Q&A Author
TIM DORSEY Q&A
Tim Dorsey was a reporter and editor with the Tampa Tribune from 1987-1999. He is the creator of one of the most original and well-loved character's to be found anywhere in crime fiction. Serge A. Storms is hit man. He is also a paranoid schizophrenic. He happens to be an expert on Florida history and along with his spaced out companion Coleman, devises ever more inventive methods for dispatching with the bad guys. The real bad guys. In a dozen novels, starting with 'Florida Roadkill,' Tim has inspired a rock-star style status with his readers. The latest Serge novel 'Riptide Ultraglide' is published in January.
Did your work with the Tampa Tribune in any way influence the
development of Serge Storms and/or Coleman in your mind and at what point did
Serge make the transition from imagination to paper?
The newspaper helped with my awareness of criminal techniques, but their
personalities are composites of people I know, or at least have met. Serge was
born on paper as an average bad guy and just grew.
Serge is a fantastically original character. The choice of a hit man as your main character
is an excellent one (I recall Lawrence Block having tremendous success using the
hit man angle, too). However, Serge is a very different type of
character. His personality disorder, love of history and paradoxically (for a
hit man) strong moral compass make him pretty unique. Could you give a brief
outline of how Sage developed and which aspects of his personality came first in
creating him?
The crime came first, but I wanted to make him one of those genius/insane
bad guys, which is how I tripped over giving him encyclopedic Florida rants
Before we move onto questions dealing with the nuts and bolts of
writing, you inspire a rock-star like following with many of your readers.
Annual conventions and numerous tattoos inspired by your book cover art and the
characters. Did this start out as feeling weird and become gratifying as you got
used to it, or is it still weird and will you ever get used to it?!
Actually, it all seems very normal to me. It’s all relative to how much weirder living in Florida
is.
More than a dozen novels in, how do you switch off from the
characters? Are you always clocking ideas?
Always. Any time something hits you, you have to grab a napkin or something
and writ it down
How do you find you work at your best? How are you
with distractions, noise etc? Can you write with music?
No noise or music. I need solitude and no distractions. I often check into
motels if I can’t get it.
Could you give a rough guide to the process
of a novel. Do you plan out first, fly by the seat of your pants or is it a
varied experience, depending on the book?
I plan out the travel path in Florida, and the plot. Then I let Serge and
Coleman surprise me as they move through it.
Do you get tired of people asking if Serge and Coleman are based
on real people?
Not remotely. I love the fact that people are reading these books and are
interested.
What's the one question you would ban, if you could?.... (Mine would
be 'where do your ideas come from? Drives me nuts)
"Excuse me, where are the Harry Potter books?"
Last question Tim and again, thank you very much for your time. How long do you anticipate Serge dispensing his individual
brand of recompense around Florida? Have you been tempted to write without him
at any point?
As long as people still enjoy him. And the books are ensemble casts so I
get to go in other directions within each book.
www.timdorsey.com
Did your work with the Tampa Tribune in any way influence the
development of Serge Storms and/or Coleman in your mind and at what point did
Serge make the transition from imagination to paper?
The newspaper helped with my awareness of criminal techniques, but their
personalities are composites of people I know, or at least have met. Serge was
born on paper as an average bad guy and just grew.
Serge is a fantastically original character. The choice of a hit man as your main character
is an excellent one (I recall Lawrence Block having tremendous success using the
hit man angle, too). However, Serge is a very different type of
character. His personality disorder, love of history and paradoxically (for a
hit man) strong moral compass make him pretty unique. Could you give a brief
outline of how Sage developed and which aspects of his personality came first in
creating him?
The crime came first, but I wanted to make him one of those genius/insane
bad guys, which is how I tripped over giving him encyclopedic Florida rants
Before we move onto questions dealing with the nuts and bolts of
writing, you inspire a rock-star like following with many of your readers.
Annual conventions and numerous tattoos inspired by your book cover art and the
characters. Did this start out as feeling weird and become gratifying as you got
used to it, or is it still weird and will you ever get used to it?!
Actually, it all seems very normal to me. It’s all relative to how much weirder living in Florida
is.
More than a dozen novels in, how do you switch off from the
characters? Are you always clocking ideas?
Always. Any time something hits you, you have to grab a napkin or something
and writ it down
How do you find you work at your best? How are you
with distractions, noise etc? Can you write with music?
No noise or music. I need solitude and no distractions. I often check into
motels if I can’t get it.
Could you give a rough guide to the process
of a novel. Do you plan out first, fly by the seat of your pants or is it a
varied experience, depending on the book?
I plan out the travel path in Florida, and the plot. Then I let Serge and
Coleman surprise me as they move through it.
Do you get tired of people asking if Serge and Coleman are based
on real people?
Not remotely. I love the fact that people are reading these books and are
interested.
What's the one question you would ban, if you could?.... (Mine would
be 'where do your ideas come from? Drives me nuts)
"Excuse me, where are the Harry Potter books?"
Last question Tim and again, thank you very much for your time. How long do you anticipate Serge dispensing his individual
brand of recompense around Florida? Have you been tempted to write without him
at any point?
As long as people still enjoy him. And the books are ensemble casts so I
get to go in other directions within each book.
www.timdorsey.com
Andrew Oberg
Andrew Oberg Q&A -
"...be true to your story without watering it down for commercial concerns."
Most readers familiar with your work will know 'Randolph's One Bedroom,' how did this quirky collection come about and how long did it take to complete?
I started writing the "Randolph's" stories about five years ago and then one thing led to another and I put them aside. A few years later I stumbled upon what I had started and decided that the project was worth breathing new life into. All told, I'd say it took about a year to write all of them.
The picture of winter you paint in Sornsville could almost be considered a character in its own right. How important to the stories is the setting and the climate?
I think that the climate people live in has a profound influence on their worldview, and when extended to the mass element this plays a large role in forming culture, so winter is hugely important both as a setting and as a conditioner for the mindset of the characters.
How do you manage to juggle writing, teaching and running Drugstore Books?
By spending way too much time in front of a computer! I'm very self-motivated, so I actually don't mind all the time I put in. I would say, though, that that willingness is one of the distinguishing characteristics of writers, artists, and musicians generally--we have to be willing to do a thing for its own reward.
I know you have been working on another very different project. You detailed on the Drugstore blog recently how this work appears to be taking off now, are you able to tell me anything about it?
Just to say that it blurs the lines between categorization even more so than "Randolph's" does. Hopefully it'll be a nice surprise.
When you are writing fiction, how conscious are you of the 'sound' of the prose. 'Randolph' seemed almost musical at times, was this conscious? Did it take a lot of editing or do you attribute this to your natural style of writing?
Thank you very much. I trust my instincts a lot, so when editing I listen to what feels right to me as a reader, I try to approach my own writing from the point of view of a stranger reading it. Also, I think it's very helpful to read passages aloud to get a better sense for the rhythm you want to establish.
The characters' in 'Randoph' are very likable, especially Dave. Did you find you could 'hear' the characters between writing sessions?
Thankfully no! I have enough running through my mind as it is. The stories, and directions I wanted them to take, were there, but not character voices.
The comedy in 'Randolph' is very fluid, do you see character based comedy as a natural niche for you, or do you see yourself exploring other genres?
Definitely exploring other genres. I don't think I could ever stick to just one category of writing.
You are based in Japan, have recent events influenced your approach in any tangible way?
Not really, even before the earthquake and tsunami of 11 March I tried to have a balanced approach to life. The disasters were a reminder of how fragile our lives are, though, and how important it is to live with our minds in the moment appreciating what we have now.
If you could fast forward twenty years and look at your work with hindsight, what would you have liked to achieve? What kind of output do you anticipate?
I don't think that having an output-based mentality is a healthy approach to writing or other creative work. Everything we do is necessarily a product of who we are now, the times we live in, and the influences bearing on us. When a project is important to me I generally want to see it through to the end, but holding onto any one thing too tightly can often lead to trouble, in my opinion. I guess that in twenty years' time I will have done what I will have done, and any expectations beyond that would likely lead to unnecessary stress now.
How do you work? What is the process for you through a project and on a daily basis?
With a project I start out by jotting down a few notes, a rough outline, and some character traits. I think that character interaction is likely to build the story on its own so having a clear idea of the people inhabiting your world is probably more important to me than a strict, full outline. After that it's a matter of discipline, of staying at it. I will say though, that sometimes stories just don't work. I've had a couple that I've gotten well into, thirty or forty pages into, and then decided that I needed to quit, that it wasn't going to go anywhere. I think being willing to look a project in the eye and know whether it's worth it is an important thing to learn.
What advice would you give to a writer starting out on a first novel? Does any advice stand out to you as having been especially valuable or redundant?
I remember reading once in an intro to "On the Road" that if you weren't willing to spend hours alone locked in a room writing probably isn't for you. I'd say that's great advice, and I'd add not to be motivated by profit. If you're just looking to make money then writing probably isn't for you, either. Believe in the need to tell your story, and be true to your story without watering it down for commercial concerns. But that's just my take.
Finally, Drugstore Books is driven by a strong ethos of unconventional or quirky fiction, how important is this to you?
I would say that Drugstore Books is primarily driven by uniqueness. We approach each project with a different take, but tend to like things that are a little left-of-centre, so to speak. Mainly we're tired of the cookie-cutter mainstream novels that simply copy Hollywood's formulas and are drawn to interesting people with interesting outlooks on both life and writing. So far more than quirky I would say we're after the unconventional.
Tony Black - Q&A
Tony Black is the Best Selling author of the Gus Dury series of novels. His new book, featuring DI Rob Brennan is sure to add to his reputation for hard hitting crime fiction and characters with bite. Irvine Welsh has called Tony his favorite British crime writer. Tony was kind enough to answer some questions for me and arrange for an advance copy of Truth Lies Bleeding to find me in Liverpool, which meant I was able to get my homework done before setting the questions. As always, I have tried to make the questions auhor specific and appeal to readers and writers alike. Check Tony out further at: www.tonyblack.net
You are known primarily for the Gus Dury series but your excellent new Rob Brennan book 'Truth Lies Bleeding' also deals with a flawed cop, noir style darkness (of the mind) and a compelling story line. Did you want to take a break from Dury, or is Brennan a character you have been looking to explore for some time?
A bit of both really, I wanted a break from Gus ... or to be more accurate, to give him - and his liver - a rest. I really wanted to explore a different kind of character too, so Rob was the obvious choice. He's very different to Gus and he's operating in a completely different environment ... so, yeah, it was all about stretching myself a bit.
Irving Welsh calls you his 'favourite British crime writer,' how important are the accolades from your peers?
Well, it's very nice ... sometimes it doesn't feel real, like they're talking about someone else. But the kind of encouragement and support I've had has been way beyond what I imagined being a published author would be like. If you told me Irvine Welsh was going to make a statement like that about my work five years ago I'd have been calling the men in white coats for you ...
When you get that feeling that a novel has jostled and competed in your mind for long enough and it is ready, how do you approach it? Do you plan in great detail or set off with an idea of where you are going and then add and subtract?
No two are the same ... I've had some slot together quite easily and others need to be almost dug out of the unconscious with a road drill. I plan a bit, but not too much I'm always careful to make sure the writing is fresh when I approach it and too much planning removes that.
Dury and Brennan in some ways resemble each other, inasmuch as there is a loner mentality and single minded purpose about them. They have also both struggled with major issues in their pasts. At the onset of Truth Lies Bleeding, Rob Brennan is back at work following something of a break down. Do you already know how your protagonists will deal with their issues when you start writing? Is it part of the planning stage?
I don't have a clue how they'll react ... I like to throw as many issues at them as I can and watch them deal with the consequences.
Once you are inside the mind of the character and can hear their voice clearly, how much do you lead them, how much do they lead you?
I tend to let them lead me, but only up to a point ... the author is always in control.
Stuart MacBride and Ian Rankin are just two of the famous Scottish crime writers at work, do you feel part of a growing scene or is the nature of writing an isolative one for you?
I certainly feel part of a wider tradition of Scottish fiction, for sure. There are some very definite characteristics that Scots adopts in print. I don't just identify with crime writers - though we have some of the best here - I also identify with the likes of Gordon Legge and Alan Warner and Duncan McLean ... it was those guys that really got me fired about writing. And Irvine Welsh, of course.
What have been the toughest head scratching plot quandaries you have had to overcome so far, without giving too much away?
Just getting my head around 'plot' was hard enough ... we don't have plots in real life, it's an artificial construct, and like a lot of writers when I started out I was really resistant to it. Once you know the mechanics though, it's easy enough ....
You have a journalism and editorial background. This obviously helps with discipline, planning, structure... how much of an advantage is it for research?
I'm not sure journalism's that much use to anyone; even journalists anymore.
When do you decide enough is enough for research and take the stabilisers off the process? Or is it an ongoing process as you write?
It's ongoing, I'm continually being led down new roads in the work and having to research on the hoof ... think it's called making a rod for my back.
What plans do you have for DI Brennan in the future?
The next one is called Murder Mile and I'm about to start writing that in the next few weeks; after that, dunno.
Crime fiction appears to fascinate readers as much now as ever it has. How do you stay ahead of the curve? How do you keep things fresh?
I don't really think along those lines, I know there are writers who do, and there is always going to be agents and editors looking to 'capture the zeitgeist' as they say, but I just do what interests me. I think if you're being true to yourself, exploring subjects that attract your attention then you've got a good chance of interesting others.
What advice would you give to a newly published writer looking to build their reader base?
Publishing houses are facing a big squeeze at the moment, so they can't be relied upon to do much in the way of PR. Find out how to market yourself and do it.
Finally, Tony having thanked you for answering my questions, it just remains for me to ask, do you foresee a time when you experiment with genres other than crime? Is it likely?
I seem to be getting asked this a lot these days - it's the one question I've had in just about every interview I've done for TRUTH LIES BLEEDING - and I always say, always have done, that, yeah, I'd love to write outside the genre. I actually have a couple of non-crime novels doing the rounds at the moment, so watch this space ...
Matt Hadder- Q&A
The second interview in the series is with Matt Hadder, author of Seeing Crows and Twist of the Death Camp. His third novel Crook is due later this year. Judging from Matt's review of my book, we have mutual respect.
Q - Hi Matt, firstly please could you let me know how you came to be writing fiction and who you count as your main influences?
I’ve actually been writing fiction since I learned to write - I remember writing stories, when I was 6 years old, on loose leaf paper and tying the sheets together with yarn to make books out of them.
John Barth’s book The End of the Road was a huge influence on me - the moral conflict at the center of the story, and the way he explores the consequences of choices, have informed all of my writing. A great friend turned me on to Harry Crews’ Feast of Snakes. Much of my novel Seeing Crows was my attempt to surround a character’s moral conflict with the kind of colorful characters and exploits that Crews is so great at.
Q - Your two novels so far, have been very different in many ways. Seeing Crows and Twitch of the Death Camp both deal with extreme examples of human behaviour but what do you see as the unifying themes and is this adaptability in terms of genre a hallmark for your writing?
I’m not thinking about genre a lot - just following my inspiration. I’ve actually had a hard time even figuring out what genre Seeing Crows belongs in. Twitch of the Death Camp is a little easier, of course, to peg as a horror novel, though I don’t totally see it that way. Genre-hopping isn’t a deliberate plan, though I have outlines or drafts of horror, crime and fantasy novels on my desk right now. I like to write the kind of books I like to read, and I read all kinds of things. I also like to write things that end up being different than what they might have seemed on the surface.
I enjoy exploring characters - their motivations and interactions. More specifically, I like to dig down to the moment where a good person makes critical choices. In Seeing Crows, I want readers to identify with a character so strongly that, as the story unfolds, his choices seem relatable, though the reader would never make them. (I hope!) In Twitch of the Death Camp, a character makes a terrible choice that informs the rest of the book. I wonder about how good things, or good people, go bad - how even innocent choices, or failing to make choices at all, catalyze events no one intended. I don’t like to write neat tidy, endings. I think these veins can be seen in all of my writing.
Q - When I read Seeing Crows two of the aspects that impressed me so much where the fact that you narrate it so convincingly from a 21-year-olds point of view and also, without giving too much away, it actually felt like two books. This is a similar observation for both novels so far. Do you rub your hands together planning the curve balls?
I wish I could be so clever that I rub my hands together over this stuff. The genesis of each of those novels were really quite different. Twitch of the Death Camp started on a lark - I didn’t have a master plan at all - I was traveling for work, bored in a hotel room watching Halloween IV on TV, and simply started to write it. I had to heavily revise it several times, because I never had a plan when I started - I just kept writing, trusting it would find a vein. I never took it very seriously, had no idea whatsoever where I was going to go with it, didn’t think I’d ever share it. I’m still a little surprised at what it turned into.
With Seeing Crows, though, I knew what story I wanted to tell. I built it in layers, always adding new facets to it. Still, figuring out how to tell the story that I wanted, figuring out those layers, was part of the process, not the plan. That’s the real fun of writing for me - throwing myself into the characters and the story and their world, and figuring out how to bring it to life, how to make it happen. I can’t really plan that - that’s the act of writing. From an authoring perspective, though, building two narrative threads, like in Seeing Crows, was a way to create tension, building to the point where those threads eventually connect. It suddenly cast a different light on everything in the story that led up to that point. Of anything I’ve ever written, I think I’m most proud of how I executed that. But it evolved through the revision process, and I had to refine elements of the plot and narration to make it work like that.
Q - How do you find the process of writing a novel? What works for you?
The most important thing is to get a story down. I outline and make extensive notes. That way, when I have a chance to write, I’m not trying to figure out what happens next. I can use the time to write. That said, there are lots of holes that can only get filled in when you’re writing, and that’s the fun of it - the creative process - coming up with ideas and inspiration in the moment. I don’t fuss over details or plot points if I don’t know yet how to execute something. I revise heavily - I don’t have to have all of the answers in the first draft, or perfect dialogue, or hidden meanings. I’m more worried about what this guy said, and what that guy did. My first drafts are almost all dialogue and actions - no descriptions, no settings, no themes - no curve balls. I build the skeleton first. Obviously, writing is an extremely creative process, and that’s what I love about it. But I’m also very analytical once it’s down. I pore over every word and grow increasingly deliberate with every revision. I need large blocks of time to write. I often write in all night marathon sessions - a bottle of Blanton’s or Maker’s Mark sitting next to me. Miles Davis records on the turntable. Very old school.
Q - Did any of your methodology change dramatically in terms of the creative process between the two books? Has it changed since? If so, why?
The big difference was my ability to conceive and build a story at novel length. The first draft of Seeing Crows was 40 pages. It was basically a short story that I wrote over and over, growing them, building it up one layer at a time. In contrast, the first draft of Twitch was 270 pages - about the length of the final version as well, though I probably re-wrote every word in it at one point or another. I was able to write a longer first draft for Twitch because I learned a lot about novel writing during Seeing Crows - about narrative complexity, about setting, about theme - and better incorporate those things into the first draft. I guess the short answer is I’ve become a better writer now that I’ve done it a few times. My next is going to take much less time, and need less revision. (I keep telling myself.)
Q - Can you reveal anything about your third novel, currently in progress?
I think what people will see next is a novel called Crook. It’s third person, and is told from multiple characters’ perspectives, which is quite different from Crows and Twitch. I love writing in first person and single narrator point of view, plunging a reader deep into a character. That won’t work for Crook, though. That’s probably boring, though, isn’t it? You want to know about the story. You can guess from the title, I suppose, that it’s a crime novel, or at least my take on one. But let’s boil it down. A man, two women, bad choices, a spiral, a double-cross, a triple-cross. A quadruple cross? Has anyone tried that? Chaos theory. Floating caution tape. A doppelganger. A dangerous alibi. I suppose I’m being evasive. Maybe it’s too soon.
Look also for the Heart of the American Darkness, a companion piece to Seeing Crows, and a novella to pick up threads from Twitch of the Death Camp. I have 2 others in development as well.
Q - You chose to go down the self publishing path. What do you think are the advantages and the set backs of this route?
I am a huge proponent of DIY. Why let corporations choose our entertainment? There’s some validation that the traditional publishing route gives a writer, or at least a perception of that. But frankly, they publish a lot of bad stuff too - so what does it really mean? It’s also true that a publisher represents something to readers, as well, though - they guarantee a professionally packaged book - even if it doesn’t guarantee great writing. And there’s something to be said for that.
For a writer, most significantly, they bring marketing, distribution, connections with reviewers in major media outlets, etc. But the Internet has obviously changed the landscape, and writers - good writers who can’t get published the traditional route - have a means of reaching readers directly. And I think there’s nothing better for the art of writing, for our culture artistically, than removing corporations, who are primarily concerned with profit, not art - from the artist/audience relationship.
I sent Seeing Crows to publishers, with no luck. I wasn’t surprised by that. Then came the Kindle, and Amazon’s self-publishing program. It’s really fantastic - by releasing it as an eBook, I could keep the price down to where I hoped people would take a chance on an unknown author. And they have. And really, there’s a great community of support for independent work on Amazon. I’m elated to have sold as many copies as I have, to get the kind of response and reviews that I have, to hear from readers and make connections with other writers. It’s offered as much validation for me as a publisher would have. I probably will never sell as many copies as I might through a big publisher, but - and I really mean this - every copy I sell means an incredible amount to me, it’s really fantastic.
Q - Scenario - you and a friend are having a beer. (S)he tells you that they have a good idea for a plot and feel like they have the characters but have no idea how to progress? What advice, if any, would you give?
Your story won’t write itself. Stop talking to me and go start writing. And don’t fuss over the details, or try to tell the story perfectly - just get it down. You’re going to have to revise and work on it over and over again anyways. If you start writing and you describe every grain in the hardwood floor, every crease in the curtains, the way the sunlight filters over her crooked smile, you’re going to run out of steam before you finish. You need to tell a story, not paint a picture. Get the story down - who said what, who did what, what happened. Add the filtered sunlight in later if it’s important. Details matter - readers need them to visualize, but they can get in the way of getting the story written. The first draft of Seeing Crows was only 40 pages - that certainly made it easier for me to finish telling the story - I didn’t set out to write 300 pages, or 80,000 words - I set out to tell a story. Once the story was told, I filled in descriptions, settings, backstories, themes, etc., as I revised, and the story eventually took on a much bigger life, and achieved much greater depth. But if I had tried to do it all in my first draft, I may not have ever finished.
Q - e-readers are now huge business. How has this helped you as a "new" writer and how important is promotion?
I released my 2 novels only as eBooks. For me, it’s made all of the difference - it’s a great platform to reach readers directly as a writer, and price things appropriately by eliminating printing and physical distribution costs. I have to find creative ways to get my books in front of people. Amazon has a lot of great features, forums and tools that can help you promote yourself, without it always being all about you. Know who your audience is, and figure out ways to reach them through like-minded books, forums and events. But don’t just look at these things as marketing opportunities - nobody likes that. Participate because you care, and people will naturally take an interest in you and what you’re doing.
Q - Finally, Matt, what do you find the most rewarding aspects of writing and how do you cope with the solitude that can sometimes occur?
I just like to tell stories. I love the creative process. Being able to find an audience that enjoys my writing has been tremendously satisfying. I have some friends who read and enjoy my work, and who aren’t afraid to be critical when they read early drafts. They help me immensely in getting to a final draft. It’s an extremely important part of the process. I talk to them about what I’m working on, show it to them at various stages, so I really don’t work in isolation. Having readers and fellow writers reach out to me, now that some of my work is out there, is great, and they’re people I can tap into for ideas and feedback as well. I think people are often fascinated by writers. They’re excited to glimpse behind the curtain. Take advantage of that.
Tim Bryant - Q&A
Tim Bryant, Texan author and musician can be found at www.bytimbryant.weebly.com. His first novel Dutch Curridge creates an original, quirky and dark noir landscape, whilst avoiding many of the unsubtle cliches of the genre. His characterisations are deep and believeable and the dialogue sizzles. The pace somehow manages to steam along like a 1940s jazz band in full flight, whilst still invoking the lazy summer heat of the setting. Impressive stuff. The sequel to Dutch, Tencoats & Terrabone is due later this year.
Please give a potted history of who you are for people who may not know?
I'm a 47 year old musician/author/businessman in East Texas. I've released CDs under the names 2Take Tim and Othy and published my first novel, Dutch Curridge, in the fall of 2010. I've lived in New Orleans, and my heart remains there, but my roots are deep in East Texas. I'm married to Leela and we have two children.
How did it feel to hold the first copy of your first book in your own hands?
I've released CDs, so I'm used to seeing my name on product, but none of it was like the feeling of holding the novel for the first time. It is akin to holding your own newborn except the gestational period had been years and years.
When you are writing, how much of the time do you spend with a 'reader's' hat on? How much with a 'writer's' hat on? In what ways are they different?
I'm not sure they're different at all. I think I always have my reader's hat on. As long as you know how to put words together in a way that is pleasing to yourself, you keep the reader's hat on as you work. At least I do. There might be an editor's hat that I keep handy, just to keep the story moving in the right direction. But I'm usually trying to write the book that I want to read.
On your site www.bytimbryant.weebly.com you mention that your new project may be something special. You also say that at this early stage, you are not sure whether it will be a novel or not. Firstly, when do you think that becomes clear? Secondly, how do you know when you set off with a new piece if it will be a novel?
That's a good question. Well, sometimes, it's very obvious going into the project. I'm writing the sequel to Dutch Curridge, and it, by necessity, will be a novel. But I had written half a dozen short Dutch stories before I tackled the novel, and yet I knew when I began it that the novel was a whole separate thing. The pacing had to be different.
With the project that you are talking about, which is titled Those Who Know Us Best Don't Know Us At All, its genesis was more personal. It was something that I wanted to get out, to pull out of myself. And I'm still in the process, and I don't know how much of it is in there. I pointed the ship in the right direction, and now I'm just kind of along for the ride.
You are also a musician, you have your own shop and you are a novelist. How do you divide your time?
Sometimes, the more you have on your plate, the easier it is to focus and get things done. If I'm only doing one thing, I can make all kinds of excuses to wait around and get to it later. And the more I get done, the more I want to do. I almost died last February, a situation which only myself and a couple of people even knew about, and it took me a couple of months to pull things back together. When I did, though, I decided to see what I could accomplish with the rest of the year. And between June and December, I released two CDs of music, completed and published Dutch Curridge and opened up my store, The Runaway Mule, in downtown Nacogdoches.
February of 2010 was a terrible month, but 2010, as a year, was unbelievably productive for me. It all comes down to making a decision and sticking with it. People makes lots of decisions, but sometimes it just takes the sticking to them. Having said that, I would also add that I'm not above writing while things are slow at the store.
Having published your first novel and being close to publishing the second, is there anything you know now about the process that you would pass on, that could save time, sweat and frustration?
The only thing I know now is just that I've received a lot of great feedback for what I've written, so I have a little more confidence that I am doing the right thing. It's a genuinely horrifying thing to push your work out there and let it be judged by strangers who might not have your best interests in mind at all. Joe Lansdale says you have to think that you are better than all those critics out there, you have to have a confidence that borders on narcissism, really.
Maybe I am slowly developing some of that. Or maybe I'm just growing more confident in my own voice, in the niche that I have cut out for myself. It took awhile to find my center as a fiction writer, but, just like my songwriting, when I found it, I knew that it was completely genuine, one hundred percent mine.
What makes Tim Bryant 'the reader' buy a book?
The same thing that makes me want to tell a story. I want a protagonist who is multi-dimensional, who feels like a real person and talks like a real person. Give me that, and you can take me anywhere that you want to go. I said before that I write the story that I want to read, but that doesn't mean I read only stories that I would write. I want to be taken somewhere I would never get to go, to see what things are like and what people are like under disparate circumstances.
Lastly, who are your key influences? How are you similar and how are you different?
Ernest Hemingway, Raymond Carver, Mark Twain and Flannery O'Connor. All for the way they used words, almost like magicians. They cast a spell on me. They knew how to get the most out of a key word or phrase. The importance of choosing the right word. They were poetic and yet very economical.
And later, of course, Joe Lansdale. I love Joe's writing and am lucky as hell to call him a friend. I did, however, have to work my way through a stage where everything I wrote sounded suspiciously Lansdalian. As much as I love him, I knew the world didn't need two of him, and especially didn't need my pale imitation. But I kept on writing and writing until my voice got stronger, and I made my way to a place of my own.