Vella Munn: If I'd known how much Soul of the Sacred Earth would take out of me, I'm not sure I would have had the courage for it. One thing I did which made getting into the story easier (and essential) was to go to Old Oraibi in Arizona where the story takes place. The land is barren, isolated, and incredibly beautiful in a stark way. I had to know what kind of people would choose to live there and what that experience did to them.  

The Navajo and Hopi found peace in the desolation because their gods were there and they believed that living in harmony with the land would sustain them. The outsiders, however -- the Spanish soldiers and padres -- had a far different reaction. The military men were ruled by service to the King and personal greed while the padres had committed themselves to spreading God's word. The clash between those determined to change the indigenous population and those whose existence was part and parcel of their surroundings was inevitable.

Because I was writing fiction, I was able to take a certain literary license, and those who read the book will learn where my loyalties lie. The hardest part wasn't getting into the minds and hearts of so-called primitive Navajo and Hopi, but the Spanish. What drove a career military man living thousands of miles from home or a 16th century priest? By the time I finished, I felt I knew, but the process was exhausting.

Crescent Blues: Conflict is a major theme in all your Native American historicals. Blackfeet Season and Daughter of the Mountain exemplify man against nature. In Wind Warrior and Spirit of the Eagle the conflict is man against man (or culture versus culture). In Soul of the Sacred Earth, you seem to be exploring those two conflicts as well as man against himself. Will your next work take these themes even further?

Vella Munn: I'm working on my next book so am beginning to get a handle on Cheyenne Summer [the title of Munn's current work in progress]. Because I'm dealing with a single culture, the conflict doesn't reach beyond the tribe.  

Harmony within the Cheyenne tribe was essential because they were so interdependent. That said, I'm developing characters who come into conflict with each other so not only are they struggling with their society's dictates but also within themselves. I'm putting a couple of young men through the proverbial wringer. I must say that the man against nature conflict is as extreme as I can make it, since if it doesn't rain, soon, these plains dwellers are going to die. 

Crescent Blues: Your historical novels spotlight many different Native American cultures. How do you choose your area of interest? Your time period?

Vella Munn: I'm not sure how much of a choice I have in the matter. What usually happens is that I read something or am drawn to a particular locale or lifestyle and it's off to the races. I attempt to "sample" tribes from different parts of the country, because the physical setting has a great influence on the tribe's dynamics. As for the time period, after writing several books detailing the Indian/white conflict, I decided to go back in time. Unfortunately, or perhaps fortunately because of the potential for conflict, that brought me up against the Spanish influence. What's fascinating is a culture undergoing change, and for the Indians, most of the change took place when newcomers arrived.  

Crescent Blues: What is the best thing about your research methods? What is the biggest challenge?

Vella Munn: I love going to the actual setting, particularly if the area remains basically untouched by so-called civilization. The ghosts and spirits speak to me. The biggest challenge is finding the soul of a people in the pages of anthropology or archeological books. I care about a lot more than how they prepared their meals and built their dwellings. I need to know how they felt, what made them laugh and cry. 

Crescent Blues: When your time and place are chosen and your research is done, how do you go about writing a novel? Do you work from an outline? Do you write bits and pieces and copy and paste them together? Do you sit and stare at the monitor until inspiration strikes?

Vella Munn: If I waited for inspiration, I'd still be on the first book. [Grins.] I'm a compulsive type who can't face myself if I've spent too much time goofing off. The guilt complex is alive and doing well, fortunately. With the historicals, much of the plot is determined by the time period I choose. That said, everything develops from character. I tend to start with a single character I browbeat into telling me all about him or herself. At the same time, I'm researching the tribe's lifestyle and dynamics which helps me understand first one character and then another and another. There is no story without conflict so I order each character to tell me something about themselves that will put them at odds with other characters.  

I really wish I understood this thing called the creative process but for me it's a matter of endlessly mulling things over in my mind, discarding and elaborating, picking and choosing until I begin to see a pattern, a point A to point B to point C footprint. I tend to write the first chapter or so to get an idea of who my main characters are and then power up for the synopsis, which is a "simple" matter of cursing and pacing and sweating blood for days on end. I can't write out of sequence; my mind doesn't work that way. And if someone knows an easier way to make a book happen, please, let me know! 

Crescent Blues: What's the greatest thing about the writing life other than seeing your novels in the bookstores?

Vella Munn: Being able to lie for a living. No pantyhose. 

Crescent Blues: Much has been said and/or written about the positive and negative aspects of such an alliance of writers. Do you have a critique group? 

Vella Munn: Yes, yes, yes.

Crescent Blues: Are they a positive or negative factor in your writing life? 

Vella Munn: I plead the fifth on that one. [Grins.]  

Honestly, I couldn't survive this crazy business without them. They both drive me nuts, because they demand so much from me creatively, and are my lifeline for the same reason. Only other writers have a clue what it's all about. 

Crescent Blues: Other than meeting with your critique group, do you have any writing rituals you swear by?

Vella Munn: Sit down, shut up, and get it done. Slippers in winter, barefoot in summer. 

Crescent Blues: Do you think networking is important for writers? Conferences? Signings?

Vella Munn: You've asked a multi-part question here. Networking, in my opinion, is essential for a writer! So much of what we do takes place in solitude, and if we're going to retain a semblance of sanity, networking is a vital way of achieving that. Beyond the social contact is the more necessary function of staying informed. If we don't keep our fingers on the pulse at all times, we're going to be out of step. 

Conferences are a more complex issue. I've been to some that infuse me with energy, while others don't tap into my needs and leave me unsettled. That said, I don't know how a writer can predetermine his or her reaction to a conference. The bottom line needs to be to ask ourselves what we want from a conference -- socialization, contacts, knowledge, a kick in the seat of the pants, etc. 

I've done a number of signings, and like conferences, each one is unique. I'm a bit of a hermit, so coming out of my shell isn't easy. However, I love connecting with the bookstores and picking the brains of those who ultimately get our books in the hands of readers. 

Crescent Blues: In your opinion, should new writers join writers' organizations? 

Vella Munn: That's easy. Yes, yes, yes! See [my answer to your last question] and my comments on networking for the reasons. 

Crescent Blues: What organizations do you currently belong to? Are you planning on joining more in the future? 

Vella Munn: Novelists' Ink, The Authors' Guild, Epic, Women Writing The West. As for joining more, I constantly have my antenna out seeking knowledge and contacts, and when/if I find organizations that fit that bill, I'll join. 

Crescent Blues: What, if anything, do you do to promote your works? Is it an organized plan or do you do whatever is necessary at the time? 

Vella Munn: You would ask that! [Grins] I wish I was more organized in my approach to promotion but the truth is, I spend so much time writing that that's front and center. I now have a web page, recently participated in a booksellers' convention in Seattle and am working on an article for Novelists' Ink based on interviews with booksellers, but that isn't enough. I want what I do to be effective and not be seen as pushy. I resist sending out fliers and post cards because there are so many of them. My publisher does an efficient job of getting galleys to such places as Publishers' Weekly and Library Journal. It's up to me to reach other markets, and I find that doing so via the Net is both effective and exciting.

I can't say enough positive things about being asked to do this interview!

Crescent Blues:Do you enter your work in contests? Why or why not?

Vella Munn: Yes, I do, these days. I didn't do much of that when I was writing category romance for a multitude of reasons, but now I'm charting an individual path with my writing and feel its essential to get my name out as much as possible. One way of doing that is by entering contests. Whether I win or not, my books go into hands they might not otherwise. Beyond that, feedback from judges is a valuable experience. Of course, if I do receive recognition, not only do I take pride in that but hopefully readers believe my work has merit. 

Crescent Blues: Then you do think contests have value in getting you name around? 

Vella Munn: Hopefully I answered that in the last question. Jumping back onto my soapbox, writers have to be self-promoters in this business, and contests are one way of working toward that goal.

Crescent Blues: You have had one ebook, Summer Flames, published. What do you think of the emerging epublishing market? Does it, in your opinion, have a future? 

Vella Munn: In today's publishing world of consolidations among the major houses, in my opinion, epublishing is the equivalent of the small publisher. There is the question of how to make readers aware of what's available on-line, but marketing considerations have always been part of the business, and as awareness grows, so will the potential.  

The other day Steven King announced that he will have a novella published exclusively in ebook form. [Editor's note: "Riding the Bullet" released in mid-March.] I find that exciting and applaud him for his dedication to this new media. As traditional markets for beginning and mid-list writers shrink, epublishing can be a lifeline. It may only be my own perception, but it seems that epublishing allows for more innovative writing and in today's "play it safe" arena, that's wonderful! 

Crescent Blues: Do you plan to do more writing for that market? 

Vella Munn: I already have. I've completed and submitted a story that, I believe, would never see the light of day with traditional publishers. If it's accepted, I plan to do extensive publicity on the Net. It's difficult and expensive for writers to promote themselves to booksellers and readers in conventional ways, but "selling" themselves online is limited only by the imagination. 

I'd like to add that my agent is branching out into epublishing with her own company, and I've already signed a contract to participate. She isn't the only agent to see the potential, the need to give writers new arenas in which to create. 

Crescent Blues: Your books have ranged from sweet romance to paranormal romance to Native American mainstream. Are there any new genres in your future? Avenues you'd like to explore? Is there a mystery in your future? Or will you write science fiction as your grandfather did? 

Vella Munn: No science fiction for me. That's a world I don't know enough about so will leave it to those whose passion it is. However, I'm glad you asked the question about future plans. After spending basically all of my productive years as a writer, I've learned that writing the same books over and over again becomes a fast track to burnout. My agent is currently shopping around a paranormal thriller that demanded to be written and my second ebook also took me places I'd never been before. 

I've long been fascinated by people on the edge, where life itself is at stake and find myself more and more driven to write along those lines. If you ask me again in five years, who knows where the muse will have taken me. 

Crescent Blues: Some of your Native American books have been recorded and sold as audio books. How do you feel about them? How does it make you feel to listen to your words interpreted by a faceless reader? 

Vella Munn: For me, audio books have been a way to extend my Native American books' lifespan. They're not making me rich but hopefully they reach an untapped audience. I have to confess, I haven't listened to them clear through. I tried but the internal editor started harassing me. There's something about hearing what I've written that makes me critical of my work. I can't simply sit back and experience. 

Crescent Blues: When you were just beginning, did anyone give you any pearls of wisdom that have helped your career? If so, will you share?

Vella Munn: I wish someone had but when I started, I didn't know any other writers and my immediate family didn't understand what I was trying to do. I just knew there wasn't anything else I wanted to do this much, this desperately.  

Crescent Blues: That being the case, do you have any advice for new writers? Something to help them along the way?

Vella Munn: 1. Write. 2. Learn the craft. 3. Educate yourself about the realities of the business. 4. Write. 

Click here to learn more about Vella Munn.

Click here to read the Crescent Blues review of Soul of the Sacred Earth. 

Patricia White 

Patricia White is the Sapphire Award-winning author of A Wizard Scorned. Her current book, the contemporary PS, I've Taken a Lover, is available from Lionhearted Books . The Wandering Troll, an electronic magazine, began serializing her novel Prophecy Be Damned in April 2000.