The Great Rock and Roll Secret

Suppose the great rock single had flickered over the airways just once, on the night you had passed out in the back seat?  Probably not, but still...rock and roll has always had this sense of possibility.  --Dave Marsh, Born to Run: The Bruce Springsteen Story, page 93 I originally read the above quote in the 1980s, when the first edition of Read more

Review: The Making of Day of the Dead

When I heard there would be a book entirely about the making of George A. Romero's third zombie movie, Day of the Dead, I was surprised. The movie had not been a financial or critical success at the time, and while its reputation has risen since its 1985 release, it's still nowhere near as well-known as its predecessors, Night Read more

The Manic Pixie Pout-Pout

Since I now have another two-year-old, I'm back to reading the simplest books to her at bedtime. Most of these books are innocuous, if occasionally incompetent (i.e., Big Snowman, Little Snowman, a Frozen tie-in book that probably takes longer to read than it did to write). A few are brilliant, such as Room on the Broom. But I'm here to talk Read more

The Omai Gods: the story behind the story

One of my favorite and oft-quoted bits of writerly advice comes from novelist/filmmaker Nicholas Meyer: "Art thrives on restriction." Meaning that if you don't have enough of something--usually money and/or time--you're forced to compensate by being creative. Here's a story that shows how that works, at least for me. I've never written steampunk. I honestly don't even know if it's a Read more

Guest post: Charlie Holmberg on Aqua Notes

Homegrown in Salt Lake City, Charlie Holmberg was raised a Trekkie with three sisters who also have boy names. She writes fantasy novels and does freelance editing on the side. She's a proud BYU alumna, plays the ukelele, and owns too many pairs of glasses. Her first novel, The Paper Magician, is now available. Follow her on Twitter for Read more

The Omai Gods: the story behind the story

Posted on by Alex in writers, writing | 1 Comment

One of my favorite and oft-quoted bits of writerly advice comes from novelist/filmmaker Nicholas Meyer: “Art thrives on restriction.” Meaning that if you don’t have enough of something–usually money and/or time–you’re forced to compensate by being creative.

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Here’s a story that shows how that works, at least for me.

I’ve never written steampunk. I honestly don’t even know if it’s a literary genre; it seems more like a fashion statement. Still, it’s certainly prominent right now, and there are even subgenres like diesel punk, atomic punk and so forth. Whenever I’m asked to contribute to a steampunk anthology, though, I usually demur. It’s a genre for which I have no affinity.

That is, until editor Sarah Hans approached me with the concept for the anthology Steampunk World. The conceit: steampunk with no connection to Western civilization. No Victorian England, no post-Civil War America. In other words, none of the stuff that steampunk seemed (to me) to be founded upon.

That sounded like a challenge. So I said yes.

Then the panic set in. What was I going to write about? And in the time I had? I began thinking about the rest of the world in pre-twentieth century times, and how strange technology might manifest there. I kept coming back to one image.

Illustration by James Ng

Story illustration by James Ng

I’d always been loosely fascinated with Easter Island and its statues, so I had the idea that those statues might be something else, something technological…like robots. Robots left behind by…who? And what would prompt them to rise from their slumber? That was the genesis of my story, “The Omai Gods.”

Except I didn’t have time to properly research Easter Island, and also no time to look into the world around it, to find out who would likely show up on its shores to precipitate the events of my story. So I did something else.

I made it all up.

I made up the island. I made up the nature of the statues, although their description is pretty clear. I made up the cultures of the two groups without getting too specific and bogging down in detail. This island and its people exist only in my mind. The advantage to this, of course, is that I could have anything happen that I wanted to without worrying about historical accuracy.

So “The Omai Gods” is not about any real world island or any particular statues. And to me, the restrictions of time and knowledge made the story better.

It also meant I was able to hit my deadline, which I know Sarah appreciates.

Guest post: Charlie Holmberg on Aqua Notes

Posted on by Alex in writers, writing | Leave a comment

Homegrown in Salt Lake City, Charlie Holmberg was raised a Trekkie with three sisters who also have boy names. She writes fantasy novels and does freelance editing on the side. She’s a proud BYU alumna, plays the ukelele, and owns too many pairs of glasses. Her first novel, The Paper Magician, is now available. Follow her on Twitter for the latest news.

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There are millions of places a writer can go to get an idea: museums, national parks, Wikipedia, even other writers’ books. The “what ifs” and crazy combinations of stuff in this world are endless. (Jim Butcher’s Furies of Calderon, for example, came from shoving Pokemon and a lost Roman legion into the same story.) Ultimately, the question of, “Where do you get your ideas?”, is relatively moot, because ideas are everywhere. Though, alternatively, I’ve recently discovered that sometimes the best place to get an idea is inside my own head.

The human brain processes thousands of stimulants and chunks of information daily. All of these—news articles, your strange new neighbor, that weird pear tree that smells like a corpse*, the story of your best friend’s cousin’s most recent breakup—leaves involuntary dregs inside your mind, much like a snail trail. Whether you’re actively thinking about the information or not, it’s all sitting inside your skull, forming piles of puzzle pieces that don’t seem to fit together. It’s surprising how many ideas I can come with when I’m forced to stand in a locked white room with my own brain, staring at said puzzle pieces until I see a bigger picture.

Ever heard of Aqua Notes?

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This product is ingenious. I can’t think of how many times I’ve gotten a great idea in the shower and have had to repeat it to myself over and over so I could remember it by the time I got out. We’ve all been there. But why do great ideas come in such a strange place? Because [usually] we’re alone. Just us and the ceramic. Just me and my brain.

Road trips are even better. Instead of twenty minutes alone with your thoughts, you have hours. Long, boring hours of dry southern Idaho countryside. After you’ve played the alphabet game and forty rounds of 20 Questions, it’s either white-room-brain-time or jumping onto the pavement whizzing by at eighty miles per hour.

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Charlie N. Holmberg

I’ve “discovered” so many story ideas just by letting my thoughts drift until I reach one that’s especially unique or bizarre. It was during the long, twelve-hour trip from Moscow, ID to Salt Lake City that I came up with the idea for The Paper Magician: the idea of using man-made materials to cast spells. The idea of making the setting of the story an internal organ. The idea of giving a man a paper heart.

An idea is like good wine (or so I’ve heard, I’ve never actually had wine). The longer it ages, the better it tastes. And sometimes, when writers step away from the world and stare at the bottle long enough, they discover a blend of flavors that makes their writing excel.

Go ahead, try it. This drink’s on me.

*These are all over BYU campus.

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Thanks to Charlie for stopping by my blog, and be sure to look for The Paper Magician.

Out today: Wickedly Dangerous by Deborah Blake

Posted on by Alex in writers, writing | 1 Comment

One of the perks of my job is that I get asked to give blurbs to upcoming books, which means I also get to read them long before they come out. Usually such requests come from editors, or agents, or writers I’ve met at conferences, but occasionally they come from good friends who also happen to be good writers. That’s how I was lucky enough to read Wickedly Dangerous, the first in the Baba Yaga series by Deborah Blake, out today.

Wickedly Dangerous
The Baba Yaga in Russian folklore is not exactly…sexy. Here’s a quick overview. But what Deborah has done is imagine how this figure, with the same goals and tasks, might function in a modern American world. Her chicken-footed shack becomes an Airstream trailer, her dragon disguises himself as a pit bull, and her three companions ride motorcycles.  It’s the kind of myth tweaking after my own heart, and I loved it.
Here’s the blurb I sent to Deborah:
“Wickedly Dangerous translates a terrifying figure from folklore , the Baba Yaga, into the smart, resourceful, motorcycle-riding Barbara Yager, who travels with her dragon-disguised-as-a-dog best friend, righting wrongs and helping those in need. But when she stumbles into a town whose children are vanishing, and meets the haunted young sheriff trying to save them, what was a job becomes very personal. This is urban fantasy at its best, with all the magic and mayhem tied together with very human emotions, even when the characters aren’t quite human.”
The pre-release reviews have backed up my enthusiasm:
“Wickedly Dangerous is innovative and fun, introducing some lesser known mythological characters and giving them a 21st century makeover.”–Romantic Times four-star-review.
“Wickedly Dangerous is a fast-paced book with an entertaining chemistry between Barbara and Liam and some really cool secondary characters.”–The Blogger Girls
Some may gripe that this is a paranormal romance, a genre not noted for getting a lot of respect. To them I say, yes, but it’s a good story.  When the story’s good, genre doesn’t matter. Genre snobbery hurts no one but the snob, so don’t be one.
Starting tomorrow, you can get Wickedly Dangerous at Amazon, Barnes and Noble, or your local indie bookstore.

Cruel to be Kind: Killing Off a Major Character

Posted on by Alex in creativity, fantasy literature, Firefly Witch, heroes, Pagan, series, writers, writing | 1 Comment

Occasionally, because I’m not really that smart, I’ll put out a call for blog ideas. And sometimes I get one that’s so original there’s just no way to ignore it. So thanks to Claudia Tucker for asking:

“Have you ever been tempted to ‘kill’ your main characters off and start with a new Hero who might be a an offspring of the said hero, carying on where his/her parent left off?”

That has actually happened, but only once. And I’m telling you about it because ultimately, the idea went nowhere.

My first continuing character was Tanna Tully, “The Firefly Witch.” She was the protagonist of the first short story I wrote after deciding to make writing a priority back in 1995; that story, “The Chill in the Air Wakes the Ghosts Off the Ground,” was also the firsts short story I sold after that decision. Recently I’ve dug out those stories and spruced up some of them, and they’re available as three-story ebook chapbooks on Amazon and Barnes and Noble.

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Anytime you write about the same characters for a long time, you run into the problem of repetition. If you’ve followed a literary series that runs for more than ten books, you know what I’m talking about. The same mind, working in the same milieu, simply has a finite number of stories to tell. Repetition, and worse, boredom, are inevitable, and if the creator is bored, then the reader will be, too.

So in an attempt to liven up the stories, I made Ry and Tanna parents. This, however, turned out to be a mere cosmetic change, and didn’t solve the immediate problem, which was that I’d simply run out of ideas for Tanna. Anything I came up with was just a retread of something I’d already done. So I wrote what I intended to be the final story, in which she nobly sacrificed herself.*

Then I had what I thought was a great idea: the adventures of Tanna’s daughter as a teen, struggling with her mother’s absence and her own heritage. The first story I attempted came out rather well, so I wrote more. But soon I realized there wasn’t enough originality in the idea to differentiate them from the original stories. I’d simply, to borrow a “Bewitched” reference, swapped Darrens.

So those stories went into the trunk, and the Firefly Witch went into hiatus. It wasn’t until many years later that, at my agent’s suggestion, I dug out the original stories for a new audience. And with the passage of time, and my own progress as a writer, I found I now had no shortage of new ideas for the character. So I’m glad I never “officially” killed her off, and the stories of her wayward daughter are consigned to the same alternate universe as X-Men: The Last Stand and that season of “Dallas” before Bobby reappeared in the shower.

Thanks for the great question, Claudia!

*These stories have never published, and so cannot be considered “canon.”  Ry and Tanna are still alive, happy, and happily childless.

Guest Blog: Melissa Olson on Multiple First-Person Voices

Posted on by Alex in writers, writing | 1 Comment

Today my friend, author Melissa Olson, stops by to talk about her new book and the issues of writing more than one first-person series. You can also find Melissa (and me) at her online release party for The Big Keep later today, starting at 5:30 CT.

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I’d like to thank Alex for hosting me today, especially considering my topic is inspired by a blog that he wrote back in September called “Hearing Voices.” When I first read that post, I was already a published author with two urban fantasy books under my belt, both starring the same main character, Scarlett Bernard. Since then, however, I’ve written a new urban fantasy with a new protagonist, and I’ve also re-written a detective novel called The Big Keep (which, like many of Alex’s books, was heavily influenced by hardboiled authors like Robert B. Parker and Raymond Chandler).

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Each one of these series is written in first person, which means that there was a point this year when I was writing one protagonist, editing another protagonist, and promoting a third protagonist – all from inside their heads. Talk about hearing voices. I credit Alex’s blog as helping me think hard about how I wanted these characters to be alike and different. Since he already explained things so well – and since I’m a big fan of Entertainment Weekly’s often-hilarious use of graphics to explain things – I thought it’d be fun to make a little chart to show you how that comparison breaks down.

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If any of this sounds interesting, please check out the appropriate series (or hey, all of them – my kids want to go to college, too), and don’t forget to join me, Alex, and a whole bunch of other fantastic authors tonight at my Big Keep Facebook Release Party.

 

 

7 Questions About My Most Recent Novel

Posted on by Alex in Eddie LaCrosse, fantasy literature, He Drank and Saw the Spider, writers, writing | 1 Comment

Okay, I was supposed to do this on Monday, but it got away from me. Thanks to Lucy Jane Bledsoe for tagging me in this, and to Melissa Olson and Deborah Blake for agreeing to be tagged for next Monday. Here are seven questions about my most recent book:

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1. What is the name of your character?

Eddie LaCrosse.

2. When and where is the story set?

In two bordering kingdoms, Altura and Mahnoma.

3. What should we know about him/her?

He’s a sword jockey, which is the equivalent of a private eye in his medieval-ish world. As a young man he did some terrible things, and now he tries very hard to make up for them by doing what’s right. He has a girlfriend, Liz, who is equally tough and smart.

4. What is the main conflict? What messes up his/her life?

Sixteen years prior to the main action, he rescued a baby girl from danger and left her with a kindly farm family. Now, fate brings him back into her life, and once again she needs his help, with the danger now coming from a possibly insane king, a mysterious sorceress and a giant, semi-human monster.

5. What is the personal goal of the character?

To live up to his word to protect Isadora.

6. What is the title of this novel, and can we read more about it?

He Drank, and Saw the Spider. You can find out about it at my website, alexbledsoe.com. You can also check out the Goodreads reviews here.

7. When was the book published?

January 2014, from Tor/Macmillan. Also available in unabridged audio from Blackstone.

Writing on demand for MY BLOODY VALENTINE

Posted on by Alex in anthology, eBook sale, Firefly Witch, short stories, writers, writing | 2 Comments

Every writer has at least one weakness, something they don’t do as well as they’d like. They know it, and their readers know it. Raymond Chandler knew he didn’t do plots well, which is why the structures of his novels a) don’t bear up to scrutiny, and b) are often cribbed from his previous short stories. Of course, what he did do well, he did so well that no one minded what he couldn’t do. As critic Robin Wood famously said, “who cares who killed Owen Taylor?”*

My problem has always been writing on demand.

By that, I mean responding when someone says, “Write a story about dogs,” or, “Write a story set in Montana.” My own skills don’t work that way; I need time to puzzle over ideas and let them develop organically. I have no problem writing about dogs, or Montana, or even dogs in Montana. But I need time to work my way into it on my own.

Which is why, whenever I get asked to contribute to an anthology, I try to do it. Because the only way over these sticking points is through them.

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When the editors of My Bloody Valentine said they needed a story a) of about 15,000 words, b) about love, and c) with the opening words, “Love hurts,” I was intrigued, and a little intimidated. When they told me how quickly they needed it, I was a lot intimidated.

Beyond the problems I mentioned above, there was a third issue: I’d never written anything that clocked in at 15,000 words. My short stories average between 3-7K words, and my novels at around 90K. 50K is novella territory, new ground for me. As Stephen King says, the novella is “an ill-defined and disreputable literary banana republic.”

But the folks doing the anthology were the same one who publish my “Firefly Witch” stories, so I felt I owed them an honest shot. And I decided that I’d make this a Firefly Witch story as well, so that at least I’d be working with characters I knew.

I thought about the stories I’d written about these characters, and what aspects of them I hadn’t explored so far. I realized I’d often mentioned that Tanna taught college, but hadn’t really shown her functioning as a teacher. With that as a starting point, I wrote about an investigation into a haunting that doesn’t go as planned, and as I wrote, the rest of the characters filled out the plot and gave me plenty of material to work with. It was a near thing–I think I hit the deadline on the day, and my word count was just…barely…15K, but it worked. The editors liked it and picked it for the anthology.

And you can read that story, “Tantrabobus,” along with seven other stories from a variety of writers and genres, in the ebook anthology My Bloody Valentine, available now from Story Vault. You can get it from Amazon or Barnes and Noble. for only $2.99 for a limited time. And if you do pick it up, please leave an honest review at the site of your choice!

*for the record, it’s a plot point from The Big Sleep, and it’s never really clear.  The only explanation that even works is that Taylor committed suicide, which makes about as much sense in context as it does right here.

Help fund Tufa Tales: Appalachian Fae

Posted on by Alex in faeries, folk music, fundraiser, Hum and the Shiver, music, tennessee, Tufa, Wisp of a Thing, writers | 2 Comments

One of the best perks about being a writer is that you get to meet other artists. Most of them are fellow writers, but I’m lucky enough to also count visual artists, filmmakers, and musicians among my friends. I’ve connected with many of them through art, either theirs or mine, as well as through social gatherings like conventions and workshops.

And sometimes, these connections turn into something you never expected.

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In May of 2013, I first met the members of the band Tuatha Dea. Having written two novels about the Tufa, a race of musicians descended from Old World faeries and currently living in Appalachia, you can imagine my surprise at finding a band named after the fae (known in some circles as the “Tuatha De Danaan,” a.k.a. the “Children of Dana”), based in Appalachia (Gatlinburg, TN, to be precise), who perform the kind of Celtic-influenced music I always imagined my Tufa might play. There’s luck, then there’s serendipity, then there’s just plain astounding coincidence. I think meeting this band was a little bit of all three.

But that’s not the best thing. After reading my books, they came to me with an astounding proposition: they wanted to do an EP of original songs based on my Tufa series, titled Tufa Tales: Appalachian Fae.

I couldn’t turn down a chance to hear what this band–and they’re a great band–might do with this idea. So I gave the project my blessing. And I have no stake in this; the band is doing it entirely independently. I’m like everyone else, just waiting to hear what they come up with.

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And this is where you can help. To finance the CD, they’re running an IndieGoGo campaign. As with all such crowd funding, any amount is helpful. So if you like my novels, and you ever wondered what a modern Tufa band might sound like, then please consider helping Tuatha Dea get this project off the ground.

You can find out more about the project here. Watch the video, learn about the band, and consider helping out.

Oh, and you should definitely go to ReverbNation and check out their music. In fact, the song “Hypocritical Mass,” that you can stream from this site, might just turn up in a future Tufa novel….

And here’s a rough live version of their song, “The Hum and the Shiver,” that will be on the CD.

The Secrets of Writing Action Scenes

Posted on by Alex in Eddie LaCrosse, writers, writing | 8 Comments

200px-HeirToTheEmpireBack in 1991, Timothy Zahn rejuvenated the Star Wars franchise with Heir to the Empire, the first new, non-comic Star Wars tale since the end of the first trilogy. Like every SW fan, I devoured it, but I remember thinking that although Zahn nailed the characters, he totally blew the battle scenes. The reason was simple: what takes seconds to show in film can take pages to describe in prose. By trying to replicate the action of the movies, he created those vast blocks of gray text that readers skim, violating one of Elmore Leonard’s prime rules: “Try to leave out the part that readers tend to skip.”

When I began to write the Eddie LaCrosse novels, I remembered how I’d felt about Zahn’s action scenes, and so thought about how I wanted to do mine. It took a while, but I finally realized the obvious thing about action scenes in prose: they have the same job as everything else. They have to advance the plot, and reveal character. If they don’t do at least one of these things, then they’re extraneous at best, boring at worst. And readers will skip them.

There’s a lot of action–fights, chases, even occasionally battles–in the Eddie LaCrosse novels. The point of view helps a lot: everything is in first-person, so there’s no question of what perspective to emphasize. If Eddie doesn’t experience it, it doesn’t get mentioned.

But Eddie is also a very specific character. He’s experienced, but he’s a bit past his prime, and he tends to either win his fights very quickly, or choose not to fight at all if he thinks he’s overmatched. Because he’s seen so much, he often compares his current fight with something from his past, often employing techniques that worked before. When I write an action scene, I have to keep all this in mind.

Further, there are the physical sensations of the fight. The muscles used to swing a sword, or to parry a blow, are specific and, to most of us, a bit unusual. I’ve taken fencing and sword-fighting classes to get an idea of how it feels, and yes, at times I act out what I’m about to write to see if there’s some interesting detail I might have overlooked. Luckily my office is on the third floor, so the neighbors don’t have to see me jumping around.

Dark Jenny cover

It’s also important to remember that things we might see in TV and the movies don’t always go that way in real life. For example, in Dark Jenny, Eddie punches somebody in anger, and it messes up his hand for the rest of the book. This was inspired by the incident of director Howard Hawks punching Ernest Hemingway: “I hit Hemingway, and I broke the whole back of my hand.” (Joseph McBride, Hawks on Hawks, p. 37.)  My own experience with punches is thankfully limited to adolescence, but I do remember that it hurt, something that you don’t see or read about in most fight scenes.*

A personal peeve of mine is the idea that someone can be harmlessly “knocked out,” often more than once, with no long-term consequences. A quick pop to the head and that’s it; you wake up later, perhaps with a bit of a headache but otherwise none the worse for wear. That is, frankly, bullshit. As the recent NFL controversy has shown, repeated blows to the head accrue damage over time; just look at Muhammed Ali these days, for another example. If your hero gets clocked more than once, you need to think about what that means beyond a simple plot point. As an example, in Burn Me Deadly, Eddie is beaten up and knocked out at the start of the book, and spends a fair bit of time recovering.

So those are some aspects of my approach to writing action scenes. What action scenes do you like, and which ones ring false? And thanks to @INCspotlight for suggesting this topic on Twitter.

*the only other time I recall seeing this in a movie was in the original M*A*S*H, when Trapper John (Elliot Gould) hits Frank Burns (Robert Duvall) and clearly hurts his hand.

Guest blog: Melissa Banigan on new anthology

Posted on by Alex in fundraiser, guest blog, writers, writing | 1 Comment

Author and friend Melissa Banigan is creating an amazing anthology called Advice to My Thirteen-Year-Old Self. I’ve invited her to talk about it here, and at the end is information about how you can contribute.–A.B.

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For many months, I’ve veered away from writing adult and middle grade fiction dystopian and fantasy novels to focus on editing an anthology of non-fiction advice letters for teen girls called Advice to My Thirteen-Year-Old Self. Written by fifty women of different cultures living in countries around the world, the collection of letters, once completed and published, will serve as a guidebook for young women entering womanhood.

Fellow writers have been asking: why edit a non-fiction anthology by women for girls? Why not stick to fiction? The answer is simple: I see a lot of parallels between the poverty, suffering and inequality found in dystopian fiction and the real-life stories of women living right here in our world.

Margaret Atwood’s novel, The Handmaid’s Tale, tells of a future North America in which women have been stripped of their rights by a totalitarian Christian theocracy. After a revolution in which a movement called the “Sons of Jacob” takes power, the novel’s main protagonist, a woman named Offred, is forbidden to read, no longer allowed governance of her own finances, and is taken from her family to be given as a concubine (“handmaid”) for reproductive purposes to a commander of the movement.

Unfortunately, real-life North America, despite making long, feminist strides, also allows woman to be oppressed. Economically, women still make much less than men, and are discriminated against daily in both their professional and personal lives. Women and family health is not supported by all government health programs and insurance companies, the media sexualizes rather than empowers females, rapists and sexual offenders are often punished less than criminals who harm animals, and beauty has become so wrapped up with many girls’ notions of self-worth that diseases such as anorexia have become almost normalized.

Gender inequality isn’t just a North American problem, but global. In many nations, females are subjected to genital mutilation, are forced to marry while still young girls, and are sold in the sex trade. Poverty disproportionally affects women and children, and war and genocide, while equally affecting men, women and children, leaves more women than men to pick up the pieces, often with no governmental or societal support.

Melissa Banigan and her daughter.

Melissa Banigan and her daughter.

Fortunately, where there are victims, there are heroes. I’m finding more and more women who are showing society how true heroes are formed. In both fiction and real life, the formula is this: heroes don’t singlehandedly save the world by welding weapons and winning wars, but on their keen empathetic abilities and willingness to nurture as they collaborate with others.

In The Hunger Games, Katniss Everdeen, a totally badass, bow and arrow-toting teenage girl, gets thrown into a horrific, bloody game, but survives because rather than only looking out for her own interests, she forms alliances with other young people. Indeed, because of the partnership she forms with one of these people, she is later shown mercy by a boy who, inspired by her compassion, saves her life. The lesson? Compassion and empathy are contagious. People who embody these ideals, even when faced with adversity, can, and will, change the world. Recently, through my work on the Advice to My Thirteen-Year-Old Self anthology, I’ve met many such individuals.

Ponheary Ly, for example, a Cambodian woman who survived the genocidal Khmer Rouge regime, submitted a letter to Advice to My Thirteen-Year-Old Self about how she’s since created a foundation that helps thousands of Cambodian children return to school. And Terri O’Connell, a woman born with gender identity disorder who, even while facing discrimination, has become a motorcar racing champion with over 500 races and NASCAR experience under her belt, has done tremendous work in leading the charge against bullying, domestic and gender violence. Jennifer Tress, an author who was told by her husband that the reason he cheated on her was because she “wasn’t pretty enough,” started an entire movement questioning what it means to be beautiful. None of these women did it alone: they shared their vision with others.

My vision for the Advice to My Thirteen-Year-Old Self anthology is that by having teen girls and young women around the world learn how fifty women have overcome adversity, that they will then be inspired to fight the good fight – not with steel, but with words and by forming strong, empathetic relationships.

Help support Advice to My Thirteen-Year-Old Self! Read more about the project and contribute to a time-sensitive crowdsourcing campaign that will enable the anthology to be finished by April. Even a dollar helps!