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It’s A Book Thing Presents: An Interview with T. C. Weber, author of the BetterWorld Trilogy (Sleep State Interrupt, The Wrath of Leviathan, and Zero-Day Rising)

Author’s Bio: Ted Weber has pursued writing since childhood, and learned filmmaking and screenwriting in college, along with a little bit of physics. His first published novel was a near-future cyberpunk thriller titled Sleep State Interrupt (See Sharp Press). It was a finalist for the 2017 Compton Crook award for best first science fiction, fantasy, or horror novel. The first sequel, The Wrath of Leviathan, came out in 2018, and the final book of the trilogy, Zero-Day Rising, is coming out Oct. 1, 2020. He also has other books on the way. He is a member of the Maryland Writers’ Association, and runs a monthly writing workshop. By day, Mr. Weber works as an ecologist for Defenders of Wildlife, and has had a number of scientific papers and book chapters published. He lives in Annapolis, Maryland with his wife Karen. He enjoys traveling and has visited all seven continents.

Deliah Lawrence: What inspired you to write your book?

Ted Weber: I’m a big cyberpunk fan, and wanted to write something in the genre. As for theme, I've always been worried about the concentration of media and the decline of journalism, and the threats those trends pose to independent, critical thought and democracy. We need look no further than Annapolis and Baltimore to see how the Tribune company in Chicago bought the Baltimore Sun, the Capital, and several other Maryland papers, and laid off staff to cut costs. In the case of the Capital (founded 136 years ago), the Tribune is closing it entirely, leaving Annapolis without a local paper.

For the BetterWorld trilogy, it was just a matter of developing characters who would also be concerned about these issues, and adding details of a near-future world. Finally, setting the series in Baltimore and DC, places I know well, made it easy to write realistic details.

DL: Describe your writing process?  

TW: I try to write something every morning, even if it’s just random thoughts or a few paragraphs. If it’s relevant to a current project, I try to pick it up again after dinner. When working on a novel, my goal is to write one scene each day, schedule permitting. Long scenes may take several days.

Plotting and character development are complicated. I follow Randy Ingermanson’s Snowflake method and Larry Brooks’s Story Engineering, more or less. The first step is to brainstorm story ideas and pick one worth writing about. I turn this into a “what if” question (like “What if nearly all information was controlled by a powerful elite? Could ordinary people overturn such a system?”) and a one-sentence novel summary (e.g., “An unemployed journalist and her friends try to stop a power-mad CEO from controlling the world.”) The next step is to expand that sentence to a full paragraph describing the story setup, major plot points, and ending of the novel. Then I develop the main characters and their goals, motivations, back story, etc. I weave the character arcs into the plot and write a short synopsis followed by a long synopsis. I convert this to a scene list in Scrivener, with a virtual index card for each scene (ideally with the scene arc outlined). Then finally I start writing, starting with the opening scene and filling out each scene in order. As I write, the story changes, sometimes quite a bit, but at least I have a roadmap to follow.

DL: What do you think makes a good story?

TW: Above all, a good story shouldn’t bore the reader. The story should make sense, have high stakes, and have main characters that jump off the page--either sympathetic, unpredictable, passionate, gutsy, resourceful, complex, noble, or all of the above. I am a big fan of the hero’s journey, and even more so, fascinated by the question of what makes an ordinary person become a hero. While superheroes and elite soldiers are fun to read about, I think it’s much more interesting to read about the person next door thrust into a situation way above their head, and seeing how they cope. Finally, a story should be immersive. The reader should feel like they’re in the setting and one with the character.

DL: What were some of the challenges when writing this book?

TW: The biggest challenge of Zero-Day Rising was that it’s a series finale, so the ending has to be better than a “good” ending. It has to be knock-your-socks-off amazing. I always agonize over the ending of any book, so I especially agonized over this one.

DL: What tips would you give to aspiring writers?

TW: Here are 7 tips:

  1. Write something every day, preferably at a set time.
  2. Make a list of ideas (I like to add to this first thing in the morning).
  3. Finish things.
  4. Join a critique group and get feedback on your writing.
  5. Never be afraid that your work isn’t good enough.
  6. Read books on the elements of storytelling, and recognize you’ll always have new things to learn.
  7. Have fun.

DL: What do you like to do when you are not writing?

TW: I have a salary job (as an ecologist) that keeps me busy 40 hours/week (much of that involves writing too, but it’s non-fiction). I love the outdoors, and hike in forests as much as I can when it’s not unbearably hot or raining (and add to my iNaturalist log, showing what a nerd I am, LOL). I love to travel, and have visited all seven continents (I don’t do that as much I used to, and not at all since the pandemic started). And I like to read, and watch Netflix (like everyone else on lockdown). I used to play a lot of video games, fish, and scuba dive, but not these days.

DL: What are three things you can’t live without?

TW: Oxygen, food, and water. (Less snarky response: coffee, my laptop, and access to the outdoors).

DL: Can you share an excerpt from Zero-Day Rising?

TW: Sure, here you go:

The Fin and Tonic, a 42-foot fishing boat they’d chartered with cryptocurrency, bounced into the furious black sky, then smashed down again with a crash. Kiyoko gripped the arms of her tightened-down swivel chair, and fought not to throw up or scream in terror. Battered by wind and rain, the clear tarp around the bridge fluttered violently, threatening to rip from its fasteners and fly away.

“Quite da squall, ain’t it,” the captain said, gripping the steering wheel from the center chair, struggling to keep the boat angled against the white-capped waves. If they swung parallel to the waves, he’d explained, they could capsize, and if they drove straight into them, they might bury the bow.

The captain was old, with leathery dark skin and thinning gray curls beneath a Miami Dolphins cap. “Don’t normally go out in weather like this,” he said, “’specially after dark.”

That was Pel’s idea, so no one would see them. “We have faith in you,” Kiyoko told the captain. According to his Comnet site, he’d been piloting boats for decades.

Another rise. Kiyoko’s muscles tensed in anticipation. The boat plunged down, leaving her stomach behind.

They smacked bottom with a shudder. Water crashed over the bow and splashed against the tarp. Despite the scopo patch behind her left ear, she almost retched.

Please O Mazu, O Poseidon, grant us safe passage. Kiyoko had given up on the gods after what happened in São Paulo, but this was a good time for a truce.

DL: What new projects are you currently working on?

TW: I am almost done with the first draft of The Council, a satire of local government. I also have two completed novels that are in COVID-19 limbo (the pandemic has been devastating to the publishing and bookselling business). And a long list of project ideas that I haven’t had time to flesh out.

DL: Where can readers learn more about you and purchase your book(s)?

TW: They can find out more here:

DL: It’s been a pleasure having you here with us today. I know my readers will enjoy getting to know you and your work. 

TW: Thank you.




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