts and art are helping me and the book in so many ways, and I couldn’t thank them enough.

5. How do you describe your feelings when your book has finally been completed while in the final review before submitting to agents?
A large array of emotions is constantly flowing through me. Excitement is at the very top, and hasn’t been quelled since I started writing Grim Ambition. This trilogy, its characters and the journeys they go on are always at the forefront of my mind, every single day. To finally be so close to releasing this story to the public brings an excitement I’ve never felt before.
Of course, I’m also extremely nervous. This is my heart and soul, and I’ve spent nearly every single day since May 2016 working on the trilogy in some way. It’s terrifying to think that, no matter how much I put into it, the book could fail. I have to constantly keep myself optimistic to ensure I don’t start doubting myself, because doubt would lead to giving up, and that is not an option, now or ever. Other emotions this process has brought forth are impatience, confusion, irritation, frustration, happiness and joy, pride, and did I mention excitement? There is so much excitement!
Something amazing I discovered was that, even though I work two jobs at the moment, my level of stress has greatly diminished since I started writing A Grim Trilogy. Most people think I’d be more stressed than before, but that is not the case. Being able to finally work on something you’re passionate about and is calming, and the emotions I’ve been able to transfer into the books has been shockingly therapeutic. I encourage everyone who has ever thought about writing to do so, as it is one of the best, most fantastic things I’ve done with my life so far, and I’d hate to know others don’t take the leap into this satisfying journey themselves.

6. Which was the most appreciated feedback from your beta readers? Why did you choose this particular feedback among the rest? How did it effect your story line?
Throughout this process, I’ve now had eight beta readers. My core betas were chosen for their love of the genre, and because they were all avid readers. This feedback helped me with flow and character development as well as general punctuation I may have missed. However, once the book had been completed and edited a few times, it needed a professional’s eyes. I ended up getting extremely lucky by meeting the brilliant Wendy Vogel, who has already been successfully published. Her suggestions have changed Grim Ambition from a good book to a great story. Working with her, I was able to increase the intensity of the novel tenfold, keep the flow perfect, and strengthen each of the main characters in fantastic ways. The book reads much better, and is way more exciting. Her feedback was invaluable, and I can’t wait to work on the second and third books with her after Grim Ambition is published.


the Last Pickle Famine by Steven Quentin Cumber

Today our guest is Mr Steven Quentin Cumber, a Jersey City guy and the humble author of The Last Pickle Famine:


Who is the main character in “The Last Pickle Famine?  Is he a fictional character?  Can you describe him?

the Last Pickle Famine (TLPF) is a book within in a book. The main character, Steven Quentin Cumber, is writing his life’s story. Is it fiction, is it true? I’m not sure Steve always knows. He probably thinks it’s all true. Steve describes himself thusly; “My stinking little name is Steven Quentin Cumber, my fucking friends call me Cucumber, or Cum, thanks to my mother for marrying a Cumber, thanks to my friends for being assholes, but you can call me whatever the fuck you want, think of me as just another spineless, back stabbing, bottom dwelling, scum sucking, ass kissing, litterbug of a schmo, and many other lousy things all listed in a row, but I’m more or less that kind of guy, living on a planet which is more than overpopulated by billions of other somehow, someway, sometimes intermittently more or less fucked up schmos, pleased to meet you.”

What inspired you to write this story? What is your key message?

I’m not sure what inspired me to write TLPF. It’s a bucket list thing, for sure. And I suppose that I needed an outlet for all of the crazy thoughts that are racing around in my head at night. If I put them to paper, maybe I get to sleep better and maybe my readers get to enjoy the off-the-wall characters, the dark and mysterious places, the unusual events. In a way, the message of TLPF is about how we handle all of those paralyzing thoughts rattling around in our heads. What do we do with them? How do we live our lives with them there?

How do you feel when you get great reviews and when you hear from readers that they love your book so much that they can’t stop laughing and reading pages to find out what happens next?

I’ve been writing TLPF for 25 years or more and between the writing and the editing I must have read it from cover to cover at least 50 times. Now keep in mind that I’m not someone who is really able to appreciate my own work, but that being said, TLPF still makes me laugh every time I read it. I feel like I discover something new and funny and just so different from what other authors are writing about and just so different from their writing styles. I read my own book like a reader, not like an author and the reader in me wants to ask other readers what they thought, did they laugh, did they get it, how would they review it? As an author I suppose that great reviews would be appreciated, but as a fellow reader a wink, a nod and a smile from someone who sees me reading TLPF on the bus might be equally rewarding.

Which authors’ books do you read? Who/what influences you the most in your writing?

I love certain books written by the likes of Sai Zhenzhu, Ernest Hemingway, Jack London, John Steinbeck, J. D. Salinger, Joseph Heller and on and on and on. I really dig a great adventure story with colorful characters, stories that make me feel the hunger, the passion, the pain, the bliss, just like I’m there living the story. This sort of depth of the reader’s involvement is what I strive for when I write, hoping that my readers can live the story with me.

When do you plan to release a second book?

There is a much threatened sequel to TLPF already in the works….and who knows, maybe a prequel. I’d better get moving on it though, since my first book took 25 years to finish and….well, let’s not dwell on how many 25 year periods we have to squander. And besides, in TLPF Steven Quentin Cumber has a certain date in mind for his departure and let’s just say that he has to get busy if he’s going to finish his sequel before then.

See you at the revolution,


Book: the Last Pickle Famine

Steven Quentin Cumber - the Last Pickle Famine

Steven Quentin Cumber

Author: Steven Quentin Cumber

website: thelastpicklefamine.com

twitter: @stevencumber

Amazon: https://www.amazon.com/Pickle-Famine-Steven-Quentin-Cumber/dp/1530369568

Kindle: https://www.amazon.com/Pickle-Famine-Steven-Quentin-Cumber-ebook/dp/B01E6G9WC0

Christopher D. Abbott #uxscoops #amwriting

Who or what inspires you in the development of your main character in your book Sir Laurence Dies?

When I was developing Sir Laurence Dies, I decided early on I needed a quirky detective because I believe those characters, with their own flaws and issues, stand above the average and are remembered for not just their brilliance, but their eccentricity too. I have always been a mystery fan and whilst I’ve read and watched a significant amount, I decided I’d begin with mystery-genre royalty. So I went straight to Agatha Christie and Sir Arthur Conan Doyle for my primary inspiration.

Doctor Pieter Straay’s personality is developed from an amalgam of the best qualities I found in Christie’s “Hercule Poirot”, Doyle’s “Sherlock Holmes”. Rodney David Wingfield’s “Jack Frost”, Edgar Allen Poe’s “Le Chevalier C. Auguste Dupin” also contributed to the character development, as Poirot and Holmes were both, in my opinion, heavily influenced by Dupin also.

Using Doctor Watson’s method, I wrote a list of the traits I admired most in those characters, good or bad, and wove them into his make-up. I listed habits along with psychological and physical problems. Straay is a child of the First World War. We know a little of his background but there is some mystery surrounding his father and the circumstances of his arrival into England that hasn’t been explored, just hinted at. In Dr. Chandrix Dies – the prequel to Sir Laurence Dies – we learn a little more, but that mystery is woven into the subplot of his character, rather than the narrative, so we are left with more questions than answers.

In a similar way, the development of Chief Inspector Henry Drake came from looking at Inspector Lestrade (Doyle) Chief Inspector James Japp (Christie) and Chief Inspector Jack Frost (Wingfield). It was never my intention to develop two detectives but as I began to develop the story I found I enjoyed the interplay between them. Drake is painstakingly procedural and because of that logical intelligence, he is probably one of the finest detectives at Scotland Yard. Like Straay, Drake has an interesting ambiguity to his background … and in the tradition of Christie and Doyle we find that despite Chief Inspector Henry Drake’s brilliance and his hugely successful career, he is no match for the irritating and pedantic Criminal Psychologist, Doctor Pieter Straay.


How does your background in human behavioural studies and psychology help you in crafting more mysterious plots and develop more exciting traits in the characters of your stories?

Behavioural science is fascinating. I’ve had a unique opportunity in a number of corporations across two countries to study and try to understand people’s actions, by analysing the way they outwardly behave, and thereby assist to either help change or modify those behaviours. I went back to school to learn and develop a greater understanding of the subject, to ensure a higher level of realism in the structure of my narrative tales. I’ve always been a people watcher. If I’m sitting in a bar or in an airport, maybe a Doctor’s office, or supermarket, I find myself making observations … I’m listening in on conversations, trying to determine something about who they are. Snippets of heard or half-heard conversations can often be inspirational, hilarious, and sometimes terrifying at the same time. And in combination with this and news stories of the day, I develop plots that have intricacy and excitement, because they are real.


Which is your favourite best known literary and fictional character? Why

I would have to go with Hercule Poirot. For the reasons I explained before. He is quirky, brilliant, difficult, with his fastidiousness for order and method. Poirot is often described as a walking brain. He is concerned with orderliness, perfectionism and often displays excessive attention to details. He has mental and interpersonal control. When a case takes him he indulges in intricate rituals to the point of excluding friendships. The character of Poirot exhibits a strong indication of an obsessive compulsive personality disorder, I’m not sure if that was Christie’s original intention, but it’s inspired.


Being an author of mystery and fantasy, what has been the most unsettling or unconventional plot you have ever read? Who wrote it? 

I think the most unsettling plot I ever read was the one for the series Torchwood – Children of Earth, written by Russel T. Davies, John Fay, and James Moran. A spin off of the hugely popular British show, Doctor Who, the story revolves around a group of aliens who come to Earth and demand that 10% of all the children on the planet be handed over or they’ll destroy the world. Without giving too much away, the focus is not on special effects or technobabble, but on a real human-level, with focus on the seriousness of political decision makers and those who serve in the Civil Service, remaining once a Government changes. We get to experience what it must be like to have made poor decisions leading to choices and sacrifices made because of them. The story takes us on journey of mixed morals. It’s relentless. It’s emotionally charged and we get to observe debates of officials justifying the actions that must follow … but in the background are the elected men and women, who are the ones who must make the difficult decisions, and it’s all behind closed-doors. We can only sit back in horror as they come up with the justifications they need to decide which 10% should be sacrificed.

Don’t get me wrong – it was well written – but it bothered me for a long time afterwards. I still have not been able to re-watch it.

For the most part I don’t find too many mystery plots unconventional or unsettling to be honest. There is a format that a lot of mystery writers like to stick to. It’s tried and tested and whilst it might seem a little cliché to admit it, the closed room “whodunit” is still very popular.


Humans have been writing about dual morality for thousands upon thousands of years. What is in writing about the ‘Good and Evil’ conflict that challenges you the most?

I’m not a black and white kinda guy. I certainly think, in mystery, it isn’t always possible to define things that way. I mean sure we have a bad guy who murders someone and then we have a good guy who catches them and brings them to justice – but sometimes motive aren’t always easy to classify in those terms, certainly not as simple as good vs evil.

Songs of the Osirian, my latest book, challenges me to stick to that concept– but because of my own natural dislike for the simplicity of it, I add a character that walks the line between both. There are so many shades of grey in our world and I’ve met people who define things in ways that suggest it’s either on or it’s off – there is no in between with some people. I wanted to get away from the simplicity of stories like Star Wars. Luke Skywalker is good and Darth Vader is evil so it’s perfectly fine to blow up the Death Star, twice, with a million people on it and not feel a “great disturbance in the Force”. I suppose there is historical evidence that justifies this claim, but I just don’t see all people as either good or evil, with the exception of a few in our recorded history, but these people are anomalies.

I also took concepts of Monothelitism and mixed it with Polytheism. I wanted to give some detached plausibility to the ideology and cosmology of the Osirian that worked in a science-fiction and fantasy way. Man worship the Osirian as Gods, yet the Osirian worship the Ardunadine as Gods, and the Ardunadine worship Arrandori as THE God of all. But each group are simply higher forms of life, evolved beyond each other’s understanding making their abilities seem godlike.


What is your secret in writing your second book Dr Chandrix Dies as a standalone read, as well as a temptation for readers to want to read the first Sir Laurence Dies after?

It’s a secret! No, seriously. I wanted each story to have a murder, and a resolution. Sir Laurence Dies was written in such a way, as to cement each character with the motive to have committed the crime. I wrote multiple endings in the development stage so I could keep a tense uncertainty throughout the narrative–it’s classic closed-room murder mystery whodunit. In contrast Dr. Chandrix Dies was a little less whodunit and more political-thriller. There are red herrings, bodies, and intrigue–but it’s definitely more of a linear story than Sir Laurence. I haven’t heard that anyone solved either before they arrived at the conclusion. When I’d finished them, I purposely went back and put clues in each chapter. If you re-read it, you should spot them … it is possible for the story to be solved as all the information needed is there.

I wanted each book to be read in isolation, yet have subtle connections that run throughout the series. There are some mentions here and there of unsolved crimes. There are some vague links to people or groups in the background. When I began the Dies trilogy, it was important to me that each book has a single mystery that was solved by the end of the book. It must be able to be read standalone. I start with a basic plot. I have the people written and their traits defined. I begin with a brief outline which almost always changes. I write to around 50,000 words and stop, and then I write the end. Once the end is done, I write the bridge.

My hope is, there should be just enough in each book to entice the reader to pick up the other.


Was any part of your books based on your personal encounters and past working experiences?

There are some unconscious elements of personal interactions, observations, experiences, but I didn’t set out to write any of my books on those experiences directly. I think we writers certainly hide ourselves in our books, and perhaps, one or two of the bodies might be people I have encountered in the past, but murder in print is perfectly acceptable!


Jennifer Reinfried

Today our guest is aspiring author Jennifer Reinfried who is an avid reader, loves gaming, comics, zombies, and playing bass. We have conducted an interview with her.


When you first aspired to be an author, what three characters would you want to develop in your story?
I’m a huge fan of the main character in a book being troubled and conflicted. I feel like it gives them much more depth, makes them more believable, because even the best of us have internal conflicts. I’ve always wanted to create a main character that is classified by readers as a “bad guy” and make them likable, to show that sometimes, bad guys can be conflicted about what they do, and aren’t always the typical one-dimensional, disposable thugs you see in movies. I’ve always wanted to create a female lead like this, as well as a good friend of hers that is also in the same situation as being a conflicted criminal, and possibly the romantic interest of one of them. I thought this would create so much intense conflict that would be highly entertaining to read.

Is the storyline with fearsome fiction and terrifying tales more important or reading about the good internal struggle in the characters? Why?
I prefer a little bit of both throughout the novel I’m reading. You can have great characters in boring situations, and you can have boring characters in intense situations, and both times, it will be difficult to tell your story. In a zombie apocalypse, yes, we want to see the characters fighting and overcoming the monsters, but if that’s all you have, the story gets old pretty quickly for many readers. I think the intense, page-turning scenes and character development with internal struggle should balance each other out.

Have you ever mourned when your favourite character in the story dies?
I am a sucker for connecting with fictional characters. The better the character is written, the more connection I feel for them. There have been times where I’ve literally thrown a book to the ground when one of my favorite characters was killed off, or even yelled in frustration at a movie or television show when someone I liked bit the bullet. I think it truly shows the mark of a fantastic writer when you can connect like that with someone who technically doesn’t exist. As far as my own characters, I can’t say anything yet, so I don’t give anyone’s fates away!

If you could pick a seasoned author to write a Dark Fantasy novelette with, who would you choose? Why/why not?
This is a very, very tough question. There are so many amazing authors out there that I’d love to work with. For this type of genre, my first pick would have to be Joe Hill. Every single book he’s written has been creepy and intense. Two other amazing authors I would love to try this with would be Mark Lawrence, who writes the exact types of main characters I love to read about, and Dan Wells, whose John Cleaver books have great twists and tend to be quite dark. It would be an honor to work with any of these three authors on a dark fantasy.

How did the idea completely hit you again this year to write? Which is the most deep rooted, devilish fears or horrifying story you have ever read?
Honestly, people always urge me to write. I always have my nose in a book, and multiple novels with me wherever I go. It’s scary writing a novel, and I think it’s something a lot of people put off because it’s so daunting, as I did. It’s a lot of work – it’s pretty much a full time job! – and you have to commit yourself to not just writing content, but also writing character bios, timelines, notes from research on as many topics in your book as possible, and organized notes that just happen to pop into your head at the most random times. I never thought I would be able to do it, but now that I’ve been writing, I can’t get enough of it! In regards to the most horrifying story I’ve read so far, I would have to say it’s a draw between Heart-Shaped Box by Joe Hill and Perfect Circle by Sean Stewart. Joe Hill’s Heart-Shaped Box has, to me, the creepiest description of a ghost in which the eyes have dark scribbles over them. I’d be terrified to see a ghost looking at me as it is, but when there’s these black scratches where the eyes should be, that just makes it even more terrifying.

Which was your favourite type of event or convention? How does it bring out your inner nerd the entire time?
I’ve been to many different conventions over the last few years as a fan, but my all-time favorite one to attend every year is definitely Gen Con in Indianapolis. Gen Con is the biggest tabletop gaming convention in North America. The types of events you can participate in at it seem endless. There’s True Dungeon, which is only something you can do at Gen Con, that sells out instantly. You can play Artemis, which is like being on the bridge of a star ship with your friends. There’s also a ton of different video games as well as board and card games to play as well as test for game creators before their product is released. You can meet countless authors, artists and celebrities as well, and sit in on a ton of panels with a plethora of subjects. I feel like when I’m at conventions like Gen Con, my inner nerd can finally be released. Being a female “nerd,” it can be difficult to find people on a daily basis to connect with, especially in the work force, as well with family who might not understand the addiction to games and comics instead of career choices and raising kids. I’m really lucky to have a great core group of friends who love the same types of things I do, and to have a family who is so supportive of anything I’m passionate about as my life continues. I couldn’t thank them enough, and wouldn’t be where I am now without them.
Thank you so much!
Twitter: @ChirpyJen

The Author – Facundo Raganato

The Author or The Characters' Short Living Story
Today we found Facundo Raganato! We have conducted an interview with him about his

recently published debut novel, The Author – The Characters’ Short Living Story, that took a decade in the making.

1- How do you capture the essence of what a writer goes through including the characters’ obstacles and their intricacies?

First of all, one would have to become a writer to know the experience of what a writer goes through at writing, and that is simply being true at writing. The story takes on a journey where The Author shares that experience through the characters’ adventures and its world is unfolded through the narration. The book itself is a frame of mind in which the very essence of the story is going through and beyond the fourth-wall. It took careful dedication and strategy in composition to harmoniously balance The Reader’s experience, The Characters’ journey and The Author’s essence.

2 – If you can only protect five of the six characters, which ones will you choose? Why?

If the Author had to choose, he wouldn’t . . . Either he protects all six of them, or they all die. It is in this truthful neutral objectivity of taking the word for its word, which makes Him eternal, as well as the concept of the togetherness of the six. Furthermore, he wouldn’t protect them, for in his perspective, the characters dying would only mean transformation. What would He protect them from?

However, me, personally, Facundo Raganato; I would change between those answers. If we were asking the Facundo at the age of 16, when I started writing this story, I would choose Violet and Joe as the top two to protect, for instance. Yet, at 22, perhaps Leo and Henry would be more appropriate to prioritize. At this present, perhaps Lisa and Kimberly would be a more appropriate answer. Either way, I would have to leave out the sixth character in the darkness, temporarily, until the natural cycle makes the characters switch position again; this in the answer of the situational question of course.

Nonetheless, we would both agree to say that, regarding the six characters, each one is as equally as important as the other, for they do not compete as to who’s who, and what, and why, but instead, it is a complementary balance of personalities which push and pull each other harmoniously with/without the Reader and/or The Author. Out of the magical impulsive present I would say: Violet, Joe, Henry, Kimberly and Lisa.

I’m interested in how you would answer that question. Which ones will you choose?

3 – Which part of your (10 years of) work on this book do you feel being fascinated by the melancholia, the irrational and the sublimity?

Right now, I am fascinated by this question. Perhaps I am fascinated by the remembrance. If you go to my room when I was 16, and this story was beginning to bloom, you would see a brown wooden desk, and 7 index cards pinned on top, where my characters were first drawn, and my laptop below waiting to be typed; this was supposed to be only a short story, before The Author was born. And I remember . . . I would look at them and ask “What would Kimberly do? What would Leo say?”

Art must be crafted, it is in that process where quality is polished. I am fascinated how many endless nights I typed till my eyes fell or my head stopped. How much I this deep world alive as the characters were living the story, this adventure, this odyssey, this journey for the truth. Art is a reflection of discovery, of harmoniously integrating, exploring, creating, dreaming. I remember how happy I was because I felt how much joy moved me through me because the characters where not only unveiling philosophical answers through questions, but they would also be living the story as I wrote and thought: “This is where Chapter XV would end.” I am fascinated by how many nights I was circling and reflecting the depth of the forbidden, the unthinkable, the impossible, the plot, the Author, the Reader and the Character in this reality, in my reality, and in the future reality of the Reader as they read the story now. I am fascinated by how much I sacrificed into really shaping this world in a multidimensional level, sometimes even without even writing. The times I had to sleep the story off and build bridges which originally felt like gaps, until I found what I sought, spiritually, alchemically, existentially. Who are you? Why are you Here?

Art is pure human expression, and that is the most valuable essence one can create, I am fascinated how much I have grown with this book and how much I have made it grown; these 10 years feel like watching a tree bloom for the eyes to see when it was born out of a simple seed.

The sublime is goes hand in hand with this world; it is in these words where nothing can grasp what this story is about really; it may seem like an irrational line of writing, or falling in love, or surviving, or dying, or seeking, or finding; where it seems like madness, reaching the beyond beyond space and time, the eternal stillness of a moment, the long but relatively short story one experiences as one fluxes through literature, the meanings, the minds. We call crazy what we can’t understand. The melancholia can refer to various and deep emotions that are connected in the story, before, after, in it, through it and beyond it.

4 – Why is it important/recommended for readers to read “The Author” thrice?

The Apprentice shows the apple of knowledge & wisdom to the Master. The story can be read through the Apprentice’s eyes, through the eyes of the Master, or through the eyes of “the apple,” for instance. Yet, this is a format of layers of knowledge & wisdom, or as I like to say, it is an alchemical process. If I say “9,” this number would have no meaning because it does not make a rational sense in regards to the theme, or at least it creates a meaning in the Reader’s mind in relation to their subjective experience with that number. If I say “9,” these letters make that number a question.

But if I say “6 + 3,” then the number “9” would have a meaning as the rational mind connects the dots in a “question/answer” relation, for instance. However, this story’s composition has thin yet strong lines that constructs the world of the story, and they are open enough for the broad minds to enter and mirror themselves in it, letting light in, letting meanings in. As soon as one finishes to read the story, the experience of the journey creates a unique experience for every Reader of seeing the beginning in new eyes, or perhaps, deeper eyes, or perhaps, contradictory or even irrational from its “rationality;” or vice versa.

If I had said “6  + 3” first, and then saying “9,” would you take it as the question or as the answer?

5 – During the writing odyssey, what questions arise that makes you feel the most discomfort? How did you overcome them?

I have to make clear that during this writing odyssey, I was not only myself; I was accustomed to be able to place myself in other “states of beings,” per se, which some of them, as you questioned, caused me discomfort. I had to alchemically face the discomfort of each character, The Author and even the Reader. However, perhaps the most important question that caused me most discomfort is: “What is meaning?” Now, the discomfort is the conflict, it is the risk, the adventure, it is the question that opens up the search for the answer, and I find it interesting when to take this in a larger scale; as a society, as a civilized race, as political minds, as spiritual beings, as biological species, as pure artists, as believers, as creators, as dreamers.

Each one has a discomfort in many questions, it is in that process where we look for answers, usually to find peace. I have found my inner peace through this story. I hope you find it too, or at least, wakes your search to find it in a spiritual level. It is important that we are conscious of the new paths that open, or the answers we find, it is in that search for what we are looking that we find that it was already there; so it is basically a process of discomfort to awakening, where the discomfort is healed, purified, alchemically transformative.

For me, the questions are what causes me comfort, for I see it is a way to expand and/or dig in; to find the Beauty in the unresolved is to harmoniously keep a curious mind in thirst for knowledge and wisdom that keeps searching for the Truth. Loving that Beauty is how I learned to overcome them.

6 – What inspires you to write a book for people who likes making their own decisions? How do you feel being crowned “a well-honed literary mind”?

What inspires me is the thought that I already wrote it, and readers are able to enjoy it, because it was not easy to write and compose in a way that The Reader would understand, implicitly, that they are free to make their own decisions about it. However, I wouldn’t have written it another way. Take the following analogy as a reference, not only as its meaning, but only as one plane of its dimension: God created us with the so called “free will,” it is interesting to think that he made us with the liberty to make our own decisions if we choose to do “evil” or “good” (following this train of thought) and it is up to us to decide what to do with our own conscientious choice, in relation to what we think or believe it is to judge what “good” and “evil” is.

Also, where do the meanings lie? One reader can see one meaning from one chapter, yet another reader would have another . . .

How many professors does it take to discuss among each other to concur a meaning with the depth of the philosophical questions raised? Even with its answers! This is the master question: How can the meaning of its literature be rationalized in order to explain what the Truth is when each one of those professors will find it in the story in their own way?

I’m flattered and honored, with an innocent humbling pride which makes me shine inside to think that even though I journeyed with the characters through the darkness of the underworld, through the intricacies, puzzles, and traps, through closing halls and endless stairs, peril after peril, I feel the sacrifice it was worth it. To plunge deep into the literary world and find the light. Do you think The Characters would think it was worth it?

I guess I just feel very grateful to hear such comment. What other kind of minds exist?



Website: www.thecharactersshortlivingstory.com

Amazon: https://www.amazon.com/Author-Facundo-Raganato-ebook/dp/B00RRLUAKA?ie=UTF8&ref_=cm_cr_arp_d_product_top

Facebook: www.facebook.com/theauthororthecharactersshortlivingstory

Twitter: https://twitter.com/FacundoRaganato

Youtube Trailer: https://www.youtube.com/watch?v=RzS7Sb3OLqQ

The Punch Escrow – Tal M. Klein

  1. Why did you choose to write about the 25th century?
  2. How unique is this book (compared with other similar genre) hard science fiction novel?
  3. Which was the first doubt/belief you personally had about Teleportation?
  4. What is the target you have set forth to reach for the crowdfunding of this book?
  5. What are the further development for this book if you win the contest by Geek & Sundry?