Ask the Author: Luc Vors
Answered Questions (6)
Luc Vors
I don't have writer's block. The ideas come faster than I can write them down. A sad truth about my being is that I will not have enough time in my life to write all the stories I already have outlines for. What's worse, I keep adding to the list.
Luc Vors
Holding the finished product in your hands. The feel of a real book I created. That, and the idea that someone might actually pay money for it.
Luc Vors
Live it. Breathe it. Speak it. Dress it. Eat it. Sleep it. Wear the frikin' T-shirt. I once saw an interview of an up and coming musical artist, during which she mentioned as one of her quirks that she has been known to hum in her sleep. She mentioned it as something funny, but I know the secret to becoming your dreams. Do it so often that you wind up doing it in your sleep. She literally sleeps it.
Luc Vors
Editing my first novel. A strategic decision had to be made to publish Where Sleeping Dogs Lie first instead of my first novel. The first one is decidedly more complex.
Luc Vors
Simple. I get bored reading really fast. I want to write things that intrigue.
Luc Vors
My idea for Where Sleeping Dogs Lie comes from the need to create something truly unique, but not obscure. I'm a student of Creativity Theory, so naturally, I'm continuously in pursuit of the truly unique. The downside of that, is I tend to get bored with something when it isn't fresh and intriguing. That said, I also get bored when the artist goes too far into the obscure.
My challenge was to present depth and substance in a way that holds the reader's attention at a page-turner level. After all, I believe the goal of a suspense thriller is to create a sense of urgency in the read. For that reason, I wrote the prose with a direct emphasis on cutting the frivolity, and maximizing information flow. That meant eliminating complex jargon and $5 words to increase speed, without sacrificing depth and substance (not an easy task). The story had to move.
Once I mastered the art of information packaging (using less adjectives, adverbs and choosing nouns and verbs that say a lot in one word, etc.), I focused on how the story should be played out to set the stage for a big pay-off in the end. Coordination of scenes was essential. There are 4 main story-lines that, if not properly placed in the sequence of events, would lose the reader with too much information, too much complexity. Then there was the central purpose of the whole thing altogether: it has to be truly unique. So, I created a style of writing where the book becomes a puzzle, the pieces of which assemble at the end to reveal a completely different thing, one that the reader has to go back to the beginning to see how it all fits together.
My challenge was to present depth and substance in a way that holds the reader's attention at a page-turner level. After all, I believe the goal of a suspense thriller is to create a sense of urgency in the read. For that reason, I wrote the prose with a direct emphasis on cutting the frivolity, and maximizing information flow. That meant eliminating complex jargon and $5 words to increase speed, without sacrificing depth and substance (not an easy task). The story had to move.
Once I mastered the art of information packaging (using less adjectives, adverbs and choosing nouns and verbs that say a lot in one word, etc.), I focused on how the story should be played out to set the stage for a big pay-off in the end. Coordination of scenes was essential. There are 4 main story-lines that, if not properly placed in the sequence of events, would lose the reader with too much information, too much complexity. Then there was the central purpose of the whole thing altogether: it has to be truly unique. So, I created a style of writing where the book becomes a puzzle, the pieces of which assemble at the end to reveal a completely different thing, one that the reader has to go back to the beginning to see how it all fits together.
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