What motivates you to write and where do you get your ideas? 

I have always found writing cathartic.  What began as a means to "escape" during my teens (some people did drugs, I would write) developed into a hobby I really enjoy.  While I like the control I exert over characters and the milieu, sometimes the story evolves as I compose, taking an unexpected turn, or including details that fit because of something I've platformed in an earlier chapter, or the previous novels.

Ideas well up from within my soul.  I don't know where they come from.   My thoughts are so vivid that during my childhood, I had a hard time distinguishing reality from imagination.  When I write, the story flows out of me as if it were witnessing historical events.

Are your characters based upon real people?

Not really.  Most of them are composites of traits taken from people I know, but they've also changed over time. I don't describe actual people with whom I'm familiar.  Names are a different matter.  Sometimes I will use a last name because it sounds "right" for a character, but I'm not in the habit of including friends, relatives, or enemies in my stories.

Why are the Ravenwood siblings so young?

I stopped including references to their ages because so many readers objected to their youth.  Initially, I had a practical reason for writing about young characters.  I began working on the Deveran milieu in my late teens and early twenties.  It's far easier to describe life from a perspective I'd already experienced, than to try to project into an adulthood I'd not understood at that time.  It took MANY years to compose The Edge of Justice, and by the time I'd finished and published the book, I was nearly forty years old.  That's the first, foremost, and most practical reason.

But so many readers complained about this, I removed references to their ages in the second editions of my novels.  (Except for Brenna, and ONE that remains in the text for Garrick.)  While this ameliorate s some concern that "adult" things happen to such young people, what the Ravenwood siblings experience is not unusual in most parts of our own world, where a person is considered an adult once they're big enough to do an adult's work.  A careful reader will STILL pick up the impulsivity and risk-taking that is characteristic of young minds, but I've stopped making overt statements about their ages.

How come the Ravenwood siblings are so emotionally well-developed?

There's nothing unusual in literature about portraying young people with precocious attitudes.  Heros and heroines are usually exceptional, so why should my characters be any different?

Most of us have experienced the struggle related to understanding self and our need to love.  If the Ravenwood siblings exhibit an adult understanding of these things, I encourage readers to consider that normal developmental is a fairly broad process in human beings.  I distinctly remember thinking that my classmates in middle and high school held attitudes and behaved in a manner that I found utterly immature at the time.  (My sons complain about this, too!)  I am the youngest in my family, and my older sisters are intelligent, articulate and mature women.  That environment, coupled with high expectations for performance and behavior as a child, more or less FORCED rapid development in the emotional realm for me.

Is it realistic for Algernon to fight so fiercely?

Absolutely, and here's why:  Certain physical and intellectual characteristics run in families.  People who are athletic tend to have athletic children.  People who are smart tend to have smart children.  Among a given population, some members will be extraordinarily skilled, and the Ravenwood family happens to include people with the strength, speed, coordination and attitude necessary to grow into exceptional warriors.  All of the Ravenwood children are naturally gifted fighters, but Algernon is especially so.  Aside from the raw physical talent he brings into combat arts, Algernon trained vigorously every day of his life while living at the Temple Elsbireth, early on, he's driven by intense anger, and he also carries a strong desire to utterly vanquish and humiliate his opponents.  Every fight is a fight to the death, as far as he's concerned.  In The Long Journey he's battling to save his twin sister, whom he loves, so he'll gladly escalate confrontations beyond what his enemies expect from him.

Also, the people he comes into conflict with tend to be bullies who rely on threat, intimidation and easy prey to prevail.  Algernon is not only fearless, he's routinely underestimated by adversaries who think they can easily handle a scrawny kid.  His speed, power and skill come as a complete surprise to the evil bullies who stand in his way, and thus, once he begins to fight them, he seriously injures or kills them quickly.

I know from personal experience that human beings--despite Hollywood film portrayals to the contrary--are surprisingly frail and easily hurt.  During the Rodney King riots in Los Angeles, people were shocked that a truck driver named Reginald Denny--who was pulled from his rig by four gang members--succumbed to a violent attack so quickly.  In one or two blows, this full-grown man fell to the pavement.  Though the scene was sickening, its outcome didn't shock me at all. 

People who have no experience with very talented martial artists tend to question Algernon's uncanny skill.  People who know such martial artists understand what I'm trying to describe with him.  The boy is an astonishingly talented fighter.

How can you describe a woman's thought processes so accurately?

Do I?

Truthfully, it's not hard to know what a woman is thinking, as she is usually quite willing to speak what's on her mind.  Even the shy ones reveal their thoughts once they become comfortable.  So, some of the things I've included in the narrative come directly out of conversations I've had with various women in my life.  More than a few female readers have complained that some of what they read hits a bit close to home, but that only underscores the accuracy of what I've composed.  Nonetheless, I value the feedback I receive from female readers.  In particular, my friend and colleague, Kelly Schmalcel, previewed The Long Journey on my behalf and provided insight into how a woman views what I write.  Since then, Rosemary Fischer has assisted me with Crisis and Ceremonies and Celebrations.  You can thank them for their help!

Why don't Garrick and Brenna just "get along"?  Why is Algernon always arguing with Astrid and Kira?

If the characters had no conflicts, would that be interesting to read?

Were you ever in the military?

No.  I'm a complete coward, and I don't want to hurt anybody.

How can you write such compelling battle scenes?

That's mostly a product of my imagination.  I dream up the tactical problems faced by a commander, or I "borrow" them from history (the action at Little Round Top in Gettysburg served as a kind of template for the Azgaril attack at Kicking Horse Gap in The Edge of Justice) and modify them to suit my needs.  I think: "How would I attack or defend this place with the tools available to my characters?"  I also depend on input from my previewing readers when refining battle scenes.  If what I've written makes sense to them, then I've probably done an effective job.  Sometimes, the vets who preview my material will comment on things like the placement of machine guns, and whenever that happens I have to do some re-writing.  In truth, this is rare.  Most of the time my previewing readers are fully content to let me describe battles as I imagine them.

As far as actual fighting is concerned, I studied martial arts for many years.  In truth, I was TERRIBLE at it, likely for the same reasons I didn't join the military, but I fully understand how fighting works, even if I'm neither skilled, nor sufficiently aggressive to inflict harm on another human being. 

Who is your favorite author?

Well, it WAS Harold Coyle, until he started filling his books with with extremist, right-wing nonsense!  (People with a centrist or left-wing point of view can love their country, too!)  Martin Cruz Smith and David Poyer are two other authors whose work I really enjoy reading.  But most of the time, I read non-fiction.

Did you "borrow" the name for Dead Hand Ridge from Harold Coyle?

Mr. Coyle's book, DEAD HAND was published in 2001.  By that time, The Edge of Justice manuscript had already been sent to the publisher and I had NO IDEA that my favorite author would be using that name in one of his novels.  It's spooky, though!

Do you "borrow" names from other people or places?

Sometimes, but not always intentionally. The names Dathan and Tamar are taken directly, and quite deliberately, out of the Bible. I had been working on my story for a number of years when someone pointed out to me that the last name "Ravenwood" appears in Raiders of the Lost Ark, and Illithia sounds a lot like a Tolkein place name.  One of my favorite cousins told me that the two main characters in Johanna Lindsay's Fires of Winter were also named Garrick and Brenna (and at first blush the characters seem physically similar), but the initial ideas for how my hero and heroine look actually came from the animated Ralph Bakshi film Fire and Ice, not the Johanna Lindsay novel.

The reason I chose the name Brenna for my heroine, is that all the Lithian names are Welsh in origin, and the name means little raven, or little one with raven tresses.  It's a bit of a play on words to couple her name with Ravenwood, as a platforming technique for her relationship with Garrick.  I'd long ago decided that her family name would reflect some Kamerese heritage, and that's why she's Brenna Velez.

It's very difficult to come up with names that don't evoke someone else's work, somehow.  We live in a sea of information, and the influence of all that exposure has an undeniable influence on the creative process. I believe I would go absolutely crazy trying to eliminate all references to stories I've read, songs I've heard, phrases I've picked up or films I've seen.  If the characters remind you of someone you've encountered before, I ask that you stick with the story.  I'm confident that my own ideas will shine through.  These people and places ARE my own, with a few exceptions:

The Woodwind character in my story is borrowed from my friend, James Gordon.  However, I've taken a LOT of liberties with that character in order to make him fit into my story.

Place names are fair game, and I borrow them all the time.  I named Kicking Horse Gap from the Kicking Horse River, an actual river in British Columbia.  The Tualitin, on Tamaria's southern border, is a real river that flows through Oregon.  I derived the name Hecate Creek from Hecate Straight, off the coast of Prince Rupert.  Washington State boasts "Deception Pass" on the north section of Whidbey Island, and I grew up knowing place names like "Death Valley", "Hungry Valley" and once spent hours as a teenager looking for a campsite called "Hardluck" with my best friend.  Place names in the far western region of North America often carry a foreboding connotation.  I kept that trend in naming geographic features in my narrative, to preserve the flavor of the west coast, where I grew up.

You've dedicated all your novels to the glory of God.  Why?

I'm a devout Christian.  Why else would I do such a thing?

Why then, do your stories contain sex, homosexuality and graphic violence, including rape?

Answering this type of question always makes me wonder about the motives of the person who is asking . . .  I don't think what I write depicts sexuality in a graphic way.  In fact, one of my previewing readers said: "It's not sex that makes these stories tense.  It's the lack of sex."

Even a casual reading of the scriptures will reveal that its stories are also full of sex, including homosexuality, and violence, including rape.  That doesn't mean that God condones such behavior.  My stories occur in a milieu brimming with war and political conflict, which demands attention to the conduct of warfare and the associated actions of people whose minds are set on violent deeds.  That doesn't mean I condone violence.

In fact, I have tried to portray violence in a brutal way to avoid glamorizing warfare and combat, even while describing some characters as fighting with tremendous skill.  I encourage readers who find violence offensive to skim those sections of the narrative.  Every reader has that right.

Concerning sexuality, I'd like to remind worried readers that attraction and procreation are normal.  Most of the complaining I've heard centers Garrick and Brenna, as their  relationship gradually progresses toward intimacy over the course of four novels.  Their conduct, however, is always couched in terms of morality, and thinking badly of Brenna because she permits her beloved's caress illustrates a lack of sensitivity to her character.

What vexes me most about this discussion, is that you can find far more explicit depictions of human sexuality in the Bible (Song of Songs and Ezekiel are good examples) than anything I've written, yet for some reason, my descriptions are equated with questions about my personal morality.  Nobody rails against the morality of the Bible writers, so why complain about me?

With respect to homosexuality, I invite concerned readers to actually READ The Long Journey before drawing conclusions.  There is no "hot, girl on girl" action in the story, though such sexual conduct is referenced.  I've tried to present  the perspective of a lesbian character with sensitivity and authenticity, but this is not easily done because I can't understand why someone would be sexually attracted to their own gender.

As a Christian, aren't you concerned about modesty?  Why does Brenna appear so immodest on the home page of this web site and in your Crisis presentation?

Brenna is more covered up in that image than the average girl at a swimming pool or a beach, but I'll try to be fair in answering the question.

That problem lies not in the appearance of the character, but in the mind of the viewer.  Many people do not want to wrestle with the idea that looking lustfully is directly equated with adultery by Jesus in the New Testament, yet that IS what he taught.  It's easier to decry immodesty than to exhibit self control.  It's easier to impose morality on others, especially on those in positions of weakness or minority, than to pluck out your own, offending eye.  Be honest with your own motives and be careful about ascribing intent to mine!

On another level, this issue relates to cultural influence and the expectations for moral conduct that are accepted, often without question, by consensus.  Early in the scriptures, Adam and Eve are described as "naked and unashamed" because at that time they had not sinned and were still innocent.  I've taken this concept and extended it to Lithian cultural norms.  The Lithians, who live in a warm, tropical climate, associate nakedness with innocence.  Thus, their children remain unclothed until they exhibit secondary sex characteristics.  At that time, Lithians of BOTH genders transition into fine, diaphanous clothing as a sign of readiness for marriage.  Rather than seeing Brenna in her maiden garments as a loose young woman, a Lithian would view her as someone who is ready for a lifelong commitment.  Once married, Lithians no longer display their beauty, couples always appear in opaque garments while in public, and their privacy is jealously guarded.  The concept of modesty from a Lithian perspective depends on a specific social context.  As a product of her culture, Brenna reflects the behavioral norms of her society. 

The same dynamic exists everywhere.  Most readers in North America, have been influenced by a mind set that associates nakedness with shame, and immodesty with shamelessness, yet what is considered modest attire in western countries might raise the eyebrows of a traditional Islamist.  Therefore, the concept of modesty absolutely depends on cultural perspective.

Modesty also requires sensitivity toward time and place.  Many people do not object to seeing very young children playing naked in the water at a lakeshore.  A loving father whose teenaged daughter appears at the sink for a glass of water before bedtime would think nothing of his girl being dressed in a nightgown, even if the young woman resembles her mother in the prime of her youth.  It's very likely, however, that the same man would not permit his daughter to leave the house on a date dressed in her nightgown.  Is the father a hypocrite for this attitude?  I think not.

Brenna, as a devout Lithian, is dressed as an unmarried Lithian would dress when Dathan Herulus first sees her.  As the story unfolds and she travels north into Tamaria, responses to her appearance reflect the cultural perceptions of the various characters with whom she interacts.  Nonetheless, the woman retains her devout faith throughout the story.  Her personal concept of modesty conflicts with Tamarian norms, yet the Gudrun character, who appears modest from the Tamarian perspective, contrasts significantly with Brenna where the principle of morality translates into behavior.

A similar dynamic takes place in Crisis.  For the sake of modesty--knowing that I would be making a slide show to promote the book--I had the Kamerese rebels strip their captives to their underwear, rather than stripping them naked, as is often done in our own world with people taken into captivity.  The intent of this action is to humiliate the prisoner.  People who are ashamed are passive and easily controlled.  Brenna, however, is simply not ashamed of her appearance, and her behavior toward the Kamerese rebels reflects this attitude.  All of her private parts are suitably covered up in the Crisis presentation.  If you don't like looking at a shapely young woman wearing her underwear, then don't watch it!

It's not my intent to convince readers one way or the other.  I developed that conflict to stimulate thought on the topic.

Many of your characters seem to have difficulty with authority and traditional religion.  What are you trying to say with this?

Nothing, really.  I grew up in the 1960's, a period of time when questioning authority became a perfectly acceptable rite of passage.  Most of the people I call friends remain unafraid to question orthodoxy and the assumptions that underlie belief systems.  If these can withstand scrutiny, they are likely worth treasuring.  If not, why not discard them?  My characters simply reflect this kind of thinking.

Algernon, in particular, challenges orthodoxy and chafes under the yoke of leadership.  His perspective is deliberately contrasted with that of Astrid and Garrick, two characters who thrive under the more rigid restraints of heirarchical leadership.  Decide which is more compelling for yourself!

Why did you choose self-publishing over traditional publishing?

While many people think that only traditionally published authors can write well, I'm proud to call myself an independent author.  I write what I want, when I want, and readers decide whether or not my material is worth their time.  If I subsidize my writing by earning my living in another field, and therefore bring a price advantage into the book marketplace, that's the way capitalism works.

At first blush there seem to be many advantages to a print on demand book.  The Edge of Justice was my first novel, and as such, my reading audience had to be developed.  Careful targeting of that audience requires patience and an investment that traditional publishers are generally not willing to extend to a first time author under current market conditions.  That's partially why this web site exists.  I want potential readers to peruse the chapter samples I've included to can gain a sense of my writing ability.  In this manner, new readers take less risk spending money on a novel written by an unknown author.

I would like to see more widespread use of electronic book readers as a means of broadening the market for aspiring authors.  All of my novels can be downloaded for free by clicking on this link:

Newadventure Store Page

I've included several different formats for various electronic readers.  E-books represent an environmentally friendly approach to publishing (provided that the e-reader device batteries are recharged and responsibly recycled after use), and a portable electronic reader gives the consumer nearly the same convenience as a paperback.  While the manufacturers of electronic readers and the publishing industry want proprietory formats to protect their profits, that's their problem, not mine.

Some people, including many traditionally published authors, think that a novel that hasn't been traditionally published isn't worth reading.  It's true that many independent titles are poorly written, but that's a very broad brush with which to paint all independent authors, and the truth is more complex than that.  Traditional publishing houses are now cranking out material that hasn't been edited.  Modern books by famous authors are filled with spelling and grammatical errors.  (I get a kick out of finding mistakes in traditionally published books!)  At present, much of the publishing industry remains focused on work written by celebrities or established writers, which doesn't leave a lot of room for newcomers with fresh ideas.  The difficulty authors like me experience in getting traditionally published has more to do with market factors than skill, or the compelling features of a given story.  If you don't believe me, download an e-book from this site and read for yourself! 

How can a buxom girl like Brenna shoot a bow without discomfort?  Wouldn't the bow string bang into her breast?

While I suspect that bosom envy  motivates this type of question, it's come up several times.  Because Brenna uses her bow to such deadly effect and she's also described as a well-proportioned girl, some readers have complained that she could not fire her bow effectively because her breasts would get in the way.  I've heard stories that women archers in the past cut their breasts off to avoid this problem, but I find that very hard to believe.

Although I'm not an archery enthusiast, I CAN say that I've fired a bow often enough to question that this would be a problem.  Michael McCollum, one of my readers, was kind enough to provide a render that illustrates why the bow string on the breast issue is really a non-issue:

Since the bow has to be held straight out at arm's length, there is a line that MUST be formed between the left arm, the arrow, and the right elbow.  Any serious deviation from this form will create stress on the upper body.  Note, however, that in such a stance, the bow string doesn't come anywhere near the girl's bosom.  Her breasts could be three times the size of what is pictured in this render, and they STILL wouldn't  be struck by the bow string when she released the arrow.

Now, I know that some people will contend that if Brenna drew her bowstring all the way back to her earlobe that this might create the requisite problem.  Even then, however, the bow string would be drawn back against soft flesh and released in the opposite direction.  It makes no sense that this would hurt.

If you have a question I did not answer, please e-mail me and I'll do my best to include it with a response.

 robert@newadventure.ca

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