An Interview with Jocelynn Drake
Interview conducted c. early 2010s
Introduction
Jocelynn Drake is a speculative fiction author best known for her urban fantasy and paranormal romance novels, including Nightwalker, Bound to Me, and The Asylum Tales series. Her work frequently centers on reluctant heroes, moral compromise, and characters navigating violent, high-stakes worlds shaped by power and consequence.
This interview was conducted during a period when Drake was actively expanding multiple series while refining a disciplined, outline-driven approach to long-form storytelling. The conversation explores idea generation, structural planning, character growth, and the balance between instinct and preparation required to sustain complex narrative arcs.
Drake’s responses reveal a storyteller committed to craft, persistence, and emotional honesty. Her approach emphasizes curiosity, deliberate structure, and a willingness to put characters through meaningful trials in service of transformation.
This interview is preserved as part of the Better Storytelling Archive, documenting the voices and working methods of contemporary genre creators.
JocelynnDrake_Interview
The Interview
Life as a Writer
How did you get into writing?
By accident. The first time I chose to write a story that had absolutely nothing to do with a school assignment, I found I was hooked. I was about twelve and an avid reader. I devoured books. After reading a retelling of Robin Hood, I realized there were no kick-butt heroines in the story. I decided that if I wanted to read about a girl running through Sherwood Forest with Robin and his band, I would have to write it myself.
I spent that summer sitting on my bed with a notebook, rewriting Robin Hood with my own spin. It was all downhill from there.
When did you first realize that you have what it takes to be a writer?
I make a distinction between being a writer and being an author. A writer is someone who writes stories, often for themselves. An author is someone who gets paid and writes for an audience.
It was never about realizing that I had what it takes to be a writer—I simply am one. Writing is part of who I am, like having freckles or red hair. Even if I didn’t write stories down, I’d still be daydreaming “what ifs” every day.
As for realizing I have what it takes to be an author—I’m still working on that. Being an author is far more difficult than being a writer, and it requires constant growth.
Premise
Where do you get your ideas from?
From living life. People watching. Movies. Books. Dreams. Mistakes. Choices made and roads not taken. The key is keeping your eyes open—watching, listening, feeling. Ideas flood in when you engage fully with the world.
How do you develop your ideas into a story?
I start making notes—sometimes random phrases on a whiteboard, sometimes lists on scrap paper. I’ve written notes on napkins, receipts, and placemats. If a scene keeps running through my head, I’ll write it out completely to get a feel for tone and character.
Usually within ten pages I know whether an idea has legs or needs to be shelved. Over time, those fragments start forming a story. And I never throw ideas away—bad ideas often evolve into great ones after enough time.
Genre
What kind of stories do you enjoy working with?
I like underdogs—characters burdened by circumstances of birth rather than choice. I’m drawn to reluctant heroes who want nothing more than quiet obscurity. I enjoy winding stories filled with violence, hard decisions, and consequences, where victory always costs something.
What genres would you like to explore in the future?
I currently work in urban fantasy with elements of paranormal romance, but I’d like to explore epic fantasy, mainstream fiction, historical romance, sweet erotica, and genre-defying work. Ultimately, I want to write great stories—possibly even ones that create new genres.
Structure
Do you work from an outline?
Yes—completely. My outlines are bare-bones sketches of the main plot with notes on subplots and character growth. Romantic elements and deeper character development often emerge organically as I write.
That said, I’m not enslaved to my outline. I allow it to shift as the story reveals what it needs.
Plot
How do you build your story?
Carefully. I identify the central problem, what must be done to resolve it, and the obstacles in the way. I map events visually—often on a whiteboard—using different colors for different plotlines or characters.
At the core of the process is constantly asking, What if?
Character
For you, what makes a great hero?
Humility. A willingness to take risks, to be wrong, and to grow. If a character can’t learn and change, there’s nowhere for them to go beyond the first page.
If one of your characters were to describe you, what would they say?
Stubborn—and a sadist. You have to be stubborn to finish stories that don’t behave as expected. And you have to be willing to put characters through painful experiences, even when it makes you uncomfortable. Some scenes have made me cry while writing them.
Setting
How much time do you spend researching the setting for your stories?
It depends on the story. For the Dark Days series, extensive research was necessary because the characters traveled through real locations I hadn’t visited. For The Asylum Tales, less research was required because the setting is largely fictional.
What settings would you like to explore in the future?
Places I want to visit—Russia, Ireland, Scotland, Italy, and the American West. I’d love to experience the desert properly and then put it into a book.
Theme
Do you like to know the purpose of your story before you sit down to write it?
I like to know what the central problem is before outlining. During the outlining process, I usually discover how the main character will change, which often becomes the core of the theme.
Dialogue
Do you have any favorite lines from your stories?
“I’m a vampire, James, not a self-cleaning oven.”
— Nightwalker
Writing Process
Do you have a routine?
I begin by handling email, blogs, and social media, then open the manuscript and outline to see what I’m working on that day. That gives me direction and tone. I select music to match the scene and set a word-count goal to stay focused.
How do you deal with writer’s block?
Outline. If I know where I’m headed, I can usually push through. If I get stuck, I step away completely—driving and showering are when my best ideas surface.
Story Development
How do you go about fixing a story?
Editorial feedback is invaluable. I start by making small changes—altering decisions, missed connections, or timing. Minor adjustments can create major ripple effects.
How do you know when to stop?
When the central problem has been resolved and the reader feels closure—even if the ending isn’t happy. I stop when the lesson has been learned.
Words of Advice
What words of advice would you give to new writers?
Write. As often as possible. Write even when no one will see it. Write even if you won’t finish. You won’t improve if you don’t write. And finish the book—even if it’s bad. Finishing builds momentum.
Final Thoughts
What’s the best thing you’ve ever written?
The most recent thing. I try to improve with every book.
What are you working on now?
Revisions on the second book in The Asylum Tales, followed by deciding which project comes next. There will always be a next book.
Closing
This interview captures Jocelynn Drake’s disciplined, outline-driven approach to storytelling, shaped by curiosity, persistence, and a willingness to confront difficult choices. Her reflections emphasize growth through struggle, both for characters and for the writer herself.
Presented here as part of the Better Storytelling Archive, this conversation preserves a voice defined by structure, resilience, and deep respect for the craft of long-form storytelling.