Press Release – Buy a Book. Feed a Family.

Buy a Book. Feed a Family.


Author Leonardo Ramirez to Launch Crowdfunding Campaign to Benefit Young Readers and Families
‘Buy a book, feed a family” campaign to launch in 2017

DECEMBER 29, 2016 – Author Leonardo Ramirez has announced that he will be launching a brand new crowdfunding campaign that will benefit both young readers and families.

The “Buy a book, feed a family” campaign will launch in early 2017 and will offer backers the ability to support a cause that will offer multi-faceted benefits.

Leonardo’s newest book, The Orb of Terra, will be available via the crowdfunding campaign. The book offers thought-provoking concepts and memorable characters that tell a deep story about a character whose father left him at an early age.

According to Leonardo, the book will provide hope and inspiration to children everywhere, and a portion of money raised will be donated to the Nolensville Food Pantry to help feed families.

Details can be found at where you can sign up for updates.

About Leonardo Ramirez
Leonardo Ramirez is an author, husband, father, and 4th Degree Black Belt instructor. He lives with his wife Kristen and their daughter Mackenzy in Nolensville, Tennessee.

Kristen Cameron Ramirez
Phone: 615-776-3049


Download a copy of the press release by clicking here.
To watch the campaign video, click here.

Copyright © 2016 leonardoverse, All rights reserved.
Published in: on January 8, 2017 at 9:19 am  Leave a Comment  
Tags: ,

Interview #101 – Author, Editor, Academic, Jaymee Goh, Part 6

Welcome back for the conclusion in our talk with Jaymee Goh , co-editor of The Sea Is Ours: Tales of Steampunk SEAsia.

Read Part One here.

Read Part Two here.

Read Part Three here.

Read Part Four here.

Read Part Five here.


Airship Ambassador: If you weren’t an editor and author, what else would you be doing now?

Jaymee Goh: Ugh, I don’t know. I mean, I would hope that I’d be doing something just as creative. If I had let my family bully me out of my dreams, I’d probably be an accountant or something equally terribly unsuitable for my temperament, and miserable.


And, I mean, I am doing something else besides editing and authoring. I’m a PhD candidate; I’ve been a teaching assistant and researcher alongside the writing and editing. Hopefully I will continue to teach and research alongside my writing in the future. I love teaching—writing has its rules, and grammar is a pleasure to teach. Introducing students to new ideas is wonderful; watching them grow is priceless. Researching—finding out things I didn’t know—is just joyous. And it all feeds into why I write. All that love has got to go somewhere.


AA: Most of the authors I’ve talked with have some type of day job and that writing is their other job. What has that situation been for you and how has it helped/hindered begin a published writer?

JG: Goodness, jobs have been terrible for me! When I graduated with my BA, I was in a region where jobs were hard to get unless it was customer service. I also was terrible at applying. Somehow I landed a full-time job as a marketing intern. I’ve also temped as a receptionist here and there. Part of why I went to grad school was because of the job market.

And actually, temping and other kinds of busywork that keeps my hands occupied by my mind otherwise free is quite good for my creative brain. I’m an introvert who likes people, so receptionisting at a relatively quiet place was really fun.

As an academic, the creative work comes out less easily, and I have to save it for weekends or summer, because the rest of the time I’m working at another kind of writing. There are of course stories that won’t be ignored so I bang out a draft quickly for them and edit when I can (or when a deadline for submission looms).

But I do have to say, having a job where I don’t have to fear poverty or the hard emotional labour dealing with unreasonable bosses has been a very good thing indeed. I’m a bit nervous about being on the job market, but hope springs eternal that I’ll find something where I won’t kill my brain working.


AA: Looking beyond steampunk, writing and working, what other interests fill your time?

JG: The usual? Social media, music, eating food, taking long walks, and reading. I also like baking, and a friend I met through steampunk taught me how to sew, so I do that too. If I have time, I garden. I am teaching myself embroidery. I sleep a lot, too; I really like sleeping. I don’t know… normal human things, I guess. Pokemon Go.


AA: How do those interests influence your work?

JG: When on social media, one learns all sorts of stuff! Like, comedic timing and delivery, through memes. Important lessons! Food and sleeping and long walks are very important embodied experiences—I think good fiction comes from being able to express what is in the body.

Baking and sewing, as I mentioned before, use a different part of the brain. Also when you learn what’s in your food, or how fabric falls—those are also important embodied experiences! The taste of things and knowing what causes those tastes are simply metaphors for understanding how the world I build works. And making clothing is basically figuring out how to put things together and the visual effects afterwards. (Broadcloth is not good for foofy skirts.) Same thing with gardening—different plants have different needs, will thrive in different climates, based on their physical structure.

I don’t know about Pokemon Go, though. I really only got that because my dad got it. But it gets me out on walks and it’s something to do while I walk to and from school.


AA: There’s only so much time in a day – what interests don’t you have time for?

JG: TV. I let everybody else tell me what’s good on TV and show me the relevant GIF sets. Games, especially the big narrative ones which require several hours of playing to finish. And boys. Who has time to waste on romance, really, when there are romance novels?


AA: Ha, yeah, boys. Talk about a major time investment! What other fandoms are you part of (as a fan or participant)?

JG: Ooof. I’m actually not a very good fan? Steampunk isn’t really a fandom to me; it’s an aesthetic that one can deploy. And being a fan feels like work, in following what the other fans are doing and consuming their work in some way, and I don’t tend to have time for that. But when I do, I’m usually a fanfic writer—I’ve written fanfic for Final Fantasy VII, and Girl Genius. There was a time when I wasn’t a fanfic writer, but a curator of a fan Tumblr, which has by and large fallen to the wayside because The Discourse has thinned out—this was when Jupiter Ascending had just come out, and its fandom was a baby that needed encouragement because the movie got so much shit. I’m not hardcore about The Discourse, but I do like media analysis, it’s why I’m in grad school, and I did some of that for Pacific Rim as well.


AA: Ahh, Jupiter Ascending. It does have great design aesthetics. What is on your to-be read or watched pile right now?

JG: …… wince groan To be watched? I can’t even.


AA: Are there people you consider an inspiration, role model, or other motivating influence?

JG: Very many! I think I’ve already mentioned a few people. To add, Nisi Shawl is just—an amazing human being: compassionate and generous and giving and so very kind! And an amazing writer and teacher! I’ve never taken a class with her but just spending time with her is so edifying.

[NOTE: We interviewed Nisi here.]

Rose Lemberg is another incredible human being… they put up with so much of my angst! And another amazing writer; Rose kindly agreed to Skype in to speak to my Clarion classmates, and they said, when world-building, one must be willing to “destroy one’s canon” which was frankly mindblowing. A wonderful poet, I think Rose has been very important in demonstrating good editorial practices towards diversifying the field. Since they also write while in academia, they have been such great support in my own journey in balancing academy with creativity.


I would like to grow up to be like K. Tempest Bradford, who has a no-nonsense, take-no-prisoners kind of attitude in how she deals with bigots.

My sewing teacher, Wilma Montgomery, has also been a wonderful role model, as a grown adult who has seen many shifts in her own life and met them all with a fortitude I don’t know I would have had myself, but I hope I do should the occasion arise! I didn’t understand the sentiment of “my mother is my best friend” until I met Wilma.

This isn’t really a full list but if I did a full list and missed out one person I would feel guilty, so I shan’t even try. Suffice to say, I’ve got some wondrous folk as part of my life.


AA: What is the best advice you’ve been given?

JG: I waver between two! “Shoot for the moon; even if you miss, you’ll be among the stars” and “learn from other people’s mistakes because you won’t have time to make them all yourself.” The former is very romantic, of course, but the latter strikes me as very practical. I read them in some spammy email when I was a teenager, so I’ve kind of stuck with them all this while.


AA: Three quick-fire random questions – what is your favorite chocolate covered food, actor to have lunch with, and outfit that you don’t have in your closet yet?

JG: Truffles; Michelle Yeoh; three-piece suit.


AA: When you do interviews, what is something that you wish you were asked about but haven’t been?

JG: Mostly I wish interviewers would follow up with other questions to unpack stuff I say. Or my opinion on Foucault or Derrida or Sara Ahmed. Ask me about Hannah Arendt sometime.


AA: Now I have questions for next time LOL Any final thoughts to share with our readers

JG: The revolution shall be agricultural, squirrels are socialist, earthworms are the true proletariat of the earth, and rah rah universal basic income.


Thanks, Jaymee, for joining us for this interview and for sharing all of your thoughts.  Hopefully it won’t be another 100 interviews before we welcome you back!


Keep up to date with Jaymee’s latest news on her website, blog, and on Twitter.

You can support Jaymee and our community by getting your copy of The Sea Is Ours here.

Also, check out her exhibit page at The Steampunk Museum.

Published in: on January 6, 2017 at 7:58 pm  Leave a Comment  
Tags: , , ,

Interview #101 – Author, Editor, Academic, Jaymee Goh, Part 5

Welcome back for part five in our talk with Jaymee Goh , co-editor of The Sea Is Ours: Tales of Steampunk SEAsia.

Read Part One here.

Read Part Two here.

Read Part Three here.

Read Part Four here.


Airship Ambassador: As a reader, what has made you stop reading something before finishing it? How do you try to avoid that issue in your own writing, and help authors avoid it, too?

Jaymee Goh: Generally I tend to be careful about what I start so I don’t have to put it down until I’m done. I figure that even if it’s not my thing, it might be someone else’s. But things that will keep me away from a book? Bad writing—clunky sentences, poor editing, uncompelling descriptions.


Bad writing also—unexamined racism, hipster racism, casual sexism and homophobia, undercurrents of transphobia and hatred of disability. Gross divisions of classes with bad justifications for them. A narrow-minded perspective. But these are things that I could keep reading through because I like a good train wreck. In fact, I did read through a couple of novels recently, for my dissertation, that were train wrecks. And again, just because I hate racist novels, doesn’t mean someone else won’t love ‘em.

Most often, though, the thing that will make me stop reading before finishing is simply… a lack of attention. This could be mental, like, I’m too tired and the story is too heavy for me to tolerate (a symptom of grad school). It could be physical, like, I’m just physically too tired to keep my eyes open, or too uncomfortable to keep my mind on the book (another symptom of grad school).


AA: What do you consider your first real writing or editing experience?

JG: Hrm. What does “real” writing mean, though? The first time I committed to a long narrative or the first time I committed an act of poetry? All my life. I wrote little stories when I was a little child. When I was 9, I began buying exercise books specifically to write long narratives, complete with chapters and all. I typed up my first novel of sorts when I was 11, and even (gasp!) finished it. I drew my own comics. When I hit secondary school, I designated one exercise book to be “The Book of Crap” and filled it with scribbles, excerpts of stories, or doodles of characters (at the back I did math equations). When that book was full, I simply started a new one. I had schoolmates who would read these snippets—they were characters in my stories, so I had a ready audience—and we would exchange our writings. I published a couple of stories in the yearbooks as I neared graduation.

In school for English exams, we usually had a section at the end, which was usually an essay of some sort, with a choice of an argumentative essay, a formal letter, an informal letter, or what we called “continuous writing,” usually a creative prompt. I almost always picked that option. When I got to university, I had a poem published in the English Society’s poetry chapbook. I also moderated a writing forum, at which I posted a lot of poetry and critiqued everyone (and won Writer of the Year maybe twice in a row).

But “real” writing? Maybe we can use the standard of, “got paid for it”—that would be “Between Islands” in 2010. My first experience editing—reading submissions, rejecting them, giving feedback and putting together the table of contents, and final copy-editing—would have been Doctor Bill Shakes and the Magnificent Ionic Pentatetrameter: A Steampunk’s Shakespeare Anthology.


AA: I think I’ll go with your answer of ‘9’ 🙂  How have you and your work grown and changed over time?

JG: Hopefully it is less puerile now than it was back then. I was very fond of the exceptional child narrative, abandoned children who survived through their special abilities and readiness to fight and kill. Part of it was just my natural arrogance, which is not a good look to have at any age, but probably even more insufferable when one is a child.

When I finally began publishing, I moved away from the exceptional, self-contained person (who is, ultimately, not realistic) into casts of characters that interact with each other, creating tensions through their own individual characteristics. Not necessarily out of malice, not out of refusal to cooperate, but simply difference. I am more interested in ideas and I pay more attention to the world inside the story. The plots are a little thin these days, which I lament, but the voice is stronger, and the concepts are less derivative. I hope.


AA: In your experience as an editor, what have been the hardest and most useful skills to learn?

JG: How to arrange a story’s plot into something more compelling! I really had to approach these stories as a reader, rather than a writer—it’s something on the other side of the screen. I’ve brought that into my own writing.

But as an editor, turning back to my writerly side, learning how to use feedback to improve the text has also been an important lesson. My writers were so, so, so good at it—even after I basically had them move whole chunks of text here and there, and re-arranged the structure of the story (without changing the story), they were so game to do the changes I requested, had so much grace about it. At times I felt like a complete asshole about the whole editing process, even though I knew it would make the story stronger! So that was valuable to learn, too.

AA: What are some of your methods to stay motivated and creative?

JG: Writing shouldn’t be a struggle, although too often it is. That’s why I have several projects on the go—if one becomes horrific and demoralizing to work on, I just shift to another. I do other things—I take walks, I hang with friends, I do something pleasurable. There’s no point staring at an empty screen feeling guilty that it’s blank for two hours when I could go walk for an hour and come back feeling refreshed. I would have wasted that time staring at the screen anyway!


My attitude towards writing changes as my needs do. Sometimes, if it comes, it comes, and when it doesn’t, it just doesn’t, and I won’t feel guilty about it. That said, other times, it very much is a matter of discipline. Octavia Butler pointed out that no one starts writing the good stuff immediately. It just comes out later, and persistence is the key. And persistence requires a certain discipline and dedication. When inspiration fails me, discipline carries me.

There will be times when even discipline will fail me. I can’t be disciplined through a bad brain patch. I can’t use dedication to get depressive, intrusive thoughts out of my head. And those are my worst times, my least creative times. Some people say they write their depression out, it’s a source of creativity for them, and I just can’t do that. For me, creativity comes when I am interacting with the world, experiencing it, and learning new things about it. So to keep creative, I open myself to experiences, to new knowledge.


We’ll pause here in our chat with Jaymee. Join us for the conclusion when she talks about interests and influences.

Keep up to date with Jaymee’s latest news on her website, blog, and on Twitter.

You can support Jaymee and our community by getting your copy of The Sea Is Ours here.

Also, check out her exhibit page at The Steampunk Museum.

Published in: on January 5, 2017 at 7:19 pm  Comments (1)  
Tags: , , ,