It’s been a week since we spoke last, and I’ve got to say that I missed you all.
I hope you’ve all been doing well and enjoying your current reads.
Since we last chatted, I’ve been in a tiny bit of a reading slump. And you know what that means 🤗 television time!
In addition to watching the Paralympics, I’ve been catching up on my Netflix queue. If you’re into academic dramedies, I highly recommend The Chair. For fans of Grey’s Anatomy, Sandra Oh is back as The Chair’s leading lady.
For those of you who haven’t ever seen Oh in action on Grey’s Anatomy as the brillant and fiery Christina Yang, M.D., Ph.D., F.A.C.S, watching it is an excellent way to get over a reading slump. Thanks to the show being just as chaotic and engrossing as any book you’ll find on the market now.
In fact, watching Grey’s Anatomy is how I ended up with todays’ Sunday Chat topic.
What does Grey’s Anatomy have to do with reading?
Grey’s Anatomy is the original show that put Shonda Rhimes on the map in 2005. Afterward, Rhimes made shows like Scandal and How to Get Away With Murder and, now, Bridgeton from her production company Shondaland TV.
On Rhimes’ original show, a group of medical professionals is followed as they go through their workday at Seattle Grace Hospital.
Here, affairs happen. Marriages fall apart. LVAC wires get cut. And, at the end of each season, like clockwork, a huge disaster occurs, and I’m left wondering why nobody ever issues a class-action medical malpractice suit against the doctors at this hospital.
Watching Grey’s Anatomy is a perfect example of how reading has screwed up my ability to be shocked by the plot twist in most storylines.
Do you all ever feel like you’ve read so many books that very little surprises you when you’re reading or watching television?
I’ve been an avid reader for nearly 25 years, and I’ve started to come to the conclusion that very few stories can surprise me now.
Like with Grey’s Anatomy, I’ll be watching a television show or reading a book and instantly start picking out tropes within the first few episodes or pages and guess how it ends. When this happens, it’s rare that I don’t get at least one guess right.
Even though the guessing can be fun, I can’t help but wonder if reading is making me immune to being as engrossed in stories as I once was before I became an avid reader.
What has been will be again, what has been done will be done again; there is nothing new under the sun.
– Ecclesiastes 1:9
Silly, I know. But, nowadays, I feel as if I’m watching stories appear on loop just with interchangeable characters and settings – I’ll know where the characters are going to end up even if I don’t know how they always get there.
I instantly get excited when I happen upon an author writing from a fresh perspective and telling a story that feels new to me.
If I’m being honest, sometimes I feel like I’m chasing the magic that came about when I first learned to read at this stage in my reading journey. That feeling of wonder that arose from opening a new book and escaping into a fictional world never ceased to amaze me back then.
However, with the vast amounts of retellings, fairytale adaptations, and spins on the same plot points, I miss the joy of being genuinely shocked when I read an original new story, which is why I love fantasy novels and romance books so much. This mostly has to do with the creativity of authors from this genres to get their characters from point A to B while keeping me guessing. Even a simple love story can see an author getting creative to build a connection between their leads.
That being said, while I’ll always love reading, I do get the feeling at times that my hobby has left me feeling like very few things can shock me when it comes to the art of storytelling. But, I love when it does happen.
This week’s vibes are songs I’ve had in my playlist rotation for almost two weeks. The music videos for each song have a “plot twist” I didn’t see coming based on the song. Due to some trigger warnings, I won’t link the videos, though. You can click on the YouTube link to watch when you get a chance.
Songs: “Foreign Things” by Amber Mark & “Questions (feat. Don Jazzy)” by Burna Boy
A rich, dark urban fantasy debut following a teen witch who is given a horrifying task: sacrificing her first love to save her family’s magic. The problem is, she’s never been in love—she’ll have to find the perfect guy before she can kill him.
After years of waiting for her Calling—a trial every witch must pass in order to come into their powers—the one thing Voya Thomas didn’t expect was to fail. When Voya’s ancestor gives her an unprecedented second chance to complete her Calling, she agrees—and then is horrified when her task is to kill her first love. And this time, failure means every Thomas witch will be stripped of their magic.
Voya is determined to save her family’s magic no matter the cost. The problem is, Voya has never been in love, so for her to succeed, she’ll first have to find the perfect guy—and fast. Fortunately, a genetic matchmaking program has just hit the market. Her plan is to join the program, fall in love, and complete her task before the deadline. What she doesn’t count on is being paired with the infuriating Luc—how can she fall in love with a guy who seemingly wants nothing to do with her?
With mounting pressure from her family, Voya is caught between her morality and her duty to her bloodline. If she wants to save their heritage and Luc, she’ll have to find something her ancestor wants more than blood. And in witchcraft, blood is everything.
Adira: Ms. Sambury, thank you so much for the opportunity to interview you! Congratulations on your debut novel, Blood Like Magic!
As a lover of the fantasy genre, the idea of a family of modern Black witches is something I haven’t gotten the chance to experience in my 25+ years of reading until this year. This led your book to be one of my most anticipated reads of 2021. Can you tell me what influenced you to write Blood Like Magic and what publishing your first novel was like for you?
Liselle Sambury: At the time I decided to write Blood Like Magic, I was feeling homesick for Toronto and wanted to write something set there. And I had the idea of writing about a family of Black witches floating around in my head. I’ve always loved the paranormal, and witches definitely held a particular draw for me. Like you, I hadn’t really encountered Black witches in my reading, and when I saw them in movies and TV shows, they were often sidelined or slighted characters. I loved the idea of being able to focus solely on the story of a Black witch.
A:The magical lore and technology in your novel set your book apart from anything I’ve read or watched on television in recent years. How did you go about crafting this world for Voya, your main character, and her family to inhabit?
LS: Once I decided that I wanted to set the book in the near future, I made a concentrated effort to blend the technology and the magic together as best as I could. I was worried about being told “why not just make this a fantasy and take the sci-fi parts out?” But that wasn’t the world I wanted to craft. I was excited about being able to blend the two genres.
As for creating them, I started out with simple rules for both the magic system and how the genetics technology would work. From there it was a lot of layering on and building up in each revision. I would get feedback and would make adjustments to make sure that everything that needed to be explained or fleshed out was getting that treatment.When it came to Voya and her family, that was a lot more organic. I had a good idea of a lot of the characters in my head, and so I just wrote their stories as I imagined them. Later on, I definitely had to do more tweaking to make sure all their goals in the story and motivation behind how they behave was clear and made sense for their characters.
A:Voya and Luc’s characters tugged on my heartstrings. Along with the rest of the characters, you emphasize that each character you’ve written has many intersecting identities (e.g., Being a dark-skinned and voluptuous Black woman who dealt with anxiety for Voya and being a Mexican and transgendered for Luc) that color how they view the world and make decisions. Did you set out to showcase specific things with each character’s personality, or was this something that just happened organically?
LS: A lot of the characters were nearly fully formed in my head, but some things just came out as I wrote them. But one thing I made sure of, is that once I formed a character’s identity, I did my best to do my research and due diligence to make sure they would be represented well. So, it was all well and good to know that Luc is trans and Mexican-Canadian, but I had to think about how that would affect his worldview, and how he moves through the world and interacts with other characters. And I thought about, okay, if this is a dark-skinned Black character, how am I portraying them? Am I falling into any traps of colorism? I love my cast of diverse characters and I wanted to make sure that real world people reading the book could experience representation that was as accurate and respectful as possible.
A:My favorite part of Blood Like Magic is how you showcase “community” and get the nuanced nature of what it means to grow up across the African Diaspora, drawing on a collectivist nature where the group’s needs and desires are sometimes placed before the individual. This idea of community is a big thing for Voya as she tries to complete the task her ancestor, Mama Jova, set for her. As an author, were you working from a specific definition of community? And if so, did it influence how you developed your characters or any of the action in the book?
LS: I wasn’t working from any definition of community. I was really just writing what organically felt right and important to the characters. I also grew up in a house with a blended family and so that colored a lot of my experience, and in the book, I expanded it further to the community in which Voya grows up.
A:Keeping with the theme of community, your magic system is based around the “intimacy” of your characters “knowing” their ancestors and safeguarding their family’s history. You acknowledge in your work that across the African Diaspora, this isn’t an easy thing for a lot of Black people to do because of the act of Slavery. When you were world-building, how did you compensate for your witch characters who may not have had a connection to their ancestors? Would this keep the character from becoming a witch?
LS: When I was worldbuilding, I was thinking of the question around if you could have a connection to your ancestors. And that’s something that every witch has, but that non-magical people do not. I liked bringing in that dichotomy of a world full of magic and connection to your heritage that Voya has while also acknowledging that those of us in the real world may not have that because of colonization and enslavement. It felt important to me to say so, because I think some people don’t understand that disconnection and the pain of feeling that your heritage is lost to you.
A:You did a magnificent job in creating a diverse and inclusive future by showcasing the natural use of gender pronouns in everyday settings and having characters from various body types and heritages on display. Yet, the one place that felt as if it teetered on the edge of being regressive was the Black community.
In Blood Like Magic, violence permeates the Black community at the hand of its members and outsiders. This can be seen in the separation into “pure” and “impure” families to the reliance on specific acts of violence that are visited on members of the community and used in magic rituals.
When constructing Voya’s world, why was it important to show that Black bodies are still targeted with violence inside and outside their communities even in the future?
LS: Within my own worldview, I am familiar with the fact that there can be a lot of social progress in one area and not as much in another. And I’m also aware that even within already marginalized communities, Black people can be further marginalized. So, while there is progress in things like the consequences of racial-based violence, being in the future hasn’t made it stop.
I think this is grim in some ways, but it also felt real to my experience with the amount of years that have passed, and the racial injustices Black people continue to deal with. I think of Voya’s community as being complicated and there are extra challenges because those past traditions they are handing down can be overseen by the very ancestors who created them.
I feel like it is difficult to grapple with the effects of white supremacy and white power structures as a Black person, and it affects both external violence, and also how things are done within communities. The violence that exists within Voya’s community is a direct result of people trying to protect themselves based on what they suffered in the past. That is the insidious nature of it, and it can create a very complicated community in which sometimes things that seem obviously terrible, are traditions that are carried on because trauma persists. I definitely wanted to showcase the nuance there.
A:There’s been a lot of talks lately in the book-o-sphere about the idea that publishers are pigeonholing Black, Indigenous, and other authors of color (BIPOC) into writing stories based around “trauma” since many publishing houses deem this as the key to having a bestseller. With topics, such as referencing American Chattel Slavery, substance abuse, and missing Black girls, Blood Like Magic walks very close to the edge of dealing with Black trauma without it being the primary catalyst for the novel’s plot. How did you approach balancing these topics without having this aspect of your book take the narrative over completely?
LS: When I first wrote Blood Like Magic, I didn’t set out to tackle a lot of those topics. Those were things that became salient to me while I was writing, and so they were incorporated into the novel. That being said, I was definitely aware of that idea of pigeonholing, and went into my novel wanting to show a fun (though dark because it’s my style) story of a family of Black witches and what this one girl is struggling with. That has always been the core of what I’m trying to do. So, as I added in more serious topics, I never worried about it overtaking the book, because they’re all parts of a world in which the focus is a girl grappling with how to carve out her future under the pressures of her family.
I do think those stories that deal with trauma are important and necessary, but they’re not the only stories that we have, which I think is important. And I do think that publishing is improving in that I see more of those stories coming out now.
A:Luc’s status as a “sponsored” son of the NuGene CEO, Justin Tremblay, is one that bought up a larger conversation in the novel about colonialism and even, to a degree, the exploitation of children and the lack of resources (even in the future) in the Global South.
While I know your book is set primarily in Canada and references parts of the American South, will readers ever get to see where Luc grew up in Mexico to observe the toll of how magic and NuGene’s technological advancements have changed the trajectory of this area’s culture?
LS: This isn’t something that I plan for readers to see directly in that setting, but they will definitely see Luc reckoning with that system and how it affects Mexico and other countries with that program.
A:I know that you are an avid creator on #AuthorTube and have offered a lot of advice and reflections on your writing process in your vlogs. But, can you tell readers who may not be familiar with your content what the most valuable writing advice you’ve learned from writing your debut is?
LS: I have two! One is for before the book deal, and at that stage in my career the advice of being persistent was the most helpful. Sometimes it takes several books to where you want, and sometimes you need to take breaks, and that’s all part of the process, and the persistence of keeping at it is what will help you the most.
The second one is for after the book deal, and that was to focus on the one thing you can control: the writing. To write the best book you can, and to focus less on things like marketing and sales because you can’t control that. At the end of the day, you can come away knowing that you did your absolute best.
A:I saw on your YouTube page that you’re working on edits for the Blood Like Magic sequel. Is there anything you are able to share about the sequel?!
LS: The sequel will be out next year, and readers can look forward to Voya reckoning with the decisions made in the first one. We’ve also only really seen three of the five major Black witch families, and in the sequel, you’ll get to see them all. I’m really proud of what I’ve done with it and think it will be a satisfying series conclusion.
Liselle Sambury is a Trinidadian Canadian author who grew up in Toronto, Ontario, and her brand of writing can be described as “messy Black girls in fantasy situations.” In her free time, she shares helpful tips for upcoming writers and details of her publishing journey through a YouTube channel dedicated to helping demystify the sometimes complicated business of being an author.
II: Mrs. Boulley, thank you so much for the opportunity to interview you! Congratulations on your debut novel!
A: Thank you so much! Please call me Angeline. (I’m not a Mrs.)
II: I just finished Firekeeper’s Daughter, and it absolutely blew me away! Can you tell me what influenced you to write this novel and what the process of writing and publishing your first novel was like for you?
A: It has been such a long process! I first had the idea when I was 18, but I didn’t start writing it until I was 44 and my own children were teens and pre-teens. I spent ten years writing and revising. Finally in 2019 I was ready to get an agent and try for a book deal. So I had a very long incubation period for the story but everything took off quickly at that point. I had an agent three weeks after I started querying. I did a modest revision over the summer based on my agent’s feedback. The manuscript went out on submission in mid-September and two weeks later there was a 12-party auction. Two weeks after that, there was a film option deal with the Obamas’ Higher Ground Productions for a Netflix series.
II: As a biracial Anishinaabe and Ojibwe woman who also has French roots, there is a strongsense of community that Daunis Fontaine frequently references within Firekeeper’s Daughter. How would you define community, and how did you use that definition to influence how you wrote the characters and setting in your novel?
A: I define community as people bonded by their connection to land, family, teachings, and history. I wanted Daunis’s heritage to reflect the history of Sault Ste. Marie. Her background is that mixture of Anishinaabe, French, and Italian that made the town what it is now. I did this because our struggle for identity is also a struggle for a community to recognize the contributions of all.
II: My favorite part of your novel is the way that you center Ojibwe and Anishinaabe culture. This can especially be seen in the way that Daunis and her family use the Anishinaabemowin language throughout the novel. Was there a conscious choice on your part to not go the traditional route of italicizing the Anishinaabemowin phrases and categorize these lines as “out of the norm” for readers to truly have to immerse themselves into Daunis’ world and see from her point of view? If so, is there a greater role you wanted language to play in your novel?
A: Yes. It was a conscious decision not to italicize because Anishinaabemowin is not a “foreign” language. I wanted the language to feel very organic, where readers could figure out what a word meant through context instead of a glossary. The story is told from Daunis’ point of view and the language is a big part of her cultural teachings and upbringing. I couldn’t have readers inside her mind without immersing people in the language. I was extremely fortunate to have Dr. Margaret Noodin from the University of Wisconsin-Milwaukee be part of the editing process with my publisher. She loved the story and saw its potential as a teaching tool for people learning Anishinaabemowin. So, yes, I saw a greater role for language to play in the novel.
II: You mentioned on your website that you were apart of the We Need Diverse Books(WNDB) Young Adult Mentorship Program for the 2018 class. This non-profit’s movement to diversify the publishing industry has brought forth amazing novels from voices that were once pushed to the publishing field’s margins. As a Native writer who is writing in this “new era,” do you ever feel pressure to represent the broad spectrum of Indigenous culture within your work? And if so, how do you pushback on that narrative of the “single story” that Black, Indigenous, and other authors of color are still forced into despite the WNDB movement?
A: No. I don’t feel pressure to represent a broad spectrum of Indigenous culture. I am committed to telling stories set in my tribal community, while acknowledging the diversity within bands, clans, and families. I’ve been vocal about pushing back on the “single story” narrative. I bring up in interviews and conference panels that there are so many stories from underrepresented communities. BIPOC authors may have other storytelling formats – beyond the typical Three Act Structure – that are like treasures readers haven’t experienced before. I’ve also discussed how important it is for the publishing world to recognize the richness, depth, and nuance that can come when an author writes from their lived experience.
II: Who are some of your favorite authors or literary influences that have inspired your work?
Angeline Boulley, an enrolled member of the Sault Ste. Marie Tribe of Chippewa Indians, is a storyteller who writes about her Ojibwe community in Michigan’s Upper Peninsula. She is a former Director of the Office of Indian Education at the U.S. Department of Education. Angeline lives in southwest Michigan, but her home will always be on Sugar Island. Firekeeper’s Daughter is her debut novel.