Volume 3, Issue 2 – April, 2000

Vella Munn: From True Confessions to Cheyenne Summer

Can it be true? Does Vella Munn really lie for a living? That’s what she says, but she creates her mythic worlds of yesterday on a firm foundation of scholarly research, building them with verve and panache — not to mention believability. Munn puts you into the heads and hearts of characters as diverse as modern day ranchers and Spanish padres, Hopi women and Cheyenne braves. 

This diversity mirrors the scope of Munn’s writing career. An award-winning veteran of over 40 “true confessions,” almost as many novels and countless articles, Munn displays a versatility, creativity and longevity few writers can match. Crescent Blues sought to learn the secrets of Munn’s broad-based success and the scoop on her current projects. We trust she answered truthfully. 

Crescent Blues: Did you always want to be a writer? 

Vella Munn: I’m not sure when I realized it was possible to be a writer. I’ve always felt compelled to put things down on paper. I was never content or comfortable with the here and now, the “real” world and had a need to put my own spin on things, to make order out of lunacy perhaps. I love creating fictional worlds and being able to control the actions of “my” people and understood, in a vague sort of way, that those who wrote the books I read went about their work in an organized fashion. I wanted what they had; I just didn’t know how to go about doing it. 

It’s always interesting to discover whether a writer is building a writing dynasty or continuing one. Has anyone else in your family been a writer?

My grandfather, Homer Eon Flindt, wrote science fiction short stories for the pulps, a book and a number of movie treatments. Unfortunately, he died when my mother was six. My uncle has written a couple of non-fiction books exploring his theory of evolution, and my teacher mother has written children’s books for reluctant readers. Also a clinical psychologist cousin recently had her book on group treatment methods for sexually abused boys published so the writing bug is in the family. 

Writing seems to be well scattered in your family’s past, what about its future? Do you have children? Do they have any inclination toward becoming novelists? Doing other forms of writing? 

I have two adult sons. One shows no inclination toward writing beyond a few sports articles, and I’m trying to temper the other one’s occasional interest with reality as I’ve learned it. These days he’s up to his chin in grant writing and my hat’s off to him. 

Your grandfather died too young to have been your mentor and no one else ventured into fiction, so, in your opinion, what event or events in your past had the most influence on your eventual need to write?

This isn’t one of those trick questions that’s going to get me committed, is it? I’m used to being asked what circumstances do I think led me to writing but as for the need — I suppose it comes down to two issues. For one, I had a very rural upbringing. We were 18 miles from anything approaching a real town and in the winter, storms sometimes shut the small logging town where my mother was the only teacher off from the outside world. There was no TV reception and only one telephone (far from reliable). I loved my rugged existence, but I also longed to experience more than the surrounding mountains and fast-moving river.  

Also, and this is where a shrink would probably have a field day, my father walked out of my life when I was five. Perhaps that loss bred in me a need to bring order to what in the real world I couldn’t. Also, if I hadn’t been separated from my mother for a year under circumstances that are best kept private, I might have grown up to be a different person. 

How did you get your start in writing? 

For argument’s sake, let’s pretend we’re talking about the “real ” start, not my ignorant blunderings beforehand. After my first child was born, I wanted to stay home. However, that fascinating creature was a lousy conversationalist and my college educated brain felt as if it was drying up. I’d been a social worker and decided to put a fantasy spin on some of that experience.  

I also shuddered at the idea of writing book length, so I took a gander at the confession market. My first effort didn’t sell, but the second did. I was torn between being embarrassed by the lurid covers and titles and knowing I was writing from the heart about everyday people trying to make their lives into the best they could. I discovered The Writer and Writer’s Digest and made some use of my journalism classes, but I was really flying by the seat of my pants. I knew no other writers and was totally ignorant of how the publishing business worked.  

Why did you stop writing confessions?

That’s simple. I’d written about 40 of them and had confessed everything I could possibly think of to confess. When one of the last had the title, “I Was An Unwed Father, I knew I’d hit the wall.

Most of your earlier novels are contemporary romance. Did you find the leap from there to historicals difficult? Or had you always wanted to move in that direction?

Historicals were not where I wanted to be. I’d never been particularly interested in history and didn’t have a clue how to research my subjects. My agent, probably tired of my complaints about the constraints and uncertainties of the romance market, pushed me kicking and screaming at historicals because that market was really opening up then.  

I live in a national historic landmark [an old gold town] so began poking around in its past. What interested me wasn’t its gold history but the impact of all those newcomers on those who’d always lived here — the Indians. Once I’d decided to write about them, the historical research took two very different tracks. The easy part, relatively, is determining the who, what, when, where, how and whys. What takes the real digging and fascinates me is bringing them to life.  

Have you always been interested in Native American history and culture?

Looking back, I think that, yes, I’ve always been interested in Native American history and culture without knowing it. As I said, I had a rural upbringing. I feel close to the earth. The land renews me, and from what I’ve learned of Indians, it was the same with them. Nature determined whether they lived or died and I’m endlessly fascinated by that basic reality. I’m also turned on by their reverence, their spirituality, when it comes to the physical world. They worship the sun, earth, water, the seasons, look to animals and birds for guidance and seek to live in harmony with their physical surroundings. There’s an elemental truth in that belief. 

River’s Daughter, your first Native American novel, can be categorized as historical romance, yet your new release, Soul of the Sacred Earth, is mainstream. Was that a difficult transition?

The transition was both difficult and in many respects the most rewarding thing I’ve done as a writer. I came out of a category romance background. (I’ve had over 20 romances published.) So when I started doing the historicals, I brought much of that with me.  

However, as I became more comfortable with the past and the vast landscape it’s painted on, I felt ready to accept the challenges my editor presented me. I’ve had the same editor for all but the first Forge book, so my evolution there reflects her evolution as well. Forge is known for its historicals and that’s the direction Melissa Singer wanted me to take. I love being given the freedom to take relationships and characters beyond the limits placed by the romance umbrella.  

The vividly drawn characters in Soul of the Sacred Earth ache with authenticity. The Southwest setting is almost a character. How did you go about researching such a clash of cultures, beliefs, and lifestyles?

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.

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?

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. 

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

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.  

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

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. 

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?

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! 

What’s the greatest thing about the writing life other than seeing your novels in the bookstores?

Being able to lie for a living. No pantyhose. 

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? 

Yes, yes, yes.

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

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. 

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

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

Do you think networking is important for writers? Conferences? Signings?

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. 

In your opinion, should new writers join writers’ organizations? 

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

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

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. 

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? 

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!

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

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. 

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

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.

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? 

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! 

Do you plan to do more writing for that market? 

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. 

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? 

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. 

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? 

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. 

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

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.  

That being the case, do you have any advice for new writers? Something to help them along the way?
1. Write.
2. Learn the craft.
3. Educate yourself about the realities of the business.
4. Write. 

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.