Hey there bookworms! I took part in another blog tour for Dan Jolley’s trilogy. With aliens and genetic mutations in the series, the Gray Widow Trilogy encompasses science fiction, urban fantasy and superhero fiction. The covers for this series were done by Dark Horse Comics artist John Nadeau.
About the author: Dan Jolley began writing professionally at age 19. Starting out in comic books, Dan has worked for major publishers such as DC (Firestorm), Marvel (Dr. Strange), Dark Horse (Aliens), and Image (G.I. Joe), and soon branched out into licensed-property novels (Star Trek), film novelizations (Iron Man), and original novels, including the Middle Grade Urban Fantasy series Five Elements and the Urban Sci-Fi Gray Widow Trilogy.
Dan began writing for video games in 2007 and has contributed storylines, characters, and dialogue to titles such as Transformers: War for Cybertron, Prototype 2, and Dying Light, among others. Dan lives with his wife Tracy and a handful of largely inert felines in northwest Georgia, and enjoys connecting with readers via his website (www.danjolley.com) and on Twitter (@_DanJolley).
And now for the moment you have all been waiting for ….. the interview 😛
If you mean, when did I start writing in general? That would be, I’d say, eight or ten minutes after I learned to read, honestly. I’ve always made up stories, as far back as I can remember, and as soon as I figured out how to put words on a page, I started writing them down. (Brief aside: I didn’t go to kindergarten, and when I got to first grade, I couldn’t read. At all. I mean, I knew the letters of the alphabet, but I didn’t know how they fit together. So, for the first, I don’t know, two or three months, I was in the slowest “reading group” in my class. Then, one day, kind of in a huge epiphany, all the letters and words just *clicked*, and from one week to the next I got bumped up to the fastest “reading group.” I’ve never looked back.)
If you mean, when did I start writing professionally? That happened when I was nineteen and still in college. I met a girl in a video game arcade, asked her out, and subsequently got introduced to a few of her friends who were professional comic book artists. That connection led to my first writing contract. I didn’t actually get any money for that contract, because the company went under before they could pay me (or publish the story), but not long afterward I landed another comic book job that ended up providing a couple of terms’ tuition. I still write comic books, but over the years I’ve branched out into licensed-property novels, movie novelizations, original novels, and video games. I’m really not picky *what* I’m writing. As long as I’m writing *something*, I’m happy.
It changes as I get older. I grew up reading Louis L’Amour westerns and Larry Niven hard sci-fi, and for a long time, they tied for my top spot. L’Amour and Niven eventually lost out to Dean Koontz, and later Koontz got thrown over for John Sandford, and I’d say lately my favorite is Jim Butcher. I don’t know. I’m about to start reading James S.A. Corey’s Expanse novels, so we’ll see what happens.
There are two general schools of thought about writing, especially writing novels, often referred to as “Plotters vs. Pantsers,” as in “people who carefully plot out a story” vs. “people who fly by the seat of their pants and make up the story as they go along.”
I’m the opposite of a pantser. I outline relentlessly. I usually use the twelve-point skeleton advocated by Christopher Vogler in his book The Writer’s Journey, expand that into a fairly beefy outline, and refer to that outline constantly as I’m writing a novel. It gets even more granular when I’m working on a comic book or a video game, since the space constraints on those are sort of draconian, and I’ll actually draw out a diagram in a big sketchbook that lets me visualize the whole story before I ever start in on the script.
A big part of this is that basically when you sign a contract with a publisher to create something for them, with the understanding that they’ll be paying you for this creation, they want to know what it is they’re paying for. So even if I weren’t already naturally inclined to plot everything out before the actual fingers-to-keyboard gets started, I’d have to anyway. No publisher anywhere is going to pay you if they don’t know what your story’s going to be.
When you become a writer, you can’t help but look at entertainment in a different way from what you used to. I can still enjoy a good movie or TV show or game or book, but every second that I’m taking it in, watching or playing or reading, I’m *analyzing* it. “How did the writer achieve that effect?” and “Wow, that’s powerful characterization, I’ll have to remember that technique.” and “Hey, there’s the break between Acts 2 and 3.”
So I never read a hundred percent for pleasure anymore, but at the same time, when I do read something great, it’s like my education as a writer continues. I never want to stop learning or stop trying to get better. Reading these days is part fun, part job research, but I’m fine with that.
I’ve got a nice comfy recliner in my office, set up across from a TV with my PS4 hooked up to it. That’s where I do all my reading and gaming.
Well, since GRAY WIDOW’S WAR is the third book in the Gray Widow Trilogy, I would advise readers to get their hands on the first and second books first. (I realize that comes off as shameless self-promotion, but the fact remains… if you just start with the third book, you’ll be kind of lost.)
GRAY WIDOW’S WAR is Urban Science-Fiction, and if it were a movie, it would definitely be rated R. It’s about a group of humans who, unbeknownst to them, become subjects in an extraterrestrial weapons experiment that alters their DNA and turns them into military combat archetypes—Reconnaissance, Infantry, Interrogator, Medic, etc.
The story concerns how this process affects these people, not just physically, but also mentally and, especially, emotionally. It centers on a young woman named Janey Sinclair, whose life has been marked by tragedy after tragedy, and her decision to use her “Augmentation” to try to prevent other people from experiencing the same kind of pain and anguish that she has. The real question becomes—even as she has to deal with issues such as bloodthirsty shape-shifters, mind-controllers, and huge armored aliens—can Janey ever truly heal herself?
The Gray Widow Trilogy involves some superhero tropes, but it dives pretty quickly into science-fiction and horror, and doesn’t shy away from sexuality. So, I would say, if you’re looking for a stupendously badass female protagonist, some emotional roller-coaster rides, and a heaping helping of horrifying violence, you’ve come to the right place. If, on the other hand, you normally watch Merchant-Ivory films and think the “Drama in Real Life” segments of Reader’s Digest are too stimulating… proceed with caution? I guess?