A word from Liam about Offspring and other points of interest.... 

Oct 1, 2006- Offspring is an ambitious project only in the sense that it draws from both mainstream and fringe religious belief systems. Trying to connect the dots between ancient belief systems and modern theology can drive a strong man to drink. Of course, when all else fails, you can abandon the finer points and stick to the common denominators: belief in a Higher Power, and the supernatural servants of both good and evil.

Angels and demons have long been, and continue to be subjects of sometimes heated debate, speculation, and conjecture. They're fascinating entities, imbued with legendary powers, abilities, and near infinite capacities for love and hatred. Almost every culture that's ever existed has recognized the hostile co-existence of both entities in some form or fashion.

Such creatures have long provided fiction writers with grand opportunites for storytelling. And in the final analysis, that's what Offspring is; a story. I like to think it's a good story. While Offspring doesn't necessarily reflect my religious beliefs, I readily admit it does in some ways reflect my personal attitude regarding good and evil. Both are abundant in a world that is increasingly too self-absorbed... or numb to notice.

I sincerely hope you enjoy the tale.

Liam

The following is a short Q&A, comprised of questions posed by assorted interviewers this year. Enjoy.

1. Let's start with a tough one. What is your name, rank, and serial number?

My full name is nearly three blocks long, so I answer to Liam (Jackson) to avoid confusion and avoid surcharges on bank check orders. No rank that I'm willing to divulge, though I still have a day job working in the field of domestic preparedness. However, retirement day creeps ever closer.

2. Where do you get your idea for this story? Or any story for that matter?

Offspring spawned out of a "what if" session. It went something like this: The Bible states angels took human wives. What if that bloodline still survives today? And what if something happened that caused those blood descendants to suddenly become aware of their heritage? And what if.... Get the picture?

As for other stories, I get ideas from the same place all writers get ideas; Novel Ideas Monthly. 12 issues for $29.95. It’s a great magazine.

Okay, okay, sorry about that. The simple truth is that ideas are the easy part. They come from everywhere. Some may come from a random dream, while others form while observing human nature. And sometimes, I wake up and the idea is just… there, stuck in my mind and demanding attention like a needy toddler.

3. What do you have in your pocket?

Damn, you’re thorough. Should I walk back through the metal detector? Let’s see… I have a very lonely money clip, seventy-cents, and a set of keys to that red, gas-swilling 4X4 beast out in the driveway.

4. What is your definition of "Monster?"

Monsters come in a near infinite variety of shapes, sizes, and bad intentions. They possess the innate ability to seek out and identify the most appropriate targets; victims who are especially susceptible to the specific “talents” of that particular monster. Monsters usually have really bad breath, too.

5. What makes a compelling monster?

Ask me what’s in my pocket, again, will ya?
Sheesh, another tough question. A lot depends on context, I think. In Old Yeller, the dog contracts rabies and we pity the poor critter. Yet, Stephen King gives Cujo the same germ, and viola! Instant four-legged monster. I think a really good monster does possess certain attributes. For instance, a good monster is always just a tad more powerful than its victims (sometimes, many times more so) and cannot be whisked away with a single blast from a “street-sweeper” (shotgun). A good monster has a habit of turning up in places where it's least appreciated or expected.

A good monster, with few exceptions, is no respecter of persons and has little or no regard for the innocent or infirm. It possesses a unique mentality, perhaps primal, perhaps sophisticated, but nearly always cunning and ruthless in a way we mere humans simply can’t comprehend. That’s the scariest element of all I think, that the victims just can’t wrap their minds around this critter and its motives and machinations…at least, not until the final couple of chapters.

6. Where do your monsters come from?

Monsters Monthly, a great little mag...

Sorry. My monsters are part imagination and part personal experiences. I hold a firm belief that the principle of Yin and Yang is an integral part of the cosmic order of things. If you have “good” in all its myriad forms, you’re damn sure gonna have “evil.” In many ways, evil is more fun to write. It's usually unpredictable (hopefully). And yes, I've actually met a few honest-to-God monsters during my many years working in the law enforcement community.

Oh, and sometimes my monsters come from late night treks to the Mexican fast food place just down the street. Green chili enchiladas in red sauce make for some really great monsters during dream time.

7. Why do bears like to have people over for dinner?

Because they’re fond of people burgers? (Bears are low maintenance critters. They aren’t the least bit finicky when it comes to eating tourists.)

8. What's wrong with the nighttime?

Wrong? Nothing! It’s my favorite time. Nighttime is the time of predators and really confused sheep. Have you ever noticed that during nights when there are a lack of sheep strolling the streets and alleyways, predators will inevitably begin to feed on themselves? Just a thought.

9. What illusions (vs. the reality) did you have when you started writing?

I was too ignorant of the process to have any illusions.

10. When writing a series, is the first book or are the later installments easier to write?

In terms of creativity, the first is the easiest in that it’s (usually) the most fun. New and unexplored territory, and all that. Mechanically, the second is easier because you already have a firm idea of the storyline and your publisher's (and character's) expectations.

11. How different is the published novel from your initial manuscript?

The storyline is basically the same, but several points between Chapter One and The End underwent some overhauls. My first draft was over 400 thousand words. The final draft is about 120 thousand. That's a lot of overhauling.

12. Was becoming a professional novelist a personal, long-term goal or is it something that just happened along the way?

It just happened. I wrote the story out of boredom. I’m as shocked as anyone to find myself being paid to tell myself new stories. Except for my ninth grade English teacher. I’m pretty sure her shock is far greater than my own.

13. Did you have the support of your family?

Oh, absolutely. The way most families “support” the tribal dimwit. “You’re going to do WHAT? That’s nice dear. Now, run along, and try not to stick your tongue in any electrical outlets." Okay, so it wasn't quite that bad (on most days.)

14. Since writing is often considered a solitary activity, do you think having a support network is necessary?

Some writers claim no need for support networks. I benefited greatly from having such a network. I think a support network can be the greatest thing since cheese singles, or the worst thing since the pox. Some very poor advice has been rendered by well-meaning supporters, and some very sound advice has come from the least expected places and people. A writer should choose support environments very, very carefully.

15. All writers are advised to follow the guidelines when submitting. Did you break any rules?

What? Me break a submission rule? Heh. Hehe. BWAHAHAHAHAHA! Mama didn’t raise no fool. There are less than 200,000 books published each year in the U.S. and a publishing giant like TOR probably receives that many unsolicited manuscripts, alone. Why bite the hand of the master who signs the checks? Writers don’t have to like the guidelines, but it behooves us to follow them. *wink*

16. Which do you think is more important, story or mechanics?

A great story can help overcome poor writing mechanics, however, nothing can overcome a poor story. Neither chocolate, a fuzzy puppy, double-stuffed Oreos and a glass of ice cold milk, nor a mother’s love can salvage a bad story. That's not to say mechanics aren't important. (I can just hear it now. "Mom! Liam Jackson said spelling and grammar are worthless!)

Having a good story is the foundation. But you must have the ability to convey that story in a coherent and enjoyable manner. Writing mechanics are the means of conveyance.

Of course, if you want to produce a truly outstanding book, a healthy measure of both great story and sound writing mechanics is the only way to go.

Thanks for your time.

My pleasure.

MORE QUESTIONS and ANSWERS FROM THE "IN-BOX" COMING SOON! (Some of them are a genuine hoot, so be sure and visit again, soon. You really don't want to miss this.)