A Few Quick Questions With…Nathaniel Barber

Like many things in this Book Tour stop, getting this Q&A together almost didn’t happen — but Barber stepped up and got some good A’s together for the Q’s a I threw at him. All while prepping for a book release party. Couldn’t have been easy, but it’s much appreciated.

There was a good deal of jumping around in time in your arrangement here, why did you choose not to start with young Nathaniel and move forward? Was there a strategy (that you care to share) behind the arrangement?

I’m aware that jumping around the timeline could seem like a gimmick. I understood that was a risk but it was a risk I felt was worth taking.

Chronology is a tool. It is very useful. It sets the pace and sometimes, when there’s a lot of messiness and moving parts, chronology can be the only thing that holds a narrative together.

Arranging these stories in chronological order demanded segues between the chapters. They just didn’t read right without them. Maybe it was somehow possible, but I was having a bear of a time trying to make them flow. These segues were lengthy and distracting. You can imagine, for example, the acrobatics required to naturally transition between hosting an exchange student from Paris, to an obsession about pants.

“Time passed. The days grew into weeks and my thoughts turned to pants…” and so on. No thank you.

I admire brevity. While these stories could use a bit more economy of language, the subject matter is very tight. The scope of the story is singular and isolated. These stories stand on their own. I like that about a short story. It demands so much from the reader: they must put the pieces together themselves. A short story reader is a smart reader. With barely enough information, they’re able to carry the weight. It’s participatory. A shared experience.

Similarly — what led to you choosing the events to write about?
Really, the stories chose me. I know that sounds glib. I can’t help but roll my eyes when I hear authors say things like, “The stories chose me.” But it’s true. As I mentioned, I struggled with these stories to an obscene length. They simply would not let me alone. Many of them were not easy to tell. I would have preferred something witty and artful, but instead I got stuck with these plain-jane stories. They’ve grown on me since though. I’ve developed a great appreciation for banality, thanks to these stories.
What was the biggest surprise about the writing itself? Either, “I can’t believe X is so easy!” or “If I had known Y was going to be so hard, I’d have skipped this and watched more TV”.
The biggest surprise for me was that there would be an end to working on these stories. Writing and editing a story is a suffocating experience. Sometimes it seems they will never be finished. Their arc, the characters and the concepts that are juggled around a story are sometimes so nebulous and scattershot it seems like a game of whack-a-mole. But I kept working on them, and eventually, story by story, I wrote that last sentence. It’s quite a thing, when you know you wrote the last sentence, even if it still needs to go through a number of edits—it’s a thrilling process, to fine-tune that last sentence.
A lot of what makes a writer are the books that he’s read — what books in particular do you think made you the writer you are/the book the book it is?
Kurt Vonnegut’s Galapagos and Pat Conroy’s The Death of Santini and Harper Lee’s To Kill A Mockingbird and Alice Munro’s Dear Life.
You’re leading quite the interesting life — is there another book in you? (or are you waiting to see how this goes?)
Yes, I contain multitudes (to quote Whitman). Luck Favors The Prepared is a way of asking for permission to write more. I have so much more in me, I can’t wait to get it out there. There’s two books of rhyme and meter poetry on the way. One is a book of childish poems for adults, and the other is a book of grown-up poems for children. What could go wrong? Also, soon I’ll have another collection of nonfiction short stories (and some fiction short stories) as well as as novel which I’ve begun but I hate. I hope I fall in love with this novel soon because so far, the outlook is grim. It doesn’t seem very funny, it deals with a lot of awful, horrible characters. There is violence, there are some terribly graphic scenes I don’t know how to write yet. And worst of all, I have no idea what will redeem the story. So, the jury’s out on that one.
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A Few Quick Questions With…B.C.R. Fegan

A couple of weeks ago, I posted about a wonderful children’s book, Henry and the Hidden Treasure, and now the author of that book, B.C.R. Fegan is back on the blog for a few questions about the book and his writing in general.

I’m fascinated by the process of putting together a book like this — have you and Wen worked together before? Do you script it out, including the images, like a comic book writer?
Henry and the Hidden Treasure was the first book that Wen and I worked on together. She is an extremely talented illustrator which is what caught my eye in the beginning.

The actual process of working with an illustrator is fairly straightforward. Generally, the first step is to have a designer who can lay out the book with the required margins and provide the text at a size appropriate for the age group. This layout (or scamp) makes it easy for the illustrator to see how much room they have to play with, and where any negative space should be.

The next step is the brief itself. For Henry and the Hidden Treasure, a fair amount of direction was provided. This is only because when I write, I do it with the illustrations in mind. For children in this age group, the visual aspect of the story comes first and the narrative provides reinforcement to their imagination. This is why I needed scenes drawn in specific ways or from certain perspectives.

The way this is done is simply by scripting out each page with characters, events, actions taking place and anything else that reinforces what is going on in that scene. Other aspects include any colors (if they are important), lighting, perspectives, emotions or a certain ambience that I’m looking for. In addition to this, I provide overall direction that is important or that might be helpful to the illustrator. What is great though with talented artists, is they can take this direction and elevate it to a place even more impressive than the scenes visualized in the mind.

The third step is really the fine tuning. As the illustrations are completed and sent through, they are checked. Sometimes they are great the way they are – at other times, there might be some minor amendments.

The final step is receiving the files in a project format ready for the design stage.

As I mentioned it is fairly straightforward but by no means the only way of working with an illustrator. Wen and I work together really well and the process has always been quite smooth. I’m very lucky to know her.

Of all the ideas flitting around your head, what was it about this one that made you say, “this is the one.”
When I consider ideas for children’s books, I generally try to center my thoughts on exciting subjects or narratives. I want my books to be filled with imagination rather than lessons. So for Henry and the Hidden Treasure, the whole idea came about from considering hidden treasure – particularly as a child might perceive it. It was from this point that the story itself was crafted.

Once complete, I didn’t really pick up the manuscript and think that it was ‘the one’. I guess my approach might be a little different to other authors, but by centering my thoughts on something that children already find exciting, I’m fairly confident that the idea will naturally develop into a nice story.

I appreciated the subtlety of the moral/lesson to Henry and the Hidden Treasure — how’d you decide to convey it that way?
As I mentioned previously, the subject of hidden treasure was where the story began. I think this leant itself quite well to considering what real hidden treasure might be in the context of the family unit – particularly with siblings.

I wanted this to be a subtle theme rather than the driving force behind the book, mainly because I think imagination should take priority. Too many books start with the lesson, and often the narrative feels contrived.

In the writing of Henry and the Hidden Treasure, what was the biggest surprise about the writing itself? Either, “I can’t believe X is so easy!” or “If I had known Y was going to be so hard, I’d have skipped this and watched more TV”.
This is a difficult question. Henry and the Hidden Treasure actually came together fairly organically. I guess in a sense, writing it was quite easy. However, I remember something my father once said to me that I think applies to authors as well.

I remember as a child watching my father, a locksmith, unlock customer’s front doors very quickly – sometimes in just a few seconds. On the rare occasion, a minor objection would be made about the cost in relation to the time it took to open the lock. He explained to me later that what so many people fail to realize is that his ability to open the lock so quickly was because he had dedicated his life to perfecting his craft. What sat behind those few seconds, was decades of training, study, understanding the right tools and constant practice.

I enjoy writing, and have been reading and writing for as long as I can remember. Henry and the Hidden Treasure was definitely a pleasure to write and I certainly wouldn’t say any aspect of it was difficult. However I don’t want to leave the impression that this was just a lucky break. The difficulty for most authors I think lies in everything that came before!

What’s next for you? Are you sticking with the children’s books?
I actually have a long list of children’s books going through the stages of publishing. The next one should be out toward the end of the year. In addition to children’s books, I am in the process of writing Young Adult Fiction. I think the future will include children’s picture books, young adult fiction – and probably everything in between.
Thanks for your time, Mr. Fegan. Readers (especially those with younger kids) — go check out Henry and the Hidden Treasure.

A Few Quick Questions With…Russ Colchamiro

This is the longest, and strangest, “Book Tour” I’ve done — it’s actually three separate events, but it’s all been promoting the book, Love, Murder & Mayhem. There was the book blurb and review for the original tour stop, then a Book Blitz post, and now we get to ask a the editor, Russ Colchamiro a few questions. Sure, it’s been irregular, but I’ve enjoyed it. If for no other reason, than I get to keep talking about this really fun anthology.

Anyway, on with the questions…

I really enjoyed Love, Murder & Mayhem, best anthology I’ve read in quite a while. What was the genesis for this project — particularly the theme. How did you recruit this collection of contributors?
Thanks! Glad you had so much fun with it. I appreciate that.

While writing Genius de Milo, the second book in my Finders Keepers scifi backpacking comedy series, I introduced—briefly—the character of Angela Hardwicke. Though her portion takes place in the fictional setting of Eternity, she’s a private eye in that classic Sam Spade tradition. I bumped up her role considerably for the third and final book, Astropalooza, and knew that I wanted to spend a lot more time with her, with plans to write a spin-off series, which I’m actually working on now. But before I jumped into a full book, I wanted to write a short story with Hardwicke in the lead, to get a better sense of who she was, her rhythms, and the kinds of stories I wanted to tell.

So I started the Love, Murder & Mayhem anthology through my publishing group—Crazy 8 Press. Including the other six core Crazy 8 members, I reached out to other writer friends to contribute, with every story containing at least one act of love or romance, at least one murder, and lots of mayhem. I initially thought I’d get nothing but private stories—I did a get a few—but the anthology contains superhero and supervillain stories, off-world and space cruiser stories, as well as A.I., private eyes, sleep surrogates, time travel, an aliens/monsters mash-up and … one DuckBob!

My story is “The Case of My Old New Life and the One I Never Knew,” where Hardwicke investigates a case of arson in a rock n club she visited the night before to see her favorite band. It was a lot of fun to write.

If Hardwicke ever gets herself a novel, I’ll be first in line to read it! That’s great to hear.

I know there’s a bunch of information about Finders Keepers on your website to lure in readers — and it’s worked for me, I should add. But other than that, how would you best entice someone to give the series a shot?

Finders Keepers is one of those books that readers either seem to love or want nothing to do with it! LOL! But if you like to have fun … it’s loosely based on a series of backpacking trips I took through Europe and New Zealand and is centered on a quest for a jar that contains the Universe’s DNA. If you like Douglas Adams, Christopher Moore, Third Rock from the Sun, Harold & Kumar go to White Castle, Groundhog Day, Hot Tub Time Machine, and Bill & Ted’s Excellent Adventure, it might be up your alley.

You can also check out this book trailer – http://russcolchamiro.com/books/finders-keepers/animated-trailer/

What is it about the Science Fiction that brings you back — or for that matter, what brought you to it in the first place? Is there a genre you particularly enjoy, but don’t think you could write?
Science fiction allows me to dream as big as I want. Nothing is off limits. Once you open up your worlds like that, your stories can go in directions that other genres simply can’t sustain. And it’s fun! As for other genres, I like a good political thriller now and then, but I’m not the guy to write one. I’ll definitely be writing more crime fiction, but I don’t have the bandwidth—or the desire—to get into geopolitical conspiracies. I’ll let other talented writers handle those!
What’s the one (or two) book/movie/show in the last 5 years that made you say, “I wish I’d written that.”?
Ready Player One is a great book which I loved. I never could have written it—there’s so much detail in there with all of that great 80s nerd pop culture—but I’d be more than happy had it been mine! Breaking Bad for TV. Great show and the kind of writing and character arcs that are more my style. I’m leaning more in that direction anyway these days.
I’ve often heard that writers (or artists in general) will forget hundreds of positive reviews but always remember the negative — what’s the worst thing that someone’s said about one of your books, and has it altered your approach to future books?
LOL! I say up front that Finders Keepers is a bit raunchy (Genius de Milo and Astropalooza much less so), but I warn readers up front so that they know what they’re getting. In the middle of all the backpacking and cosmic lunacy, the characters—good natured but bumbling—are drinking beer, smoking some weed, having sex, and dropping some F bombs here and there. And yet I’ll still get a reader now and then who will say something like “The author says it’s a raunchy book, which I hate, but the premise sounded so cool that I read it anyway. I hated it! There’s sex and language and drinking and drugs and college humor. Why did he ruin it?”

Ugh. It’s like someone saying they hate horror, gore, and violence, watching The Chainsaw Massacre despite knowing the plot, and then complaining about the horror, gore, and violence! LOL! Eh. But what can you do? I don’t worry too much about it.

Between this series, Love, Murder & Mayhem, the various anthologies I’ve contributed to, and my space adventure Crossline, there’s plenty of options for readers to choose from. ☺

I want to thank Russ Colchamiro for taking time for this.

I was asked to add the promotional info about the book and editor to this, and sure, it’s been here already, but, hey — if this helps the book get some more eyeballs, why not?

About the Book:

Love science fiction stories that all include elements of Love, Murder & Mayhem?

Then welcome to the latest anthology from Crazy 8 Press! This amazing collection from 15 all-star authors will delight you with superheros and supervillains. AIs, off-worlders, and space cruisers. We’ve also got private eyes, sleep surrogates, time travelers, aliens and monsters—and one DuckBob!

With tales ranging from wild and wacky to dark and gritty to heartbreaking and fun, take the deadly leap with authors Meriah Crawford, Paige Daniels, Peter David, Mary Fan, Michael Jan Friedman, Robert Greenberger, Glenn Hauman Paul Kupperberg, Karissa Laurel, Kelly Meding, Aaron Rosenberg, Hildy Silverman, Lois Spangler, Patrick Thomas, and editor Russ Colchamiro.

You’ll never look at Love, Murder & Mayhem the same way again—and that’s just the way we like it.

About the Editor:

Russ Colchamiro is the author of the rollicking space adventure, Crossline, the hilarious sci-fi backpacking comedy series, Stephen OramFinders Keepers, Genius de Milo, and Astropalooza, and is editor of the new anthology, Love, Murder & Mayhem, all with Crazy 8 Press.

Russ lives in New Jersey with his wife, two children, and crazy dog, Simon, who may in fact be an alien himself. Russ has also contributed to several other anthologies, including Tales of the Crimson Keep, Pangaea, and Altered States of the Union, and TV Gods 2. He is now at work on a top-secret project, and a Finders Keepers spin-off.

As a matter of full disclosure, readers should not be surprised if Russ spontaneously teleports in a blast of white light followed by screaming fluorescent color and the feeling of being sucked through a tornado. It’s just how he gets around — windier than the bus, for sure, but much quicker.

Website * Facebook * Twitter * Instagram

Q&A…with Jason Atkinson

The last part of our Book Tour Stop for Seven Threads: A Book of Short Stories is a Q&A with Jason Atkinson — thanks to Laura Fabiani for providing the questions, and Atkinson for the answers and time.

and hey, don’t forget the giveaway!

In today’s tech savvy world, most writers use a computer or laptop. Have you ever written parts of your book on paper?
A: The only parts I write on paper are the ideas and some structural parts of the stories. I see it like this…anyone can type something. But if you are willing to take the extra time to write it down and actually put some effort in, then maybe you are willing to use it in your story. And that’s exactly how it worked for me with this book. If I wrote it down and actually finished writing down the idea, then I knew I was “into” it enough to see how it would flow with the rest of the story already written.
Q: How long have you been writing?
A:I could answer this in a few ways, but to be specific, I would say writing in a more professional manner has come around in the past 2 years. I have been writing as a whole for much longer, but not until recently did I consider seriously making something of myself until a couple of years ago.
Q: Have you ever started writing and then just decided to throw it away?
A: Yes and no. I have begun stories and part way through realized that my heart isn’t in it, so I stop. I don’t throw it away though as I may find myself needing it again one day. But as mentioned, I certainly have found myself second guessing and just moving away from a story. If I have to force it work, then it’s probably not coming from me. I want pure, honest stories.
Q: Which story of the Seven is your favorite, and why?
A: The first story I wrote in this book is “The Gentle Man”, which coincidentally is also the first story you can read. This story was how the entire book got started in the first place, and was also the most interesting for me to write. If other readers out there are like me, they will read this story and find themselves immersed in a movie just like I was when I wrote it. I think that is a part of why writing is so enjoyable for me. I don’t just get to write the stories, but I also get to experience first hand what they look like in my imagination.
Q: What advice would you give budding writers?
A: To be a writer, you simply need to write. Worrying about quality in the beginning is pointless and a waste of valuable energy. Success comes in many forms, and yes, a paycheck is one of those although it is not the most important.

Success for writers comes when you personally feel satisfied with what you are and have done. It doesn’t matter the genre or how long something is. If you can stand by what you wrote and feel proud of finishing it – then you are successful.

Just sit down, and do it. You’ll be very happy when you complete your first piece. Even if after looking back you realize it might have been awful – that was your first step towards a better writer and storyteller. So what are you waiting for?

A Few Quick Questions With…Duncan MacMaster

Not only did the good people at Fahrenheit Press provide me with Duncan MacMaster’s Hack (which I just posted about), I got an interview with Mr. MacMaster as well! As usual, this is short and sweet, he’s got better things to do than come up with clever answers for me, y’know? Seriously, loved his answers. Give this a read and then scurry out to buy his book.

Would you like to give the elevator pitch for Hack? (for that matter, if you want to throw one in for A Mint Condition Corpse, that’d be fine, too)
The elevator pitch for Hack would be: A desperate man is hired to ghostwrite the autobiography of a washed up TV star with scandal in his past and murder in his future.

The pitch for A Mint Condition Corpse would be: A semi-retired artist’s trip to his favourite comic book convention is spoiled by murder, and only he can solve it.

Do you have experience as a Ghost Writer? Is Hack your way working out some demons? Or does it have a much more benign genesis?
I never specifically worked as a ghostwriter. I did do things like selling jokes to comedians (no one you ever heard of) so I know a bit about doing something that someone else gets credit for.

There is a certain amount of exorcism in the genesis of Hack. By the time I got to writing it I had spent a very long time getting metaphorically kicked in the head by the writing business. The joke market had dried up, and I spent years enduring rejections that ranged from the incoherent to the callous, and some career setbacks that were downright ridiculous.

As you could guess, those experiences left some demons that needed to be exorcised, and Jake Mooney, the hack writer of the title, did it for me. Jake’s had a life defined by setbacks and it’s made him bitter, cynical, and lonely. He sees being a credited author as a step towards some redemption as a writer, and solving the crimes as an attempt at redeeming himself as a human being.

Of course none of this was conscious while I was writing it. While putting down that first draft all I could think about was the plot, the characters and making sure everything made sense. I didn’t discover what I had done with Jake’s and my own hunger for redemption and validation until working on later drafts.

It was different with my first crime novel A Mint Condition Corpse. That started with a conscious decision to make Kirby Baxter, card-carrying comics geek, the Sherlockian hero instead of the comedy relief sidekick, and to use him as a vehicle to combine mystery with a satire of pop culture and the people who run it. Hack, has a lot more of my id running amok in it.

You’ve done a little in other genres, but your publications seem to be predominately in the Crime/Mystery genre. What is it about the genre that brings you back? Is there a genre you particularly enjoy, but don’t think you could write?
I’ve dabbled in science fiction, fantasy, and even horror, and I do plan to do more in those genres in the future, but mystery/crime does seem to have a grip on me. Probably because it deals with people who are at the extremes of their emotions, and also because it’s a genre that’s is still a wide open field when it comes to narrative possibilities.

I always credit my narrative style to SCTV. It was a sketch comedy show I watched as a child that parodied television and movies, and it taught me that popular culture is loaded with tropes and cliches that create expectations in the audience. If you know them and understand them, then you can use them to manipulate expectations to misdirect, surprise, amuse, and hopefully amaze the audience.

When I started reading crime fiction in my teens I began to see the patterns inherent in the genre, and started seeing how they could be manipulated to create something new and entertaining.

As for a genre I enjoy, but don’t think I could write….well, I’m not sure. I’m sure readers would tell me if I really screwed up. My bet would be on straight up horror without any sort of mystery to solve inside it.

What’s the one (or two) book/movie/show in the last 5 years that made you say, “I wish I’d written that.”?
Don Winslow’s The Power of the Dog, a relatively slim volume that contains an epic inside. It sets a high standard that I hope to come close to some day. For the most part I tend to avoid reading fiction while I’m writing. I have a bad habit of inadvertently imitating whoever I’m reading. I wrote some truly dreadful pastiches while I was on a Lovecraft reading binge in my early twenties. All sorts of gooey overwrought eldritch nonsense.
This one’s not about you directly, but what is it about Fahrenheit Press that seems to generate the devotion and team spirit that it does (or at least appears to)? I don’t know that I’ve seen as many authors from the same publisher talk about/read each other’s books — or talk about the publisher — as much as you guys seem to. Is it simply contractual obligation, or is there more?
There’s no contractual obligation for camaraderie at Fahrenheit Press, or the House of Love, as our fearless leader likes to call it.

I can sum it up this way: Joining Fahrenheit is like joining a punk band in the mid-70s.

We don’t know what the future holds, or what we will achieve in the end. All we do know is that we are a band of misfits who are all doing what we love, we’re breaking rules and conventions that some thought were inviolate, and that we are all in this wild ride together.

Fahrenheit has been the best experience I’ve ever had in publishing, and I’m sure my fellow authors will agree with me on that.

What’s next for Duncan MacMaster?
I just finished the first draft of a sequel to A Mint Condition Corpse, called Video Killed The Radio Star, and the brutal editing/rewrite process awaits me. I’m also developing a more experimental project examining male archetypes in crime fiction and the concept of the unreliable narrator. I am even outlining a potential sequel to Hack called Hacked, where Jake goes Hollywood. I’m hoping to complete all these projects and make them worthy of publication as soon as possible.

What happens after that, is anyone’s guess.

Thank you for having me on your blog.

Thanks for your time — I really appreciate it, and hope that the Hack‘s release is successful (as it deserves).

A Few Quick Questions With…Ben Jackson

A couple of weeks ago, I posted some thoughts about The Day My Fart Followed Me To Hockey. Today, one of the authors, Ben Jackson stops by to answer a few questions. Short and sweet so he can get back to putting out the books . . .

You work with a co-author and an illustrator — what the process like?
My co-author is my wife, Sam. Working with her has been easy, we don’t argue about much. We have been in a long-distance relationship for several years, so communication is pretty good!
Your Author page shows quite a range in subject matter for your books — relationship books, survival guides, humor, kids books. How do you decide what you’re going to tackle next? And — how do you get to the point that you say, “A Personification of Flatulence, yup, that’s my main character.”
Well, the Day My Fart Followed Me Home Series just happened! We were looking for a fun way to get kids to learn important lessons, and kids love farts!
How are parents reacting to The Fart books? I imagine that kids who read these like him (it?), but parents might have widely divergent reactions.
So far, I don’t think we have had one bad reaction by any parents. We had a school say it wasn’t suitable, but 99% of parents love the books and think they’re hilarious.
What was the biggest surprise about the writing of The Day My Fart Followed Me To Hockey itself? Either, “I can’t believe X is so easy!” or “If I had known Y was going to be so hard, I’d have skipped this and watched more TV”.
The biggest surprise was just how popular the book has become. When we first wrote The Day My Fart Followed Me Home, we never thought that the kids’ books would be so popular. Working with the illustrator Danko to get things done on schedule is probably the hardest part, and Danko is amazing with tight deadlines, so it isn’t really that hard.
What’s the one (or two) book/movie/show in the last 5 years that made you say, “I wish I’d written that?”
Lol I wish I had written 50 Shades of Grey!! That book and movie just exploded.
What’s coming up for the team of Ben Jackson and Sam Lawrence?
We are about to release The Day My Fart Followed Me To Soccer, and a book about a caterpillar that can do anything it sets its mind to. Stay tuned!
Thanks for your time — and the book!

A Few Quick Questions With…D.I. Jolly

D.I Jolly’s Mostly Human was the first novel I read this year — and it’s one of my favorites so far. I’m very glad I finally got the chance to ask the author a couple of questions. As is the norm, I kept it short and sweet, because I’d rather he work on his next book than take too much time with me, y’know? Some really good answers below.

If you can without ruining anything you have planned, tell me about the island setting for Mostly Human — why there?
Syn Island has actually been the principal location for all the books I’ve written. It started with my very first novel A Guy, A Girl and a Voodoo Monkey Hand. Which I wrote when I was 19. I knew I didn’t want to set my story in the USA because I felt like everything happened there, and I didn’t want it in England because I didn’t like the weather. South Africa (where I’m from) is just too isolated. So I decided to invent my own country, also it meant I wouldn’t have to do geography research.

Although my books so far are stand alone and don’t faction in the same universe. They all give a bit more information about the island. For example the burnt out bar where Annabel meets Frank Oslo. The destruction of that bar takes place in A Guy, A Girl and a Voodoo Monkey Hand. And in Counting Sheep and Other Stories (my second book) the main character Kester reference reading about some of the things Alex does through his life.

Love that answer.

I don’t want to ask where you get your ideas, but how did you get to the point that from the dozens of ideas floating around your head you got to the point where you said, “You know what I want to write about? A Werewolf Rock Star.”

It started as I wanted to write about a brother and a sister and a werewolf. Even at the first what I thought would be the most important factor was their relationship not him being a werewolf. I then started to trance back on their time line to find out how they got to where they were. If she had a job and he could just sit around all day, how does he afford it? then what if he was actually a child when bitten, what would their lives look like?

I came up with most of this while driving from lunch with my sister to my mother’s house which was about 2 and a half hours away.

What surprised you the most about the writing of Mostly Human?
How much I wanted to keep going as soon as I was done. I already knew how I wanted to start the sequel and where I’d start and take the story as its own book rather than just continuing to write more of the first one.
Your day job is with a publishing company — what impact has that had on your approach to writing?
I don’t know if it’s had much of an effect on my actual writing, but it is very interesting to know both sides of the coin. And it definitely changed the way I think about marketing a book and myself. Which I’m not sure I ever took seriously enough in the past.

Also, at the moment it’s more correct to say my day job used to be in publishing. For the next few months at least, I’m a full time writer. So keep an eye out for Mostly Human 2.

What’s the one (or two) book/movie/show in the last 5 years that made you say, “I wish I’d written that.”?
Whole projects none really, but occasionally I hear or read a really good line or concept which strikes a chord. The most recent of those was in Transcendence starring Johnny Depp which I only recently watched. Johnny Depp’s character is dying and he’s sitting with his best friend and sees his wife through the window and says. “I know I’m a dead man, but I’m scared I’m going to miss her.”

Loved it.

Can you tell us what books/writing projects you’re working on and when we can expect them? Bonus points if any of these involve Alex Harris.
At the moment my principle writing project is a thing called Poetry Club. On Monday nights myself a few very talented friends and anyone who cares to sit close enough to listen, meet in a bar in Berlin and read out short stories and poems that we’ve written that week based on the chosen theme or topic. We’ve been at this every week, without fail since July and after a year we plan to collect all the stories and poems and publish them as an anthology.

But as I said, I’ve also taken some time to get a few other things done and Mostly Human 2 is on the cards. I am about 41k words into it so far so maybe a third.

Sounds interesting — and you do score the bonus points.

Thanks for your time, D. I. (and thanks for Mostly Human!)