Dear Emily,

Thank you for that wonderful letter! I cannot begin to express how much I appreciate your artwork for "The Star Shard" -- thank you!

As to the questions: yes, I believe that living in a different country has influenced my writing. For one thing, it has broadened my view of the world. Exposure to different customs, other ways of thinking and doing things has helped me to consider aspects of life and human interaction that I probably wouldn't have if I'd never left my own country. The more one knows about the stories and folklore of other lands, the more material one has to draw upon when creating strange creatures or alien cultures. Completely different ways of seeing the world are a crucially important part of "The Star Shard." In this story, Rombol's perspective on life is entirely different from, say, the Urrmsh's, or Cymbril's, or even Wiltwain's. It's that diversity that makes for interesting situations and more complex characters. Plus, I'm used to being an outsider in many ways (living in a land where I don't always understand what people are saying or why they're doing certain things). I'm sure that has helped me in writing a character such as Cymbril, who isn't at home on the Rake. And I think the demands placed on a teacher of English as a second language are also in a way like the demands placed on Cymbril: she has to sing, day in and day out, whether she feels like it or not. She enjoys the act of singing, and I enjoy the act of teaching, but it's hard to be always before the public, always having to smile and project a positive energy -- even on days when you don't necessarily feel like it.

Also, Cymbril (because she looks different from the typical villager) draws a lot of unwanted attention. I've been in that position, too, with my big American nose, with hair and eyes that are not the standard Japanese dark brown. But, like Cymbril, I've found kindness in unexpected places, and I've also experienced the awe and excitement of new discoveries and wonderful friendships.

Thematically, I don't know if the different culture has affected me, unless it would be that it's led me to the theme of searching for one's place to fit in . . . the journey toward somewhere that feels like home.

Yes, I think being fluent in more than one language also helps in writing fantasy fiction, because (and this relates to what I said earlier) language directly reflects how people think. Some patterns in Japanese language, for instance, can't be translated into English, because we English-speakers don't think in those ways, and vice-versa. So studying different languages helps in creating characters who think differently from one another, and it also helps me to use English more purposefully, I think. Since I'm used to working with students who encounter English as a foreign language, I'm more sensitive to what can confuse a person who sees or hears an English sentence. I don't take my sentences as much for granted. I've learned to examine what's actually there on the page, and to think about what the words and the word order might mean to different people. And along with that, since I have to think in different ways in order to speak in Japanese, I may discover ideas that wouldn't otherwise have occurred to me. I'd like to believe that, say, Urrmsh culture feels different from human culture, and the Sidhe culture feels different again. And I know Japanese language and culture have helped to create that illusion.

Yes, I was writing stories from a very young age. They weren't good or publishable, but they were stories! :-) Before I learned to write the alphabet, I was always telling stories aloud to my parents. They usually involved monsters, long journeys, and hidden places. I remember my first written story, which I illustrated and stapled together into a little book when I was about five. It was called "Monsters in [My Hometown]," and it was about the giant monsters from Japanese movies -- Godzilla, Rodan, Gamera, etc. -- attacking my hometown and smashing the buildings. I still have that book! I also wrote a story about a pioneer family that were attacked and eaten by wolves one by one, which our local newspaper editor discovered at my school and decided to print in his paper! I was maybe nine or ten then.

It's hard to choose one favorite movie. I guess I'd have to say Peter Jackson's The Lord of the Rings films, but until those came out, I would have said the original Jaws. That's an adventure film in the grandest sense, and I was ten when I saw it. I think the stories we encounter at about that age often get the deepest into our hearts. And I love Field of Dreams, Dead Poets Society, and Lawrence of Arabia. It's interesting, isn't it, that none of those are really very similar what I write?

Absolutely -- you just described the character discovery/"creation" process a lot better than I could, and I agree with you 100%. For me, characters turn out best when they appear "out of nowhere." The more I try to "create" them, the less believable they seem. I think the key is not to create characters, but to listen very carefully to them. When you put them into the story and let them start thinking and reacting to the things that happen, they'll show you what they're supposed to be doing -- they'll tell you all about themselves and become quite "real" -- much more so than if you're trying to force them into your preplanned notions and expectations. And then if you've got an illustrator who illuminates all the life and emotion in their eyes and faces, all the meaning in their postures, costumes, and surroundings, you're really fortunate!

In general, I've always felt that character is my weakest area as a writer, because I'm usually so fascinated with settings that I don't pay enough attention to the people. But, like you said, it's the people that readers want to know and care about.

Thank you for these excellent questions! I hope I've answered what you were asking -- if not, please let me know! I appreciate your kind words about the story, and I'm deeply grateful for all your work on it.

One question I've been meaning to ask you: will any of the other illustrations for "The Star Shard" ever be available for people to purchase through your Web site (or anywhere else)? I have the poster of A Precarious Perch, but there are several others I'd definitely buy if I could!

Thanks again!

Fred D.

Hi, Zachary!

Thank you for writing! I am REALLY excited that you like "The Star Shard"! Thanks for letting me know! I love fantasy stories, too!

You and I have the same work habit! I ALSO go outside and pace around when I'm thinking of ideas for a story! I often need to be walking in order to think. Often when I'm having trouble with some part of a story, I'll go and take a long walk -- and very often, by the end of the walk, I know the solution to the problem. (That's an answer to part of your question, too -- about how to get past the middle of the story.)

But, yes, how to get past the middle. . . . If it's any comfort, I often have trouble with that, too. I think the only real solution is to imagine that you're inside the world of the story; think carefully about the details of that world and of what is happening. Ask yourself questions -- what would your characters do in this situation? What would they feel? What would they be seeing, smelling, hearing, thinking, etc.? Try to imagine things as vividly as you can, and usually you'll see what the characters would do next or what might happen. And don't hesitate to go out and pace! If you get away from your page or computer screen for awhile and keep turning ideas over in the back of your mind, the way will often become clear. And don't give up on a story! Even if you leave it for awhile -- even for weeks or months -- don't throw it away or lose it. You never know when you'll suddenly feel like writing it again, and maybe with the passage of time, you'll know exactly what to do. I hope that helps!

Wow! You've really read a lot of good books! I've heard of most of the titles you mentioned, but I've only read The Hobbit, The Lord of the Rings, and some of the Harry Potter books. So, no, I've never read Percy Jackson and the Olympians -- it sounds like I should!

Hmm. . . . As for a list of publishers that might accept books by kids. . . . In general, publishers don't really care about your age. They won't ask how old you are. Of course if you aren't of legal age yet, you'll need your parents to help you with the process of sending the story or book off. But if your book is really good, publishers won't care that you're young. Look at Christopher Paolini and his book Eragon! He was still a teenager when it was published.

Realistically, if you are 11 now, I'd guess you're probably still learning your craft as a writer, and it will likely be at least several years yet before you'll have a book that a publisher will want to publish. But don't let that discourage you -- just keep working toward that goal. Maybe you're a good writer already. Strive to become even better! As a kid, there ARE places you can get published even as you're learning and improving your writing skills. One of the best is right here: Cricket Magazine! They're always having writing contests for their readers. Why not try entering some of them?

Thanks for asking about other books that I've written! I do have one called Dragonfly that's published -- you might enjoy that one. And yes, I'm always working on more! Thank you very much again for writing! Please keep up with your own fiction writing -- I hope that someday I'll be writing to you to tell you how much I liked your book or story!

Fred

Hi, Bethany!

Ha, ha! I definitely know what you're saying about short stories turning out not-so-short! You and I have the same tendency. I set out and say, "It's really going to be a short one this time!"--but the story tells me otherwise. . . . That is such a fantastic idea to make a story out of your experience in doing the eighth-grade play--what a great present for your teacher! I'm sure she'll love and treasure that! The idea reminds me a little of something called (I think) "The Best Christmas Pageant Ever"--have you ever read that? I can't remember the author's name, but it's about all the craziness that happens in putting together a play. I remember laughing myself silly when I read it. I've always loved being in plays, too, so I know the world you're talking about!

Wow, that is really mean of your little sister to hide two months' worth of Crickets from you! Yikes! She's lucky you're a patient big sister (are you?)!

Finally, thank you for your kind words about the story! I'm thrilled that you like it!

Oh!--Also, Karyn's Knife is a GREAT title! It sounds like an action/adventure, possibly epic fantasy, set in an alternate world . . . is that anywhere close to being right? I love the way you introduce so much about the book already in the title (the main character and the fact that there will be some action and danger)--it sounds like you know what you're doing as a writer! I hope it continues to go well! Keep up the writing!

Thanks again for your letter!

Fred

Hi, Jetembo!

Thank you for your wonderful letter! I am so happy and honored that you like "The Star Shard" so much! Thanks for telling me! Also, thanks for asking about the novel version. It's going well -- we have a publisher who may be making an offer to buy the book this week, so this is really current news! The novel is finished, and it's more than twice as long as the story here in Cricket, so Cymbril has a lot more adventures. I think the publisher will ask me to make more revisions before it becomes a book, but that's fine. I always appreciate the chance to work with good editors who help me improve a story!

If you're missing some of the illustrations, did you know that the artist, Emily Fiegenschuh, has all of them posted on her Web site? I can't remember the link off the top of my head, but if you'll visit her part of this Authors & Artists Corner, I think you can find it there. She may not have the very latest ones posted yet, but I believe she will eventually.

I know what you mean about the magazine taking a long time to reach you in Hawaii! Since I live in Japan, I have the same problem. I'm usually the last person to see each new issue. But I guess on the plus side, I get to look forward to it longer than anyone else! Heh, heh! Thank you for telling me how much you look forward to each new part of the story -- and for your kind words about the writing! It really encourages me to know that someone likes it!

I can't wait to see your artwork! I'll be watching the site! (I think it's okay if some viewers mistook your Loric for a girl. With a Sidhe, it's harder to tell!)

Your method of choosing character names sounds similar to mine. I also use actual words and change them a little, or put two words together, etc. (as in Wiltwain -- it's made from the words "wilt" and "wain," which is an old word for "wagon" -- which was good, I thought, for someone who works on the Thunder Rake). For "Rombol," I lifted the middle out of "Stromboli," who was a character in Pinocchio -- and before that, it was/is the name of a volcano in Italy! I liked the sound of "Rombol," since it's so close to "rumble." I pay attention to both things: how the name looks on the page and how it sounds when you say it aloud. Yes!--you're absolutely right about how "Cymbril" is based on the word "cymbal." For "Loric," I was thinking of our word "lore"--a collection of old knowledge, wisdom, legends, etc.--that seemed a good root for the name of a Fey.

I also keep lists of names like you do! If I think up a good name, I'll write it down, even if it's not going into a current project. I may use it months or years afterward for something else. Also, I do recycle names, if I find one I like. "Cymbril" first appeared as the name of a much different character in another story I wrote, which has not been published. I will reuse names if the book or story is different and I won't confuse any readers.

I also get a lot of name ideas from the dictionary. When I'm looking up a word I don't know (or want to check the spelling of), I usually notice a bunch of other words along the way. Some of them jump out at me, and I'll think, "Hmm! With a slight change, that would make a great character name / place name!" So I'll write it onto my list.

In fantasy, I like to change real names from our world just a little. That way, they still sound like real names. For example, in "The Star Shard," there's Mistress Ilda. I just took the H off "Hilda," which sounds like an old woman. It's important that names sound like names. You have to be able to say them. Real names are serviceable. Imagine if a person were named Xxzblimt. It would be a pain to say that all the time--so it's probably not a good idea to name a character that.

Another trick about naming is that if you have several characters who all speak the same fantasy language, you may want to include certain parts that appear in more than one character's name. For example, J.R.R. Tolkien wrote about two brothers named Boromir and Faramir. Just by seeing the names, you suppose they speak the same language and may be in the same family. If you noticed the "Cymbril" / "cymbal" connection, you're already sensitive to this sort of thing -- so I think you're on the right track!

What an honor that you wrote about "The Star Shard" in your HPA essay! Congratulations on being accepted! (And thank you for choosing to write about this story!)

That's an excellent question about characters resembling us or people we know. I've never based a character directly on someone I know, but I've used certain aspects from several people's personalities and put them together. Most of my characters have a lot of me in them. I think that's impossible to avoid. In order to create a character, we have to imagine that we are him or her. It's a game of pretending. When we do that, we automatically use our own experience and our perceptions. Most of my main characters are very much like me. I suppose that makes our characters more real, since we know a lot about ourselves. But it's good, too, to put in some twists that make them different from us.

Thank you for your thoughts on Rombol! I totally agree: he's not evil; he's just a good businessman in a society that allows slavery. He treats his slaves well. Cymbril is clean, comfortable, well fed, and has privacy and quite a bit of personal freedom. So yes, I agree with you: it's best when characters are not 100% good or evil. The best characters should have some flaws, the the worst ones should have some redeeming qualities.

Very interesting about how Kurt Vonnegut's stories don't fit that pattern of "Plot A or Plot B"--thanks! I believe you're right. I guess there are a lot of writers (like Vonnegut) in which the narrator's voice, outlook, and thoughts are more important than what actually happens in the story. I think that "only 2 plots" pattern applies mostly to stories in which plot is the most important aspect. But I agree with you: there are likely exceptions if we start looking for them! No, I don't know who said that first about "only two plots." There's a book by Ronald Tobias called 20 Master Plots, which I enjoyed.

Yes, I do write some poetry, too, but not nearly as much as I did when I was younger. When I was a student and was studying poetry a lot, I also wrote it a lot. As I've gotten older, I've concentrated more on fiction. Sometimes, though, I'll include poetry in my fiction, as part of the story -- and I think I use my "poet's sense" quite a bit when I'm writing fiction. It's wonderful that you write poetry! Definitely keep it up!

I'm afraid this reply is getting extremely long! Thanks for reading it! Finally, I'd encourage you to keep that Unfinished Projects folder in a safe place. The things in there may come in handy in another story in the future -- don't throw anything away just because you don't like it at the time!

Again, thank you for your wonderful letter! If there's anything I haven't answered that you hoped I would, feel free to write again -- I really enjoyed hearing from you!

Best regards,

Fred