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Weldon Writes ... Almost a Blog

Talking with Chantal Noordeloos, Author of Coyote the Outlander

Chantal Noordeloos lives in the Netherlands, where she spends a lot of time arguing with characters (aka writing). In 1999, Chantal graduated from the Norwich School of Art and Design, where she focused mostly on creative writing. There are many genres that Chantal likes to explore in her writing. Currently steampunk is a focus of hers, leading her to write her Coyote novels about a female bounty who faces bizarre challenges.

But Chantal's "go to" genre will always be horror. "It helps being scared of everything. That gives me plenty of inspiration," she says.

Chantal is one of Smart Rhino's favorite writers, and we always enjoy talking with her. She gladly provided the following interview--which captures much of her inherent wackiness. Enjoy!


Your Coyote novels, Coyote the Outlander and Coyote: The Clockwork Dragonfly, are uniquely steampunk. Coyote is a strong and fascinating heroine. How much of Coyote is Chantal?

Ha! You caught me there. There’s quite a lot of me in Coyote, more so than any other character I’ve written so far. I think that also has a lot to do with that she’s an old role-play character of mine, from back in the days that we played Dead Lands.

There are a great deal of differences, of course. I can’t shoot a gun to save my life (in all honesty, I would more likely shoot myself than an opponent) and even if I could, I don’t think I’d have it in me to kill anyone. In a fight of flight situation … well, let’s just say I do the worst … I freeze. *cringes*

So, not so much the heroic bounty hunter, more the useless cannon fodder. If the *insert scary monster here* Apocalypse should ever happen, I would be among the first to die—and I probably won’t even die with dignity.

But at least I get to live vicariously through Coyote, right? Right? *bites lip*

Where I think we’re similar, she and I, is that Coyote has my zany outlook on life, and my sense of humor. One could argue that all characters I write have "my sense of humor" since, ehm … I wrote them, but that’s not exactly true. There is a difference between what I write and how I am in real life—there are plenty of characters I’ve written where I thought: "Dude, wtf is wrong with you?" Not sure what that says about my own mental state, but there you have it.

Coyote reflects how I feel about subjects such as inequality. She also mirrors some of the awkwardness I felt as a young girl/woman for being a tomboy. When I write Coyote, I base her very much on the parts of my personality that are confident, yet at the same time I give her some of my own insecurities, too. I would say she is the braver version of me—one who doesn’t care what anyone thinks.


Your novel Angel Manor is straight up horror. Do you think your writing will lean more toward that genre in your future work?
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Liz DeJesus, Writer of Modern-Day Fairy Tales

Liz DeJesus loves taking familiar fairy tales themes and giving them new twists--if not turning them upside-down. She is a novelist, freelance author, writing coach, and poet. If you enjoy the retelling of fairy tales, be sure to check out her work--including Jackets, First Frost, Glass Frost, Shattered Frost, and several others. Her story, "Sisters: A Fairy Tale," was published in the Smart Rhino anthology, Someone Wicked.

Liz agreed to talk with us about her work--and, as always, we enjoyed the conversation!

Let's start with the easy question for you. Why fairy tales?

It goes all the way back to my childhood. I was bullied as a kid throughout most of my childhood and fairy tales were a safe haven for me. Brothers Grimm, Hans Christian Andersen, and Charles Perrault. Their books and stories all conveyed the message that I could have hope and that things could get better for me. I needed that message so badly at that time in my life. So I read them over and over again just to keep myself afloat. It took a while but things did eventually change for me.

So that’s the main reason I always gravitate towards fairy tales. In life and in my writing. Besides, it’s so much fun to play with these stories!

I love reimagining these fairy tales. I especially adore writing fairy tale retellings. I like to think about what it would’ve been like to have been in their shoes. Cinderella, Snow White, Red Riding Hood … just to name a few.

I remember the short story I wrote for the Someone Wicked Anthology, "Sisters: A Fairy Tale." It’s a fairy tale retelling of the story "Toads and Diamonds." That was a lot of fun to write. I got to see two sides of a story I always wanted to know more about.

With The Frost Series (First Frost, Glass Frost, and Shattered Frost), I use fairy tales as the foundation of the story. What if Snow White and all these fairy tale princesses had children? What happened to those children? Bianca Frost is the main character of the series and she’s a witch as well as a descendant of Snow White.

In my collection of short stories, Mugshots, I use fairy tales once more except that this is a modern retelling of Snow White, Red Riding Hood, Alice in Wonderland, and Goldilocks and they all commit crimes that land them in jail. Sex, drugs, and rock n’ roll! Believe me, I had WAY too much fun writing that particular book.

If you could start over, what would you do differently?

 

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Graham Masterton: Horror and Suspense Master Extraordinaire

Graham Masterton is something of a literary chameleon. A prolific author, his 100+ books run the gamut from horror to thrillers to historical fiction to sex “how-to” manuals to his current series of Katie Maquire crime fiction. His debut as a horror writer began with the immensely popular novel, The Manitou, in 1975, which was also made into a movie starring Tony Curtis and Susan Strasberg. Several of his short stories have been adapted for television, including three for Tony Scott’s Hunger series. The man has been around the block a few times.

Graham is magnanimous and more than willing to talk about writing and publishing, and has long been a supporter of other writers in the field. In fact, he will talk your ear off given half the chance. I was thrilled that he was willing to take some time out of his busy day to answer a few questions for Suspense Magazine.

So, where did it all start?

I was writing fiction from an early age. I loved the novels of Jules Verne like Twenty Thousand Leagues Under The Sea and H.G. Wells like The War of the Worlds, and wrote my own adventure novels and bound them in cardboard. At the age of 10 or 11, I discovered Edgar Allan Poe and loved the stories of “The Pit and the Pendulum” and blazing dwarves. I started writing my own short horror stories to read to my friends during break time at school. Some of my friends met me years later and told me that I had given them nightmares. I wrote a 250-page novel (by hand) about giant supernatural crabs when I was 12 (which I still have). When I was 14, I wrote a 400-page vampire novel that has been lost.

I was expelled from school was I was 17. Expulsion was the making of me, though,  Read More 

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Meet Thriller Writer John Gilstrap

Most people know bestselling author John Gilstrap for his thrillers, especially his Jonathan Grave novels (No Mercy, Hostage Zero, High Treason, Damage Control, End Game, Threat Warning). But fewer know that he is also an accomplished screenwriter, writing screen adaptations of novels by Nelson DeMille, Thomas Harris, Norman McLean, and of course his own work. Outside of his writing, John has an extensive background in hazardous waste management, fire behavior, and explosives—knowledge that he has incorporated at times in his fiction.

John welcomed an interview for Suspense Magazine, and I thoroughly enjoyed our Q&A session!

Let’s start with your screenwriting. Your first screenplay was an adaptation of your own novel, Nathan’s Run. Apparently you knew nothing about screenwriting before taking on the job. Yet you wrote the screenplay in, what, less than a week? What did you do to get up-to-speed on that project?

Two years after I’d sold the movie rights to Nathan’s Run, my film agent at CAA called with the bad news that Warner Bros was putting Nathan’s Run in turn-around—the first in a complex series of steps that generally lead to a movie’s death. All because of script problems. I told my agent that the previous script writers were missing the point of the story; that I could do better, if only given the chance. Important Hollywood Lesson: Be careful what you say.

“Hmm,” my agent said. “Do you think you could do it by next week?” The word “sure” escaped my lips before the filter in my brain had a chance to stop it. Sure I could write a screenplay in a week. Why should I let a little detail like never having seen a screenplay—let alone write one—stand in my way? Bravado, baby.

So, with so little time to deal with the deadline, what did you do?

I dashed out to my local bookstore and picked up a copy of William Goldman’s book, Adventures in the Screen Trade, and read it cover to cover in a day. In it, he’s got the complete script for Butch Cassidy and the Sundance Kid, and when I finished it, I thought I had a handle on this screenwriting thing, so I started writing. Three days later, I had a completed script for Nathan’s Run.

Wow, three days? How did it go over?

 

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