Interview: Brian Panowich

Around the first anniversary of Shotgun Honey in April of 2012 we published the first story by Brian Panowich, a story about a pool cleaner who got unfair payment for “Services Rendered.” Brian followed up with a variety of stories, but a couple of bookend stories—one published here and the other published on The Flash Fiction Offensive—would take him up BULL MOUNTAIN and land him his first book deal. Today, his book releases to a lot of buzz and praise, all well deserved.

We are all extremely proud to see this release, and to celebrate I spent a week learning how Brian Panowich made it up that mountain.

Let’s see where it takes us.

Ron Earl Phillips
July 7, 2015

 

How’d you get the gun? Or rather what drew you toward crime fiction?

To be honest? I got it from you, Ron. Well, you and Elmore Leonard. Up until early 2012, I was still struggling to find my voice. In a way I still am, but I don’t think that will ever stop. My reading tastes are extremely varied, and back then it showed in my writing. I was dabbling in horror, westerns, superheroes, some real fantastical shit. The only real crime stuff I was reading on a regular basis was anything by Elmore Leonard, and John Connolly’s Charlie Parker series, and even those (Connolly) had a slight super natural slant to them. It wasn’t until I stumbled onto Shotgun Honey that I discovered Flash Fiction as a form of storytelling and then it was off to the races. I used your site like school, studying how to cut and trim a story down to the raw nerve. I discovered a lot of the authors I now consider some of my biggest influences, Chris Leek, Ryan Sayles, Jen Conley, Peter Farris, the list goes on. Outside of one story I’d written and self published at the time, called THEO AND FAT TERRY, my first submission to you was the only real attempt at writing a straight up crime story. It took me two days to write it ( Services Rendered ) and then over a month to whittle it down to 700 words, and I can still remember what I was doing when I got the email from Sabrina that told me it had been accepted for publication. One of the best days of my career. From that point on, I started reading a lot more crime fiction and the day I finished GIVE US A KISS by Daniel Woodrell, I had a profound moment of clarity that pointed me down my current career path.

Well, Shotgun Honey might have been a divining rod, of sorts, but the words were pretty solid when they got here. Shotgun Honey has published four stories by you between 2012 and 2013—so maybe you owe us a new one—but it was “If I Ever Get Off This Mountain” that inspired Bull Mountain, along with “Coming Down the Mountain,” a sibling story that appeared on The Flash Fiction Offensive. Where did these foundation blocks build from?

I had been toying with the idea of writing a story that flipped the white hat/black hat trope on it’s ear and showed that not all the good guys are right, and the bad guys are wrong. I knew I wasn’t the first person to want to explore that theme, so I came up with telling the same story twice but from the two different sides of that morality coin. Even then, I knew I had a cool format, but still didn’t have an actual story idea until one afternoon while I was out riding my mountain bike. Writing was the last thing on my mind and I was listening to a classic rock playlist when “Up On Cripple Creek” by The Band came on. The first line to that song is ‘If I get off of this mountain, you know where I wanna go’ and immediately the entirety of those stories, and what was to become BULL MOUNTAIN, hit me so hard I damn near wrecked my bike. I had to get off and record the plot points into my phone, because I didn’t have anything to write on. I cut my ride short and hauled ass back to the car to write it down, so I wouldn’t forget it. It was just one of those moments that come along that I can’t explain. Those two stories are what attracted my agent, who in turn, quite honestly changed my life.

We’re all glad you didn’t take a spill on that bike, for sure. Had you been actively looking for an agent at the time you wrote those stories? Was there something else in the works before you took that first trip up that mountain?

No, and No. I’d been tinkering with a superhero novel idea on and off for about two years that I’d long ago abandoned, and was shopping nothing. Those two stories we just mentioned were nominated, as you may know since you’re kind of the king of this community, for a “Best On The Web” award in 2013 by Spinetingler Magazine run by Brian Lindenmuth. I didn’t win the award, but they did get read by Nat Sobel of the Sobel-Weber Lit Agency in New York. He sent me a brief e-mail asking me if I had anything longer to show him and I told him I didn’t. He replied that when and if I ever did, to send it to him. I immediately looked him up on the internet and found out he was a legend in the industry. He represented folks like James Ellroy, and Wiley Cash among others, so I sat down to expand my experiment in Flash Fiction into a full length novel. I began to write it every third day at the firehouse (I work shift work as a fireman 24on/48off ) and it took me a year to finish. When I sent it to him, I didn’t even think he’d remember who I was, but he did. He loved the book and took me on as a client. Within a few months, I’d signed a two book deal with G. P. Putnam’s sons. It still feels surreal to me. The book comes out today and my head is still spinning, it happened so fast.

Nat Sobel is a one a handful of agents I am aware who visit our site and others like Shotgun Honey. When he approached you, was there any indication what he saw in those 700 words?

Only that he liked what he read and felt that I had a style that would be commercially viable. I don’t pretend to know what Nat, or any other experienced agent is looking for, and still have no idea what it is that makes one author more attractive than others in a business sense. SH is chock full of the most talented writers I’ve ever read, more so than I consider myself to be, so believe me when I say, if I could put a finger on it, I would, and I’d hold it down for the world to see, but I really think Veterans like Nat go with their gut. That’s also how I would encourage another writer to write his next story, by going with their gut. Damn the rules.

Speaking of rules, on those odd days at the firehouse expanding two short stories into what became BULL MOUNTAIN, did you do much prep work and organization? Or did you fly by the seat of your pants and fill in details later?

I took a couple of days to really flesh out the two main characters, the country sheriff, Clayton Burroughs and the hot shot city ATF Agent Simon Holly. I used music mostly. I wrote notes about Clayton to outlaw country music, rode around listening to that kind of stuff and tried to imagine how he’d act. ( Obviously, there’s a lot of me, in Clayton.) Then I’d crank up a lot of post-punk, and British troubedour shit, like Northcote, Frank Turner, and The Gaslight Anthem to put me in Simon Holly mode. Once I had a good feel on those two, I wrote the entire outline for the novel on one sheet of notebook paper. From beginning to end. I numbered the chapters, and wrote one or two sentences about each. I pulled my crew at the firehouse around the picnic table at work, and read the outline to them, basically asking them if they would read a book based on that sheet of paper. Firemen can be notoriously brutal in their opinions, so when I got an overall thumbs up from those guys, I knew I was on to something. I set that sheet of paper outline down next to my computer and just started to type. I knew where I was going to end up before I wrote the first word, but I wasn’t entirely clear how I was going to get there. I just started digging in and before long the characters began to dictate where the story was headed. I kept that road map next to me for guidance but I watched bit players become major players on their own, and before long the novel had practically written itself. Characters like Kate Burroughs and Bracken Leek dictated me. I’d also like to add that places that are famous for this type of criminal enterprise in places like Virginia and Kentucky are well documented in books and film. Georgia, I can promise, you served as the gateway to the northern states, and kept their shit off the radar. That speaks volumes about the intelligence of a people not looking to get famous…or caught. North Georgia is no joke.

It sounds like you had a lot of support at the firehouse, and I know you’ve got a great group online. How important were these groups in navigating up and down BULL MOUNTAIN?

My crew at the firehouse was supportive as far as giving me the place and time I needed to dedicate to the actual action of writing, and of course they’re my biggest fans, as I am of them. They are the very definition of “Heroes,” but the real backbone of support came from my brothers in the Zelmer Pulp Nation, Ryan Sayles, Chris Leek, and Isaac Kirkman, all of which I met through the online crime fiction community that Shotgun Honey is such a large part of. They were invaluable with their enthusiastic feedback, keen eyes for bad grammar, and most importantly, the pep talks and endless string of ridiculous Facebook messages they provided on days that I was convinced that every word of the book was shit. ZP is a perfect example of how we as writers and creators are supposed to treat each other. The boundaries don’t stop at a professional level. Those guys are my family and I’d bail any one of them out of jail, no questions asked. One founding member of our gang in particular, Chuck Regan, who also doubles as ZP’s resident cover artist, was 100% invaluable to the creation of the Bull Mountain Universe. Not only for his near-genius ability as a content editor and world builder, but as the one man in the group who never held back a punch, even when he knew it would bloody my nose. Chuck is the man that I didn’t want to let down, and he made me a better writer. Period. The love I have for that man is boundless. I challenge anyone out there reading this that thinks they have a perfect novel, to let Chuck give it once over, and if his red pen doesn’t teach you something about what real, honest, character development is all about, I’ll drink a work-boot full of deer piss. Zelmer Pulp is the blueprint for writers’s groups to follow. Go read their stuff on this very site, and it will become even more evident.

They say it’s a small world. So I might be responsible for Chuck, or maybe its just a cosmic coincidence. I’ve known Chuck going on twenty years, and when I connected with him on Facebook I encouraged him to submit to Shotgun Honey. Next thing I know he’s best pals with Sayles. Crazy world. It’s hard not be be pals with the Zelmer crew. They’re a diverse bunch, a lot of different influences. Earlier you said Woodrell gave you a profound moment of clarity, direction. What was that moment, and what other influence molded BULL MOUNTAIN?

Like I mentioned earlier, I’d been struggling to find my own voice for a while. I knew I had some talent, but I was lacking direction. I picked up GIVE US A KISS, and read it in one sitting (it’s pretty short) outside one afternoon in my hammock, and when I finished, it dawned on me that everything I wanted to write about was right there in front of me. My state. The southern foothills. I always wanted to be there as it was. I was drawn there to camp, and ride my bike and felt more at home there then anywhere I’d lived in my life, but never considered writing about it. I imagine Woodrell’s books come through so vividly because he has such an intimate relationship with the place, an not necessarily the characters he’d made up. I was spending so much time thinking about genre and plot lines that I was literally missing the forest for the trees. It’s hard to explain, but I stood up that day and knew exactly what I wanted to be known for. I’ll never forget that feeling. I immediately began to take notice of the backroads, and pig paths that broke off the two lane blacktop I’d driven hundreds of times before to get to my wife’s family gatherings in North Georgia and began to wonder where exactly those backroads led. The stories and ideas began to flow out of that.

So, I should avoid North Georgia? Sounds like a dangerous place.

No way. Not at all. The Blue Ridge foothills around Dillard, and Clayton County (see what I did there) is some of the most beautiful country around. The people are friendly and the food is amazing. Just don’t go poking down them dirt roads that ain’t got no sign on ’em. If people avoided places because they were dangerous, no one would ever leave the house. Remember, Bull Mountain is fictional, but the history is far from it.

Well, I might still tread lightly, especially in Clayton County. I did Google “Bull Mountain GA” just to know where I was keeping clear of, and see there is a Bull Mountain bike trail. I imagine one you’ve ridden before? You’re physically active as a fire fighter, an avid biker, and one tough mudder. Next we’re going to find out you’re a rockstar and Superman?

Well, I prefer Batman to be honest, and the rockstar thing didn’t pan out. I much prefer the seclusion of my office these days to any smokey nightclub. And you nailed it, Ron. I named my fictional mountain after that bike trail in Dahlonega, Ga. The place is known for it’s sprawling vineyards, hiking trails, and boiled peanuts. It’s a country mile from the place I created in it’s name. But don’t give away all my secrets. My Bull Mountain ain’t grown’ no grapes. You ca believe that.

You might not be Superman, but you manage to juggle a whole passel of bad men in Bull Mountain. Can you give the readers the story boilerplate?

It’s the story of a southern family rooted in the North Georgia Mountains that have been providing for themselves and the area’s residents through illegal means for generations. First through moonshine, then marijuana, and now meth in the present day. The sins of the father past down from son to son, until the youngest of the latest generation, Clayton Burroughs, decides to break from the family and become the Sheriff of a small township at the base of Bull Mountain. An uneasy truce exists between him and his brother, Halford, who currently runs the family drug trade, until an ATF officer with a plan to shut it all down comes into Clayton’s office and things get, well, complicated from there. It’s very much a story of family and dysfunction, and loyalty and how the line becomes blurred between right and wrong when blood ties are involved. It’s an exploration into what really define these people. The story unfolds through time starting in 1949 all the way through the present in an old school epic family saga style. I wrote it that way so the reader would understand just how deeply entrenched these characters are to the land and place, and each other.

Bull Mountain is very layered, jumping from chapter to chapter telling the story from different timelines and feeding the readers insight into the Burroughs clan—particularly Clayton, Halford, and their father Garetth—as well as ATF officer Agent Simon Holly. Did you ever find yourself in a corner with a subplot that you had to move the pieces around or leave it out altogether?

As far as cutting anything out, no. Luckily all the story I wanted to tell is in there, but I did do quite a bit of rearranging scenes to cut down on confusion. I also had a world class editor at Putnam ( Sara Minnich) that helped make that happen, as well as helping me flesh out one of the major players. I didn’t set out to write the story in the multi-perspective format, it just kind of dictated to me how it should be written. I needed those stories from the past to enhance the present, and it just sort of came out that way. If I’d have written this book in a more linear fashion, quite a few of the reveals that take place wouldn’t have been able to happen the way I wanted them to. It’s really a love it or hate format, I’m finding out, but there seems to be a lot more love than hate. We’ll see. It’s funny, the follow up I’m working on now, is a linear, straight forward tale, and I’m sure some people will be disappointed that the jumps in time and perspective are missing. You can’t please everyone, just yourself.

You can mark me in the love column, definitely. There was one chapter that showed the brutality of Gareth Burroughs. It was a mean stretch of words, but telling it in the order the way you did gave it so much weight to the end of the book. Of course, it makes it hard to story related questions, so many turns you don’t want to give away. So this is the first of two books. What’s next on the bill? Something related or separate?

I’m so glad you brought that chapter up. It represents something I’m pretty passionate about, and something I think gets a pass in main stream fiction. That chapter was definitely the hardest thing I had to write. I knew it was coming, and I knew it was vital to the story, so it had to be handled right, but I dreaded having to do it, because I needed the reader to remain sympathetic to Gareth despite the heinous thing he does. That scene in particular was one of the reasons I chose to write the book using the format I did. The timing and the execution of it needed to be spot-on for the story to work. I’ve never been a fan of violence for violence sake, I won’t name names, of course, but there are authors out there that seemingly try to shock the reader under the guise of it being “edgy” or “dark”, and then try to out-shock the reader with their next story/book, until before long ,that’s all it is. Shock with no substance. The worst part is normally that violence is against women for the sake of propping up a male hero. I hate that shit. It’s cheap writing, and I wanted to be very careful that nothing of mine drew any comparisons to that kind of garbage. I finally wrote the scene, and then rewrote it, and then rewrote it again several times over, until the violence wasn’t the point. The pain and rage of being born a Burroughs was the point. Hopefully I got that across. Chris Leek, who shares my views of exploitive writing, and whom I consider to be one of the best writers on the planet, told me after reading that scene, that it stuck with him for a long time and really broke him up after, but he understood why it had to happen. His approval was enough for me to feel like I got it right.

The new book is currently on it’s third draft, and tentatively titled LIKE LIONS is a sequel of sorts to BULL MOUNTAIN, but not directly involving the main players. I’ve never been that interested in trying to put my protagonist into a sticky situation and then trying to get him/her out of it in the form of a yearly series. A lot of authors do that incredibly well, but I don’t think I’d be one of them. So the second book has a lot of connective tissue to the first one, but can stand on it’s own with a very different set of themes. The only commonality I want my books to have is the place. McFalls county is the only guaranteed recurring character. The new book will be published by Putnam next year depending on how much surgery my editor, Sara, makes me do. I’ve also plotted out a third novel with that same tie-in feel to the first two that takes a bit player briefly touched on in the new book and puts him center stage. The story also takes place mainly in urban Atlanta. That book is in the “pitch” stage. If I’m lucky enough to continue to have a readership after the first two books, I think this third one will be the biggest risk I’ve taken yet. Because when in doubt, put it all on black, and spin the wheel.

Well, if LIKE LIONS is half as good as BULL MOUNTAIN I don’t think you’ll have a problem pitching that third book. I know I look forward to another visit to McFalls County. I’m a firm believer that good writers are good readers, what books are on your proverbial nightstand?

Since selling BULL MOUNTAIN it’s been tough to read anything. Working under a deadline is a brand new experience for me and it changes your perspective on your work ethic. I did manage to read SOIL by Jamie Kornegay, which was brilliant, but since serious work began on the new book, the only thing I can read for enjoyment has to be way far left of what I’m currently writing myself to avoid subliminal cross pollination, so I’m currently reading THE FOLD by Peter Clines, and the current run of THE GREEN ARROW by Benjamin Percy, but I’ll most likely break down and buy Harper Lee’s book this month and hopefully it won’t keep me from my own work too long.

GREEN ARROW was one of my favorite comics as a kid back in the Mike Grell days. One a handful of comics I’d love to write. What comic book would you want to tackle if given the chance?

It’s funny you mention that particular run, Ron. I’d take anyone I could get, but I do have a pitch ready and waiting for a HAWKEYE story that gives him a Mike Grell Longbow Hunters work over. Burt Reynolds via DELIVERANCE style. That’s a dream project for me that I hope I gain enough clout to at least get someone over there’s attention. I’d love to write a Simon Williams/Wonder Man story too. I’ve always loved that character.

Your takes on the characters would be interesting, and placing Clint Barton in the Georgia backwoods vis-à-vis Deliverance would a mess. Who would be your story’s Bobby Trippe? You don’t have to answer that. How’s it feel to be a Georgian writer on the shelf next to the likes of James Dickey?

I keep waiting to get found out.

Brian Panowich was a touring musician for twelve years before settling in East Georgia with his family. He now works full-time as a firefighter. BULL MOUNTAIN is his first novel.

Buy the Books

  • bullmountain

A Conversation: Patti Abbott and Rob Hart

A strange thing happens when you manage a site like Shotgun Honey where you become intimate with repeat offenders—authors who contribute frequently over the years. The fact that I can say years also gives me an inside look at the growth of many of those offenders. Authors like Joe Clifford, Tom Pitts, Matthew McBride, Matthew Funk, and so many, many talented folks. And when they sign that first contract I feel perhaps as jubilant at their success as they do. It may be misplaced, but I think of them as my friends. Reading their stories, I’ve already been in their heads.

Today Patricia Abbott and Rob Hart are releasing their debut novels with an amazing new publisher Polis Books, headed by author Jason Pinter (The Mark, The Hunter). Their novels Concrete Angel and New Yorked, respectively, share more than a casual relationship with Shotgun Honey, but a nearly devastating publishing history with the now defunct Exhibit A Press, sibling imprint to Angry Robot Books.

The day that it was announced that Exhibit A Press was folding and immediately ceasing publication my gut simultaneously twisted into knots and dropped. I couldn’t even imagine how it felt for the many writers who had signed with them only months before to have their contracts, theirs books ripped out from under them.

Patricia and Rob have taken time to talk about that news and how Concrete Angel and New Yorked found rebirth in the ashes.

Ron Earl Phillips
June 9, 2015

abbott-conversation

When you heard Bryon Quertermous’ voice on the phone, did you immediately sense it was bad news? I know I did–not just from his tone but from the fact that he had never communicated with me by phone before. And we are friends as well as editor/writer. I went to his wedding. So his voice on that phone sent chills down my spine. Forgive the cliché, but it was how it felt.I appreciate that he called though. That was the standup thing to do and he did it.

Also did you have some sense trouble was brewing before the call. I did here too because time was passing and I was getting no check and no communication. No response to an email or two I sent them.

hart-coversation

It wasn’t his voice that did it. He sent me an e-mail, asking me if I was free for a phone call. And I have no idea why, it was a plain, straight-forward message—but it carried such a foreboding sense of dread that I knew something was very wrong.

And at that point, I was so frustrated with Exhibit A—to be six months out of publication with no advance check, no cover, no edits, nothing, clearly they didn’t have their shit together. Part of me was in denial. I thought there was still time to pull things out. But once I got that e-mail, it wasn’t hard to put together what happened.I felt terrible for Bryon, because I could hear how much it hurt him to make that call. I like to goof on him and pretend it was his fault, but the truth is, we all got jerked around and then very unceremoniously kicked to the curb.

How did you cope? I spent a lot of the following week playing video games and drinking whiskey, convinced my writing career was over.

I think our ages played a part in our response to this debacle. Part of me felt relief.  I would not have to put myself out there. I would not have to consult Amazon numbers and wonder how to make a book sell. No self-promotion. Although another part of me felt extreme embarrassment. All the people I had told I was FINALLY going to have a book in print would have to learn I would not. After over one hundred shorts I was still novel-less. You cannot imagine how many people, over the last 20 years, have asked, “And when the novel?”

I remembered doing a piece for Spinetingler a few years back about why I didn’t have a novel. And why didn’t I? Was I that wedded to the short story form? Was I some sort of short story guru?

Because after a certain age, the ambition takes a nosedive. You begin to think, “So what?”

So when Bryon called, I was of two minds as I told him on the phone. Part of me was relieved. But part of me was enraged. How dare a publisher have so little sense of their economic situation that they made offers to writers. Does a contract mean nothing?

You had an agent. What did your agent have to say about this? I have no agent so I was on my own. 

My agent was great. After the phone call with Bryon I went outside and sat on the sidewalk and called her, and she was just completely on point. I was a blubbering mess. She cut through the bullshit, told me it sucked, yes, but everything was going to be fine, she was going to get to work that very instant, we’d find a new home, and not to worry.Of course, I was so bereft I didn’t believe any of it. Which isn’t a knock against her. I know there’s a lot of suffering in the world and it’s just a book, but in terms of my publishing career, my hopes and dreams for the future, that was pretty much rock bottom. It’s tough to see the light when you’re sitting at rock bottom.

I know what you mean, though, about being embarrassed. Because I work in publishing, so there’s a certain understanding I go into this with–but to have to explain to my parents, and my in-laws, and my siblings, and my friends–it’s tough. You have to tell the same story over and over, which in a way, makes it worse. If you’re like me, who likes to take shit like that and bury it and pretend it didn’t happen.

How did you end up hooking up with Jason after things fell apart?

Well, that was Bryon again. He emailed me, assured me my book was good, and suggested I try Polis Books where he had gone with Murder Boy. I really didn’t want to do it. I envisioned another round of disappointments. But in the end, I figured, what did I have to lose? I had not been diligent in finding an agent nor in finding a publisher. But finally I sent it out to Polis. And, at about that time, another publisher offered to read it too. So now two new people had some interest in it. But Jason was very quick and offered me a two book deal since I had another book ready to go.At every point along the way, I expected the same thing to happen. Polis was very new and had mostly published ebooks. But Jason Pinter seemed on the ball, doing everything in a timely manner. So I began to feel maybe this would work. And so far it has. I continue to be amazed at how professional Polis has been.

What has impressed you most about Polis, Rob? 

“Professional” is the right word. Last night I was out at my local Barnes & Noble, talking to the events coordinator about my signing there. And she said something like ‘It’s so nice that you actually have a publicist.’ Which is funny, because Jason is my publicist. And editor, and marketing team, and sounding board, and advocate…The amount of ground that guy can cover blows me away. He doesn’t sleep. He can’t. I don’t even see how it’s possible.

The thing about Polis is that, since Jason came out of the Big Six NYC meat-grinder, he has to tools and experience of a major publisher, with the passion and can-do attitude of an indie. So it’s a great marriage. He’s open to thinking outside the box, and I don’t have to be afraid of going outside the box for fear of offending someone’s delicate sensibility about “the way things are done.”

I want to take a step back to something you said before–yes, you’re a very prolific short story writer. I knew your name and your work before we became imprint buddies. How does it feel, after so many stories, to be standing on the cusp of a novel?

And in my case, I think of him as my agent too! He’s the only one I go to about any issue. And I am stunned at how quickly he answers me. I have heard stories about writers waiting for weeks to get a response from their agent, never mind their editor or publisher. Transitioning from short stories to a novel feels scary most of the time.  I never had expectations about people reading my stories. And I was sort of shocked when people had.

But for the first time, I could have more than three characters in the story. And it could take place over a longer period of time. If felt liberating but at the same time worrisome. Did I have enough to say? Was there enough plot/story to fill 300 pages?

In retrospect, I would not recommend writing short stories for very long before trying to write a novel–if that’s your goal. I think in my case that coming out of a writing program where we were encouraged to get our feet wet on short stories was a bad idea for me. My feet were the only thing wet for a very long time.

Did you have a sequel in mind from the beginning? Did you see your character(s) as needing more than one book to tell their story? 

New Yorked was intended to be one-and-done. There were other stories I wanted to write, but I loved the voice of the narrator so much, I eventually came to the realization that I could just write those stories using the same character, and make the series about this kid finding his moral compass and growing into a man.And once that dawned on me, the whole series came together pretty quickly in my head. I’m setting the next few books in places I’ve visited that I really loved–Portland, a hippie commune in Georgia, Eastern Europe. With the fifth coming back home. That’s the plan for now, at least. It’s exciting.

The second, City of Rose, comes out next year from Polis–that was part of my deal. Right now I’m nailing down the third one. Noir at a hippie commune. I think it’s going to be fun.

Is Concrete Angel a stand-alone? If no, would you consider writing a series? And what’s next?

That’s interesting. I think you fell in love with your character. You didn’t want to say goodbye because you knew what he would do next. No, my book is definitely a standalone. I was happy to say goodbye to Eve Moran and allow Christine to go to college and raise her brother. Of course, she did show an aptitude for finding evidence in the end.

My next book is called Shot in Detroit. Parts of it have appeared in several publications (as was the case with this one). When both books were written and it didn’t look like they would see the light of day, I began taking chapters out and rewriting them as short stories. Since I came from that background it was pretty natural for me.

Shot in Detroit is about a struggling photographer in Detroit. She finds a way to elevate her craft and gets into a lot of trouble because of it. I hope to have captured the Detroit of about five years ago, before its recent resurgence.

Can’t wait to read New Yorked, Rob. Thanks for sharing your experiences with me. It’s been great fun. And thanks to Shotgun Honey’s Ron Earl Phillips for suggesting it. 

Ditto. It’s a nice alternative to the standard pre-pub interview. And I’m very much looking forward to Concrete Angel. It’ll be nice, too, when you’re in town for the event at The Mysterious Bookshop with Bryon–we can all reminisce.

Patricia Abbott is the author of Concrete Angel and forthcoming Shot in Detroit (Polis Books). More than 135 of her stories have appeared in print, many of them with Shotgun Honey. She also published two ebooks (MONKEY JUSTICE and HOME INVASION) through Snubnose Press. She lives in Detroit.

Rob Hart is the associate publisher at MysteriousPress.com and the class director at LitReactor. His short stories have appeared in Shotgun Honey, Crime Factory, Thuglit, Needle, Kwik Krimes, Joyland, and Helix Literary Magazine. His first novel, New Yorked, is available now. The sequel, City of Rose, will follow early next year.

Buy the Books

  • concreteangel
  • newyorked-robhart

Interview: Matthew McBride

Cover: A Swollen Red Sun by Matthew McBrideI often talk about good people, the folks I’ve gotten to know over the last few years from the crime fiction community. Matthew McBride is good people. He is a past contributor of Shotgun Honey, and has had stories with Plots with Guns, Thuglit, A Twist of Noir and others. His first novel Frank Sinatra in a Blender is an inspired work that turns the PI genre on its head. His follow up A Swollen Red Sun has gotten early praise from Daniel Woodrell, Donald Ray Pollock, Johnny Shaw and many others.

I look forward to digging into Matthew’s latest, and with the help of Rob Hart and Mysterious Press I am offering an advance reader copy of A Swollen Red Sun to a lucky reader who tells us about their worst job in the comments of this interview. Any comments will be eligible, but the one with a good story will likely have chicken for dinner.

How’d you get the gun? Or rather what drew you to crime fiction?

Writing anything else would be boring.

Was there a gateway author? A writer or writers that made you want to write works like Frank Sinatra in a Blender and A Swollen Red Sun?

Not really. Growing up I always read a lot, but I never knew a genre such as crime fiction existed. This was pre-Internet, so all I had was our local library, and living in a small town offered a small selection. At one point, like so many other writers, I discovered Elmore Leonard, and I read a few of his books and liked them. But mostly I read King and Grisham and Hunter S. Thompson. Those were three of my favorites.

There are always new inspirations to be found. When did you first start writing?

In high school. I have always known I wanted to write, I just didn’t know what I wanted to write. Or how to go about writing it. I knew I wanted to be a writer, but the idea that some uneducated, small town boy from Missouri could carve a path into the publishing world seemed unattainable to me.

Yet, you did what many are afraid of doing; you quit your job to write. Jump us through that decision.

I built minivans for thirteen years and I hated it. I liked the people I worked with, but I hated the repetitive work of the assembly line. Plus, most of our bosses were assholes. But it wasn’t really their fault. Because their bosses were assholes too, and they instructed them to be assholes toward us. As strange as that may sound, that was their business model at Chrysler. So when they announced they were closing our plant I knew that I was done. “I have one chance to get outta that shit hole,” I said. Because I knew I would not get another. It’s like if I didn’t go right then and there while I could, I knew they would have me for life.

So I quit with no regrets. But now, looking back on those days, my decision was not without consequences. Almost halfway to retirement I went from making thirty dollars an hour to making eight. What I once made in one day I now made in six. And spending almost four years writing a single book was not without its casualties.

So, in the end, was it worth it? I don’t ask that question. You have to move forward and push through the detritus. But I am proud of where I am as a writer; the road to get here was just much harder than I could have anticipated.

Working the hard road isn’t new for you; I remember interviews around the time of Frank Sinatra in a Blender release of you writing on the line and anytime available. Did Frank start on the line or after?

Cover: Frank Sinatra in a Blender by Matthew McBride

I wrote my first manuscript on the assembly line, in between jobs. That one may or may not ever see the light of day. When I wrote Frank Sinatra in a Blender I was working as a tree trimmer, clearing power lines for an electric company. I used a chainsaw for ten hours a day cutting down cedars. On the weekends I also worked security at these MMA fights, and one night this dumb asshole in the front row named Chad [REDACTED] kept jumping up on his seat and yelling, he refused to sit down. So at some point the idea came to me I should write a story about a guy at an MMA fight who kept jumping up on his seat and yelling, who refused to sit down—so the security guard cuts off his legs with a chainsaw to teach him a lesson.

It was completely over-the-top, even more so than it sounds if you can believe it, but people liked the story so much it planted the seed in my head for a detective novel about a PI who drank copious amounts of alcohol, abused pharmaceuticals, and carried a chainsaw.

But A Swollen Red Sun is nothing like Frank Sinatra in a Blender.

So what is A Swollen Red Sun like? Give the readers the pitch.

When my agent pitched the book it generated interest pretty quickly from several big publishing houses—and some of them really loved it. But they said it was too dark. There was graphic drug use and brutal violence. But they’d read it again if I agreed to make changes. Tone it down?

But as far as changing the story, in no way was that appealing. I could not bowdlerize the book. So I said I’d pass on the changes—I wanted to be true to the characters. Even if that meant it would remain unpublished, that was fine with me; I knew eventually we’d find a publisher who loved the book as much as we did, so I stuck to my convictions.

While it is a world of fiction, one thing’s assured: The fallout from Meth ruins lives and breaks people. It’s about the chemical-ravaged heartland of Missouri and the people who were born here. It’s also about the Sheriff’s Department in Gasconade County, where I actually live.

Sheriff’s Deputy Dale Everett Banks is a good man, but he does something bad, which completely goes against his character. Of course, that’s what makes him an interesting character—there’s a lot of depth to him—so you take this good man and you test him—put him in a situation where he’s tempted to do something wrong. And he does. But the audience likes him enough to forgive him for it, because his reasons for doing what he did are genuine.

Then there is Jerry Dean Skaggs: A convict on parole for shooting a bald eagle (among other things), as well as a pot cultivator and a meth cook. He is the epitome of a lowlife scab if ever there was one—there’s his partner, Bazooka Kincaid, fresh out of prison for robbing Cracker Barrel restaurants to finance a derby car for the big fall smashup—but not just any smashup, this was The Firecracker 5000, the Granddaddy of all Demolition Derbies.

He also works on a turkey farm for a boss he’d like to kill.

Olen Brandt is a farmer who has lost everything in his life that is important, now the only thing he has left is the dog by his side, and a son in some prison he may never get out of, for a crime he surely did.

He plows field after field on his Allis Chalmers and looks for a reason to go on living. Somewhere in the pages of the book he finds it.

In the end, everyone’s worlds collide as a result of the choices Banks has made.

It sounds just like my kind of read; I’m a real fan of multiple POV and seeing how the writer brings it altogether. Are there any contemporaries you would compare with the story or your writing?

I’m not one to compare myself to other writers, but I’m sure comparisons will be made.

I suppose that is the job of others isn’t it? Let’s talk mechanics, what’s your writing process? You outline? A note taker? What’s your day look like?

I’ve never outlined anything I’ve written and I’m not sure how you do it, but the idea of writing down what you want to write about before you write about it seems like it would take the pleasure out of writing. For me, the beauty of the art is the discovery of words. My only real goal is to sit down, find the zone, and lose myself in the process. There is minimal note taking, because notes that I take I’ll just lose. It’s a spontaneous course of action. I never know what I’m going to write until it’s written, and I have no idea how something will end until it’s over. If I knew how a book was going to end I would not be able to finish it. Even as I write the last page I’m just as surprised as the reader.

But that’s an interesting question, because every writer has a way that is unique to them, sometimes they just have to find it. Like, last year, when I got smashed at a bar in New York, with my agent, Todd Robinson, and Glenn Gray. We talked about the creative process, and how most of her clients wrote linear—they write page 1, then page 2, and so on—just as the reader would read them. But for me that doesn’t work. The idea of rules just seems boring. I’ll write the end of a book, then the middle, then jump to out to the 3/4 mark, then go back and write a different beginning … then, totally out of the blue, create a new document page and write two new characters completely unrelated to the story and give them five pages and save it and return to the story I’m working on. Then three weeks later write the story up to the part where I throw in these two new characters. So, basically, I write books in scenes. A lot of them having no real frame of reference with the actual story I’ve been telling. I just blend them all together.

It might sound chaotic, but it’s the only way I know.

What is flowing out of the chaos next? Another novel? A new Nick Valentine? More short stories?

Classic Matthew

I don’t like to talk about future writing projects. It’s never a good idea and nothing good can come of it, but I have no plans to write a sequel to either Frank Sinatra in a Blender or A Swollen Red Sun. People ask, but I’ve never wanted to be that kind of writer. I understand people get attached to characters they like and they want to read about them again, but I feel like I need to create new bodies of work. And while I realize a writer that achieves success with a book could make more money with an ongoing series, and for the very reason I just mentioned, that’s just not me. Though it’s nice to get paid—it’s important to get paid, and I’m glad I get paid—it’s still not about money. I’m not even sure why I write, but creating something out of thoughts and words plugs some kind of vacancy that only writing books can fill.

Thank you for the time, but before you leave us do you have any parting words, pearls of wisdom, for our readers and writers out there?

I am not one to offer writing advice and I always feel strange when it’s asked of me, but on the rare occasion that it is, the best answer I can give is the same answer I always give: Don’t be afraid to have fun while you write—and if you know the kind of books you want to write, but don’t know what to write: Read the kind of books you’d want to write, then write the kind of books you’d want to read, so any book you write will be the best book you could write.


Interview: Terrence McCauley

me hatThis week we sit down with Terrence McCauley, a New Yorker with a passion for the past. His ex-heavyweight boxer turned enforcer, Terry Quinn, has appeared in joints like THUGLIT and ATOMIC NOIR, as well as recently released novels FIGHT CARD: AGAINST THE ROPES and PROHIBITION, and most recently in our own flashzine with “The Careful Hunter.” His new book SLOW BURN was released from the newly launched Noir Nation Books.

With so much going on, and he’s support of Shotgun Honey, how could we not help him sell some more books. You will buy his books! So let’s get on with it.

How’d you get the gun? Or rather what drew you to crime fiction?

I’ve always been drawn to unconventional stories. I enjoy the standard cops and robbers stuff, but I’ve never really wanted to write that kind of fiction. I’ve been in politics and government for most of my life, so I know there are no good guys or bad guys in life. We’re all capable of good and bad given a particular situation. I also didn’t want to write excessively about crooked/bad cops either because I think that’s just as unrealistic. I decided to write about people as they were, warts and all.

I set my Terry Quinn character in the past because I didn’t want to write a contemporary story about contemporary problems. Researching modern criminal and police tactics don’t interest me. Sure, they’re important in real life, but I didn’t want to spend time learning about them for my fiction. I wanted my story to be set in an interesting time period in America’s history in general and New York City history in particular. That’s why I set my story during the Prohibition era. It just naturally evolved into a crime story from there and I’m glad it did.

Our readers, some for the first time, got a taste of Terry Quinn the other day with “The Careful Hunter.” Tells them a little more about Terry, what makes him tick?

Throughout the course of the Quinn books and stories, I do my best to portray him as a guy who is much smarter than he thinks he is. He believes he’s just a thug, but no one really treats him that way. He’s every bit as smart as he is tough – and he’s pretty tough. He has a deep sense of loyalty to Archie Doyle, the crime boss for whom he works and the feeling is mutual. So many mob stories feature some kind of predictable schism between the head boss and the hit man. In the Quinn stories, I didn’t give myself that luxury. If anything, consistent loyalty between the two men has forced me to come up with more creative story lines for them.

Do the Quinn stories take place in our present timeline, or an alternate one allowing you more flexibility? What kind of research goes into setting a story in the Prohibition era?

The Quinn stories are set in the 1930s. The setting provides me with the flexibility to use historical figures and events to pepper my stories. I ignore them or pay attention to them, depending on how I feel they can serve my plot’s purpose.

That takes a lot of research which sounds like a lot of work. It is, but it’s also very rewarding. Research gave me new plot ideas and pushed me in directions I never intended to go. That makes my work better and the act of writing it very exciting.

Sometimes writers put a little of themselves in their characters, anything in former boxer turned PI that reflects you?

Well, Quinn isn’t really a PI. He’s more of an enforcer than anything else. I’d say that if there’s anything of me in Quinn, it’s his grit. I’m a great believer in not giving up on anything until every avenue is explored. My writing career has been like that. A lot of people told me to quit writing period fiction and forget about the Quinn character. They told me audiences want a hero they can admire; a character to whom they can relate. But I knew in my heart Quinn was a good character that audiences would like. He’s a cold blooded killer, sure, but he does it for the right reasons. He isn’t reckless about it and he always has a plan. He’s tough with a purpose and he never gives up. I didn’t give up when all those people told me to do so. Now I’ve got several short stories in print and three books on the market. Hopefully, it’s the beginning of a long career.

Forget the naysayers, who and what venues have given Quinn support? Where can our readers find the short stories?

Quinn has found a home in both short fiction and in novels. Airship 27 published PROHIBITION, a full length Quinn novel and FIGHT CARD: AGAINST THE ROPES is about the end of Quinn’s boxing career. Short stories featuring Quinn have appeared in THUGLIT published by the Honey Boo Boo of Crime Fiction today: Todd Robinson. Those stories are called ‘Lady Madeline’s Dive’ and ‘Redemption’. Matt Hilton’s ACTION, PULSE POUNDING TALES, VOL. 1 featured an action packed Quinn story called ‘Blood Moon of 1931’. Out of the Gutter Books ran a story of a 1950s Quinn in ATOMIC NOIR called ‘A Brave New World’. All of these works are available on Amazon. I’m proud that six different publishers (including Shotgun Honey) have proved the naysayers wrong and seen value in the Quinn character. He’s someone I’d like to write about for a long, long time.

FIGHT CARD is a notable series of boxing stories penned by under the pseudonym “Jack Tunney,” an homage I can guess to Gene Tunney and Jack Dempsey. Many of our contributors have been “Jack Tunney.” Being part of a series like that, were there any guidelines, rules to follow?

ROPESThe main rule is that the story has to center around The Big Fight in a boxer’s career. That makes sure the reader knows there will be some kind of dramatic payoff at the end. Yes, it’s a theme that’s been done to death in almost every boxing story ever told, but Paul Bishop and Mel Odom have done a great job of building FIGHT CARD into a damned respectable franchise. They’ve featured some of the best fiction writers out there today and I’m honored to be part of it. I encourage everyone to check out the series on Amazon. There honestly isn’t a weak story in the bunch. I’m especially proud of my FIGHT CARD entry because it’s one of the best things I’ve ever written.

PROHIBITION from Ron Fortier’s Airship 27 imprint was your first novel featuring Quinn. How did that come about and give us the pitch for PROHIBITION?

ProhibitionFINALaPROHIBITION is about Terry Quinn, an ex-heavyweight contender turned mob enforcer who must use his brains as much as his brawn to find out who is trying to undermine his boss’s criminal empire in 1930 New York City. It is a robust crime drama, filled with memorable historical characters like Mayor Jimmy Walker while portraying the way New York was at the end of Prohibition and the dawn of the Great Depression.

Back in 2008, I submitted PROHIBITION in the running for TruTV’s Search for the Next Great Crime Writer Contest. To my surprise, it beat out over two hundred other manuscripts and won the contest. Borders Book Stores was going to enter the publishing market and promised to not only publish the book, but heavily market it in their stores. Well, we all know what happened to Borders and, well, nothing ever happened with PROHIBITION. Publishers looked at the manuscript and, although they liked it, said no one was interested in period fiction any more. But I took into account their more technical criticisms of the work and revised the manuscript, hoping I’d find a publisher for it one day. If the big publishers weren’t interested, I figured I’d give the smaller presses a try. My agent dropped me at that point and I found Airship 27. Ron loved the manuscript, but told me that it was about 20,000 words too long for him to publish. So, I pulled an Ellroy and edited dialogue tags and other information. The result? I came under Ron’s word limit by a thousand or so words. He hired the great Rob Moran to do original interior illustrations and the cover of the book.

The result is a unique work that really stands out. FIGHT CARD: AGAINST THE ROPES was written in late 2012 as sort of a prequel to PROHIBITION, detailing the end of Quinn’s boxing career, which receives a mention in PROHIBITION.

It must be a thrill after nearly 5 years to see PROHIBITION in print? These last few months have been a big upswing, or should I say uppercut, with PROHIBITION, FIGHT CARD: AGAINST THE ROPES and your third novel SLOW BURN from Noir Nation Books.

Slow Burn CoverIt is a great thrill. Even though I kept getting rejection after rejection, I kept writing. I thought about self publishing for a while, but I’m so glad Quinn has found a home in a variety of forms with a variety of publishers. I also have another Quinn story coming out later this year in Big Pulp. It’s a story where Quinn and Doyle go up against Joe Kennedy. SLOW BURN is different from anything I’ve ever written. It’s told in first person from Charlie Doherty’s perspective. He’s a corrupt Tammany Hall cop who finds himself embroiled in a murder/kidnapping case that involves one of New York City’s wealthiest families. It’s set in 1932 during a heat wave that set the entire city on the edge. Throw in the fact that the Great Depression was starting to hit home and it sets the stage for a good story. I’m glad Eddie Vega decided to publish it as the first in the Noir Nation Books franchise.

Like most writers I know, this wave is a long time coming and has been tempered with juggling real world concerns. What’s your day job, and how and where do you find time to write?

I’m the Manager of Government and Community Relations for MTA Metro-North Railroad. We’re the largest commuter railroad in the country and deal with dozens of communities and elected officials, so I’m kept pretty busy. I find time to write any time I can: on the ride into work, on the ride home, at night and on weekends. Writing has always been a labor of love for me and is my way of relaxing. I enjoy every part of the process: drafting, rewriting, editing and especially the feedback I get on my work. Even when it’s negative feedback, as long as it’s valuable in making me a better writer. Of course, when it’s positive feedback, that’s even better.

What can we expect from you in the future?

While I’ll always love the 1930s and hope to write about that era and Terry Quinn and Charlie Doherty for a long time, I’m always interested in challenging myself as a writer. That’s why I’m currently working on a Western I’m calling THE DEVIL’S CUT as well as a short story for The Big Adios. I’ve also got several other projects in the works, including a modern day spy thriller, a space opera and a horror story I’ve been kicking around for a while. Maybe they’ll flop, maybe they’ll find a home. I don’t have any control over that. All I can do is turn out the best work I can and do my best to improve my craft and entertain my audience. I seem to be off to a good start. Here’s hoping it keeps going.

Terrence, thank you for sitting down with us. One last question before you go, can you give us, our readers, any parting shots or pearls of wisdom?

My advice to any writer is to just write. Don’t worry about publishing trends. Tell the story you want to tell. Tell it your way and find people who will give you honest criticism. Always be open to improving yourself and never give up.


Interview: Joe Clifford

joeclifford-gray

Last time I had the pleasure to interview Tom Pitts, who has been many things over the years, most recently co-editor for Out of the Gutter‘s The Flash Fiction Offensive. So I thought we’d piggyback Tom’s interview with his co-editor, friend and fellow survivor, Joe Clifford. The men two share many things in common, from writing to recovery to music, but having worked with them both I can say the most important thing they share is themselves. Joe is very candid about his life prior to writing, and his words bleed redemption. While every story, long or short, is as varied as snowflake, they each sing of Joe Clifford.

Aside from being co-editor of one of the best flash fiction sites, Joe has released his short story collection Choice Cuts through Snubnose Press, who is also soon releasing WAKE THE UNDERTAKER, as well as the memoir novel JUNKIE LOVE from Battered Suitcase Press. Joe also organizes an open reading series called Lip Service West featuring stories addition.

How’d you get the gun? Or rather what drew you to crime fiction?

What gun? Who told you I have a gun?! I have a felony. I can’t own a gun!

Crime fiction, eh? Few things. 1.) My thesis advisor in grad school, Lynne Barrett, pointed out in workshop one day how my stories seemed like they could go noir at any minute. Her words. To which I said, “Wow! Because that what I like to read!” And she gave me a “Well, no shit, that’s how it works” look. And that is what I like to read. Jim Thompson. Day Keene. Chandler, of course. So there’s that. Plus coming from the life I left (junkie, streets, etc.), it makes sense to write about that element; it’s the world I know best. And, also, because I was sick to fucking death of literary fiction. The purveyors tend to be douches. Furthermore, I don’t want to read literary fiction. I’d rather shoot myself in the fucking head than read David Foster Wallace. Even writers I like, like, say, Don DeLillo–I was reading White Noise, and I thought the writing was great, and it was gripping. For a while. Then nothing is happening halfway through the book. I put it down. And who cares? Because there’s no story to finish. Last, there is the community. It’s overly simplistic, but noir writers tend to be nicer, more supportive, less pretentious/elitist. Noir is the story of the common man. I don’t give a shit about lacrosse or rowing or using summer as a verb. Ain’t what I’m about. So all those things combined led me to crime.

You’ve been very open to readers and fans that follow your site about your drug abuse and addiction, and the choices you’ve made to feed the next fix. You’ve written a memoir of that time in your life, JUNKIE LOVE. Can you give us a glimpse of that period?

junkieloveIt’s hard to answer that question without the obligatory, “You’ll have to read the book!” But you really can’t summarize an experience like that. You’re right. I am pretty open about that period, almost to a fault. It’s harder for my wife, I think. Because Justine’s 85-year-old grandmother is going to read a novel called Junkie Love that details how I injected heroin into my neck and stole money from banks and had dirty sex. I mean, she doesn’t have to read it. But there it is. For me, though, I don’t see any reason to shy away from it. I spent so long as an addict, sniveling and ashamed; I’m not going to do that anymore. I made some bad mistakes, and I hurt a lot of people. I’ve got a lifetime of guilt I have to carry on my shoulders. The choices I made in those days weren’t the result of malice. I was young, aching, searching for a place to belong. It seems stupid, often regretful now. I get hate mail occasionally. Some people don’t like addicts, reformed or otherwise. But Junkie Love will get into the particulars more. The whys, wheres, hows. There was still beauty in that life, no matter how dark days got. It’s fueled by the Kerouac mad ones, roman candles and shooting stars, all that shit. The book will be released as a novel (i.e., not memoir) by Battered Suitcase Press in April. If you read it, you’ll see the book is less about drugs and more about just growing up. Plus, y’know, you can see how I met (Gutter Books co-editor) Tom Pitts (hint: we shot dope together in a shooting gallery called Hepatitis Heights).

Whoah, let’s roll back here a minute. The memoir’s a novel now?

The book was originally titled (I shit you not): The Prolonged Accusation of a Goldfish (subheading) The Diary of a Lunatic in Rehab (AKA) The Junkie Manifesto. The original text, written on 8 x 14 ” paper, longhand, a month into my sobriety was part memoir/part time-traveling, science fiction novel. Interspersed with narrative of my drug addiction, which was told in a series of non-linear, unconnected vignettes, there was a rambling, barely coherent plot involving very tiny monkeys on a top secret mission to kill god (small “g”). Obviously no one published that steaming turd (although a copy made it back to San Francisco, where it enjoyed some popularity with the underground tweaker sect. I still get notes, from time to time, how that book changed a life).

Then I went to school and learned how to write. I kept the vignettes as a foundation and then wrote a real book about my drug life around it. The title was changed to Junkie Love. But my agent at the time thought it might be causing us headache since that douche James Frey has gotten caught making up his junkie memoir. So we changed the title to Candy and Cigarettes. When I found out there was another book (by CS DeWildt) called Candy and Cigarettes, I thought it would be a clever to pitch it to his publisher, since at that time I’d parted ways with my agent. I sent my C&C to Vagabondage/Battered Suitcase Press.

They loved it. Wanted to publish it. But I’d have to change the title since they already had a Candy and Cigarettes (“So we were the new Originals…). I said how about Junkie Love? Great, they said. One last thing. Gotta publish it as a novel (since they don’t do memoir). Fine by me. That line between memoir and fiction is blurry with drugs anyway. I mean, I’m not a douche (like James Frey). All this stuff did happen to me. But I streamline trips, conflate characters. The experience is the same, but it doesn’t help the reader (or propel the narrative) to say, ‘Yeah, I got arrested in LA, then went back to CT where nothing happened for three months, then I went back to LA and lived in a shelter.’ Just say I got arrested and lived in the shelter in LA. I am using that as an example. I never got arrested in LA. I got arrested in San Francisco. And Massachusetts. And CT, too, I think.

Arrest records to the side, you’re readers have been able to reap the rewards of your writing. Having read, published and produced your writing in the past, your style is not easy to pin down. What should a reader expect from Joe Clifford?

I strive to be accessible. For me that is the biggest thing. I want a conversation with my readers. It sounds a little corny, I know, but it’s true. it’s the reason I made the switch to genre for the most part. Hardboiled, crime, noir, pulp, whatever you want to call it, it’s more fun to read. Les Edgerton made a comment in a thread the other day, something like, “Now that I am out of school, I don’t have to pretend to like shit I don’t like.” We were talking about our shared hatred of Jane Austen. She’s a good example of the exact kind of writer I don’t want to be. Superfluous layers. Phony, bloated. Comedy of manners? What the fuck is that? Pride & Prejudice could’ve been a fucklot shorter and saved me months of wasted time if Mr. Darcy had just asked the girl on a date on Page 1. Waiting 600 pages to try and get laid seems goofy to me. And it’s not just in writing, this accessibility. I try to do it in my day-to-day life. What do you want? What are you trying to say? Just say it, and then we can move on to the next part. Perfunctory drives me nuts. We have 70-something years (or 50-something if you are my family; the Cliffords are cut down early) to figure out what we’re doing here. Waiting 600 pages for a handjob seems like a waste of time.

600 handjobs in, what was your first published work? Do you look back and think, ‘What a turd, I can’t believe they published that?’

Actually, no. It’s pretty fucking awesome to tell the truth. It’s a…poem…called “Saturday Night in the Waning Days of San Francisco.” It’s a goddamn sonnet, too, dedicated to my ex-wife (it’s on the Internet and my website, easily found). I wrote it for an undergrad class after I sobered up. My professor at the time, Ravi Shankar (no, not that one), suggested I entered it into a contest the CT Review was having. I had so little faith in what I was doing (plus, I’m overwhelmed with any kind of paperwork) that I said, “Nah.” Ravi entered it for me. I won an award, was paid to tour the state as a CT Student Poet.

I don’t write poetry anymore. My first piece of published fiction was “Unpublished Manuscript #36.” I added a number after every rejection. By the time it was taken, it was pretty good (it kicks off my collection, Choice Cuts). Not that I didn’t stumble. My first attempts at novels sucked balls. I’ve mentioned often the first draft of Junkie Love was originally about six monkeys the size of field mice trying to kill god (small “g”). It’s laughably bad in parts. Some parts were good enough though that they made the final cut (Junkie Love comes out with the Battered Suitcase in April).

Honestly, it’s hard to get turds published. I actually once wrote a deliberate turd for a literary magazine, mirroring the crap they published. And, yup, they loved it (and published it). I won’t mention the piece or magazine since that’d be a dick move. But if you look through my published pieces, one stands out not like the others. It’s funny with early writing, the unpolished. It’s a little like rock ‘n’ roll in that respect. The early drafts, cuts, takes can be raw and rough, and later versions smooth and shiny. The latter is more professional. But there is something appealing about the unbridled, untamed energy of the former. Like “Can’t Hardly Wait” by the ‘Mats off Pleased to Meet Me vs. the outtake version from Tim.

Choice Cuts, let’s talk about that. How did the collection come about and what’s the process in cohesively matching stories?

ChoiceCutsAs I was gearing up for the Great American Novel, I was, of course, writing short stories. You don’t realize just how many you have, really. I’d been writing them (seriously) since I started this career back as an undergrad at CCSU after kicking junk. This would’ve been around ’01. And most were duds, so you throw those out. But you’re still publishing a four or five good ones a year when you get rolling. By the time I was ready to publish a collection, I had, y’know, 3 dozen short stories I was pretty proud of. Even though I didn’t make the official switch (not that I ever made an “official” switch; I mean, I never sent in my paperwork) to hardboiled and noir, there has always been an element of pulp in my work; it’s what I like to read (is this a good spot to say “Fuck Jane Austen”? I like to get that into every interview). When Snubnose started doing their thing, I wrote Brian Lindenmuth, Snubnose’s editor, and he said to send what I had. I scrambled to get something together. I had Wake the Undertaker ready (my old-school detective novel that Snubnose is publishing later this month). But it seemed like a good opportunity to get these short stories out, as well. And you’re right. What’s the…theme? We hate that word from school days, but you want some cohesion. Doesn’t have to be a Pink Floyd album, but something to tie the work together as a collective unit. And I found that a bunch of my favorite stories involved meat. I love meat. Got a goddamn grill in my fucking house, built right into the other side of the chimney. Eat a steak just about every day (I weight lift when my back holds up). Meat. Meat market. Human life reduced to nothing but pieces of. Parasites. Hosts. Butchers. Slaughter. Then it was finding the right title. Since all these stories also involve really shitty decisions, the word “choice” came to mind. And there you go.

WAKE THE UNDERTAKER is up next from Snubnose Press, drop our readers the pitch. Why do they need to buy it?

waketheundertakerEvery book is dear its author. This was the first real novel I wrote, and it was born from my first interests, pure in its execution, without the interference of market or viability (which are good things to pay attention to!). Wake the Undertaker is a love letter to my first boyhood obsessions–comic books, superheroes, pulp fiction, and later Chandler, Sin City. It’s based loosely on Chet Baker. Not really. I just saw a before and after picture of him (i.e., the heroin), and got the idea. It’s not about Chet Baker at all. Just how my mind works. The pitch? Something like…

Colin Specter is an up-and-coming singer at The Lone Palm, a nightclub in a darker, alternative San Francisco, owned by the Christos’ crime family. When Colin falls for the wrong girl, they order his vocal cords severed and he is set up for a crime he didn’t commit. After seven years in prison, Colin gets manipulated into working for his former tormentors, while he investigates citywide corruption and delves into the whereabouts of his former love, only to discover that nothing is what it seems in a rain-drenched underworld. The book draws on the rich tradition of noir novels like Jim Thompson’s After Dark My Sweet and Raymond Chandler’s The Long Goodbye, but is equally influenced by more recent anti-establishment offerings, infusing a fast-paced story with a modern and hip vernacular. Wake the Undertaker’s championing of the disenfranchised and subversive makes it as much Slaughterhouse Five and Catcher in the Rye as it does any Sam Spade, private detective story.

Sounds pretty cool, no? That’s the official pitch anyway. I liked what Les Standiford (my graduate program director at FIU) said: “It’s like the secret life of Batman if Batman wasn’t Batman…”

A lot of influences going on here, tell us who are you reading right now and who should readers be keeping an eye on? Besides you of course.

Y’know, I tout this woman and her writing so much, I really am feeling like a tween with a sparkly vampire on her wall. But Hilary Davidson. I am readying Evil in All Its Disguises on my Kindle right and highlighting damn near every other line, going, Wow, just wow. I think her Lily Moore series is fantastic. The thing is, I am a very male writer. Back in grad school, I was chided for my author list because it contained no woman (until Wuthering Heights cracked the list), so it’s a little strange to identify so much with a female author. I just can’t sing Hilary’s praises enough. Other than that? There’s this cache of noir guys coming up. I mean, you have the guys at the top. Hilary, Todd Robinson, Jordan Harper (Hard Bounce and American Death Songs make the early Best Of ’13 list), but I feel really fortunate to be working for Gutter Books with this current crop of noir & hardboiled authors writing their first novels. I can’t get them all in and feelings with get hurt. But Mike Miner, Mike Monson, Mike McCrary, basically a lot of Mikes. T. Fox Dunham. Nicky Murphy. I am continually impressed by the quality of work we receive.

Last time we interviewed you’re buddy, cohort, partner in crime, Tom Pitts. A lot of commonality between you two, which we’ve touch upon in the questions above. Tell us about your music. 

We really are inextricably linked, aren’t we, Tom and I? It’s rare for one junkie as far gone as we to make it out. Two? Love the man like a brother… My music? I have a band called The Wandering Jews. We are currently in the studio wrapping up our latest, All the Pretty Things. It’s taken me a long time to realize the secret to make a good record. “Get the fuck out of the way, Joe.” My friend Gluehead used to tell me, “You know what you should do, Joe? Write your songs, play guitar so everyone knows what the song is. Then get rid of your guitar.” My wife was listening to the rough mixes the other day, and she was, like, “Which guitar is yours?” I said, “Hear that really, really soft one, way in the background?” Truth is I can play guitar OK. But I can’t play like (WJ guitarist) Joe Dean (Tender, six hundred other local SF bands). I have certain strengths. Play to those. Write, sing. Let everyone else do their jobs. Tom Mitchell (Inferno of Joy) plays bass. Jarret Cooper (Pirate Radio) plays keyboards. And they are total pros. They know how to take the few chords I string together and make it sound like a song. This time we got legendary rock drummer Michael Urbano to play drums. You can look him up. Dude’s been on a string of Top Ten hits. Sheryl Crow. Cracker. Third Eye Blind. You name it. Played with Paul Westberg, my rock ‘n’ roll hero. I am never going back to a regular drummer. Your band is only as good as its drummer. Playing with Michael was insane. Anyway, I mention the Wandering Jews a lot in Junkie Love, so Julie Kazimer (who read an advanced copy) told me I should have a new record up on iTunes for some cross promotion. So we got the band back together, man! Ryan Massey (American Steel, The Reckless Kind) is doing the recording at Sharkbite Studios in Oakland. Just a prince of a man with an incomparable ear…

Well, it’s come to the end. We appreciate the one on one, but before you go, can you give us, our readers, any parting shots or pearls of wisdom?

Oh, man, just like my MIL, I LOVE giving unsolicited advice on how others should live their life (Kidding. Sort of. Not really)… Every day is a gift, that’s why it’s called…the present? Probably Bob Roberts said it best: Don’t do crack; it’s a ghetto drug.

Thanks for having me!


Interview: Tom Pitts

tompittsMy first experience with Tom Pitts was “A Loaded Question” which he submitted to Shotgun Honey back in October 2011, we pretty much ate it up and published it a few weeks later. That was followed up with a longer story, “Luck,” that he submitted and we published in our first anthology BOTH BARRELS. He has publish stories with A Twist of Noir, Darkest Before the Dawn, Near to the Knuckle, Literary Orphans, All Due Respect and others, plus had the release his first novel PIGGYBACK by crime fiction publisher, Snubnose Press.

From the first story about a routine traffic stop to his novel about a drug dealers tracking down a lost delivery, Tom pulls from dark places that dwell in us all, that he has experienced first hand for the benefit of the reader and the detriment of a life delayed and dreams deferred. His words captivate me, so let’s get on with the interview and let the man speak for himself.

How’d you get the gun? Or rather what drew you to crime fiction?

Way back in the nineties, when I was strung out on junk but not yet out on the street, I found myself in need of a greater escape than heroin could provide. It was then that I discovered true crime. I devoured endless Mafia books and wound up developing quite a collection. (It was later confiscated by the Feds, but that’s a whole nother story.) It was all true stuff, I had no patience for fiction. I decided that I would write my own book about San Francisco organized crime and set out to become an investigative journalist. I went so far as to call the FBI’s famous Bill Roemer and got him to give me his blessing to call his former partner still active in SF. I got shut down from there and decided to give up and try a novel. Drugs got in the way and I didn’t pick up the pen till 2010. That unfinished novel from the nineties still sits on floppy discs beside my desk.

We are the sum of our experiences, and like you life took a detour, but I found that my writing is richer for the experience. Tell us about your journey back and how it benefited or hindered Tom Pitts the writer?

It’s a double-edged sword as far as the writing goes. On one hand, I was able to experience a darker side of life not many people live to tell about. By the time I was done, I’d taken it about as far as you can go. It’s invaluable in crime-writing to experience criminal life first hand. However, had I not been wasting my life in the dregs, I may have had 20 more years of writing under my belt by now. My mind was sharp then and it has since been dulled by my excesses. The regret of a late start haunts me.

The other catch-22 is the limitation of the experience. I’ve read book by guys who know a great deal about stuff I never will. Greater minds than mine who were able to absorb all of life’s experience. Writers who expound on everything from police procedure to the coming-out parties of New York debutantes. I know nothing of cars, or sports, or foreign lands. I write what I know, and that is scumbags.

As far as the journey back goes, it was a slow one. I’d often professed to be a writer back in the old days, and perhaps because I was a songwriter in a band, people assumed it was true. But in reality, I never really did any writing. I was lost on the treadmill of addiction. When I cleaned up in 2001, I got together with my wife and took on the responsibility of fatherhood–two stepsons, 10 and 5 at the time. That put me on a whole new treadmill. I stayed focused on that until about 2010 when I started writing in earnest. (I got my liver fixed int 2009, perhaps that gave me the proverbial “new lease on life.”)

The novella PIGGYBACK came out last year from Snubnose Press. This was your first published long fiction? How did your experience in the drug world influence this story?

Piggyback coverThe impetus for the story came from a similar situation a friend of mine in “the business” had. The trunk-load of weed gone missing with the two girls, that is. The similarities end there. Where my experiences in the drug world really play in is the characters. One thing I learned committing petty crimes and running drugs is: things never end up the way you think they will. Murphy’s Law. Nobody’s on time, the money never adds up, and your co-conspirators are annoying as hell. People will let you down, there is no code. The fact is, most people in the criminal world are like the book’s character Paul, not the anti-hero, Jimmy.

Characters almost as annoying as dilettante interviewers, I imagine? Some time has passed between questions and since I’ve read an op-ed that touched upon your pet peeve of people assuming writing songs and fiction are similar. I do have to ask though, how has your past life as a musician played towards your writing career?

None really. I’m a strong believer in the rhythm of words, but I don’t think it’s tied to music. It’d be nice to tie music and writing together with a poetic connection, but I think the rhythm of words is part of natural speech. It’s a different rhythm than is required for music. I do make a lot of comparisons of writing to music, though. I don’t believe in heavy re-writes, maintaining it’s the same as thinking you can “fix it in the mix” when you’re recording, stuff like that. The experience did, however, teach me a bit about the business end of creating “art.” The band I was in was signed to an respectable independent label. (Back in the early days when there were only a few of them and they were truly independent.) I think it’s very similar to the publishing business these days. The ability to do-it-yourself has upended the industry. Ultimately, that’s probably a good thing.

For those who may be interested, what was the scene like as a musician? Tell us about the band?

It was the late ’80’s. Pre-Nirvana. Everyone was still traveling in vans, not buses. My band was called Short Dogs Grow and we did okay, considering. We toured the country a few times. I miss those days. I was a great way to see the land. From Miami to Boston, Minneapolis to El Paso, we covered a lot of ground. Shitty gigs, lots of beer. Motel 6 and pizza. It was before the drugs really began to kick my ass. We were lucky enough to play with a lot of the era’s punk rock biggies. Black Flag, Descendants, DOA, etc … We didn’t fit the mold well, though. We were a quirky outfit that were more rock than punk. We released two albums with Rough Trade records and then walked on our contract thinking we could do better. We were wrong.

Do you ever consider turning those early days into a story, either fiction or non? A memoir or a fictional shit storm?

It’s been suggested to me plenty. Truth be told, I didn’t retain a lot of memories from those days. If I ever get a memoir going, some of those days will be weaved in. The reality is: the stories from those days are rather juvenile. Getting drunk during radio interviews and abusing the callers, getting jailed for speeding in Beau Bridge, Louisiana. Scabies in El Paso, going on last at CB-GB’s and telling yourself you’re headlining. It seemed cool to be halfway-wrecking motel rooms, but when you look back, all we did is leave a big mess for the maid to clean. What jerks. (When our bass player Carmela first quit the band, she told us, “I’m tired of living in a van with three adolescent alcoholics who think they’re Led Zeppelin.” Ouch.) When you’re young and in a band, it takes a lot of energy and self-confidence to push it in everybody’s face all the time. All that time handing out flyers and trying to get people to come to shows. Bravado. Sometimes I look back and feel like, damn, I was full of shit. Perhaps it’s like Bukowski said for years before being able to write about growing up in Ham on Rye, “I just don’t have enough distance yet.”

If not memoir of those days, do you have one in the works? A collection of experience from your drug days? I’ve seen the stories you share with Lip Service West. They are humorous and horrifying all at once, you bring a genuine experience to the story with an entertaining flare.

Joe Clifford insists that I assemble a collection of my junkie tales. I counted them up the other day and I think I fall short of a book’s worth. I even added in some good shorts from my bike messenger days–being a bike messenger in San Francisco in the ’80’s, now that was a scene. If I can pen a handful more, I’ll look into putting them out. There’s a humorous quality to them that doesn’t seem to come through in my crime fiction. If you can call accidentally shooting up mouse feces humorous. Right now I’m still trying to find an agent to represent me for my “unsavory” novel, Hustle, and I’m trying to squeeze out another novel as we speak. Between writing and co-editing at the Flash Fiction Offensive, my plate is pretty full.

On the chance there’s an agent or two out there reading this, what’s the pitch for HUSTLE?

Hmmn. The ol’ one-sentence synopsis, huh? Okay, here it goes: When two young hustlers, caught in an endless cycle of addiction and prostitution, decide to blackmail an elderly client of their who happens to be a criminal defense attorney, they find that their victim has already been targeted by a much more sinister force.

Okay, let the bidding war begin.

Between writing stories, editing for The Flash Fiction Offensive, the JOB and family, how do you find balance? What method works you through the writing madness?

Easy. There is no balance. My job is from midnight to eight am. That keeps any chance of balance permanently off-kilter. It’s a constant struggle to carve time out for each and all of the above. Sometimes it seems like it was easier to only have to worry about procuring another twenty dollars for dope. I know that’s not true, but sometimes when I see a poor soul lodged in a doorway, drool running down their chin, I think, fuck, that guy has it made. No worries, no responsibilities … what a life. The grass is always greener, huh?. Of course, I know from personal experience, the poor bastard has to sweat hobbling to the soup kitchen in time on a leg swollen with abscesses, oh, and where to find enough cigarette butts to make it though the night, then there’s still that twenty bucks, and on and on and on. I consider myself lucky to be on the crazy treadmill that is my life.

Thank you for taking time with us, can you give us, our readers, any parting shots or pearls of wisdom?

I think that most writers become writers to expose us to their view of the world, not because they have some need to create art, to make the world a more beautiful place. Write because of the muse? The muse? You kidding? When you write you have to wake the muse up, kick the sides of her bed, check her pulse, make sure she’s not dead.

Oh, and go buy Piggyback before they run out.

Thanks for everything, Ron. It’s been a pleasure.


Interview: Todd Robinson

robinson

When I first came into this crazy crime addled community I scoped out the alpha dogs, the guys running the show. There weren’t any bigger than Big Daddy Thug, Todd Robinson, founder of THUGLIT and launcher of more than one career. Looking at his magazine, I decided at the moment I was going to be part of that action. As soon as I made that decision, Todd put the magazine on hiatus to focus on what he does best, write. The magazine is back with a vengeance and Todd’s book THE HARD BOUNCE is one of my must haves for 2013 (available for pre-order). Let’s just hope the Mayans were wrong.

So, are we ready for some Thug?

How’d you get the gun? Or rather what drew you to crime fiction?

I was about 24 years old and working the door at Boston’s legendary Rathskellar in Kenmore Square when I picked up Andrew Vachss’s BLOSSOM and Elmore Leonard’s GLITZ. At the time, I was. It was the first fiction that I’d read where the characters spoke to the world I lived in, that reflected the nature of life at street level without judgment, that accepted those character’s struggles with as much humanity. When I read those novels, my reaction was, “Hey! I know stories like these. I know people like these.” For the record (and since I’ve been asked multiple times already) The Cellar in THE HARD BOUNCE is a not-so-veiled doppelganger for The Rathskellar. Anybody who knew that scene back in the day might even recognize some of the (also not-so-thinly-veiled) characters in the novel.

Job experiences are great to pull from for writing, especially ones that put you face to face with people of all walks. Before we jump into the writing, tell us about your greatest contribution to the writing community? How did Thuglit come about?

thugpirateIn 2004, I was looking at the markets for short fiction, but couldn’t find anybody who was publishing the kind of gritty fiction that I liked to read—that I wanted to write.

By the time I was pointed at Plots With Guns, they had already stopped taking submissions. There wasn’t much of anything else

At the Toronto Bouchercon, I got into a couple of heated discussions with the long-time AARP members that held a stranglehold on the most prominent short fiction markets. They kept complaining that their sales shrank every year; I told them that their audience was dying of old age. I kept questioning them about publishing material that spoke to an audience that wasn’t of my grandmother’s sensibilities, maybe loosening their restrictions on language and sexuality—in other words, adapting for a younger market. Needless to say, they didn’t take my suggestions civilly. And neither did much of the audience, which consisted of mostly residents of what I could only assume was the same nursing home, and cozy aficionados. Basically, by the end, I was told that there was no market for edgy fiction, and if I didn’t like what they did, I should go start my own magazine. I did.

And I think the number of literary awards and accolades that THUGLIT has garnered over the last seven years, side-by-side with what they’ve achieved, speaks for itself.

Reminds me of a conversation I had with a cozy writer on the way home from the St. Louis Bouchercon, a definite generational divide. Not to rehash too much history, but a lot of readers like myself missed the Thuglit the first go around, so give us the highlight reel, the behind the scenes of becoming Big Daddy Thug.

I already had the domain name, which served as a half-assed blog. THUGLIT was my answer to Chick Lit. And a “thuglit” is also a term in the urban dictionary for “a little thug”—a tem I thought was perfect for short fiction in our vein. I just opened it up for submissions on writer forums, Craigslist, and the such. It amazed me how many writers and readers, right off the bat, were so grateful that somebody was publishing their kind of fiction. Two issues in, and we had Derringer nominations and a story in Best American Mystery. It just kinda snowballed from there.

As far as Big Daddy Thug is concerned, it started as a joke. One night at the bar, this drunken bimbo was complaining that I didn’t buy her a round. The owner of the bar, eager to move the screeching harpy away from earshot, waved an okay to me to comp her one. I found a middle ground. I told said Bimbo, that I would buy her a round if she said “Thank you, Big Daddy.” Much to my surprise, she did, resulting in a spit-take from my boss, and a free shit-brand rum-and-coke for Bimbo. Everybody wins! After that, Big Daddy became the nickname for my nasty side, and the nickname has followed me through three different bars now.

So when we started the mag, I thought it would be fun to have noir alter-egos and to have an alternate universe for the editors to play in. Over the years, the core group of our editorial knuckle-headery consisted of Lady Detroit (Allison Glasgow) and Johnny Kneecaps (John Moore); and our guest editors were Caesar Black (Robert S.P. Lee), The Pope of St. Louis (Jordan Harper), Roadhouse (Justin Porter) El Feo (Alejandro Peña), and now, we’ve just added The Blue Dahlia (Julie McCarron) to the core.

A bunch of little thugs showing what you could do. I dig. You and I have some common ground where we both entered as writers and let circumstance evolve us into more. I can’t imagine you expected to be approaching 10 years as a publisher and purveyor of other writers’ works?

I had no intention of being on this side of the desk at ALL, much less for nearly a decade. If you’ve ever enjoyed anything out of THUGLIT, you owe a strange debt of gratitude to the cozy biddies who issued a challenge to a guy that doesn’t take challenge lightly.

Are you a hat wearer? You seem to wear a few of them as publisher, writer, family man and working stiff. How do you manage that balancing act?

Like the old saying goes; “Want to know how to get something done? Ask a busy man.”

I read submissions on my subway ride to work. I’m answering this question while the kid naps (he’s three-years-old) and the wife is at school. I’m working seven bar shifts next week. When the kid goes to bed tonight, I’m designing the cover for the third issue of Thuglit and editing a story. I always feel like I’m behind on something (and I usually am). If I take any time off, even one night, I get anxiety attacks. Oh, and I told my agent that I’d have a new novel in her hands by the end of January.

I may have psychological issues…

You didn’t leave any room write? I get what you’re laying down, every scrap of time is an opportunity. All those stolen opportunities have resulted in your first novel, The Hard Bounce being released from Tyrus Books. You touched on it at the top of the interview, give us the pitch!

thehardbounceI’m a binge writer. I need larger blocks of time to write, but when I do, I fly. I recently got into a conversation with kid who was in the Creative Writing program at The New School and he was curious about my process. God bless the kid—head full of flights of fancy, but also wedged firmly in his own ass. He said that he could maybe get two or three good paragraphs out in a week. I replied that I stitched together three good hours the week before, wrote a 12 page short story, and had it placed in a magazine before the weekend was over. My personal best was 223 pages written in 8 days. I almost had to be hospitalized after, but I did it.

The Hard Bounce…man. Been ten years of rough road on that baby, but it’s finally seeing the light of day. The fucker has been with four publishers, five agents, and has seen more edits than I care to count any more. But I’ve always believed in the book and loved the characters. I still can’t believe most days that the journey with it is almost over (it comes out in January 2013). My only concern is over-hype. I mean, this book has been on some people’s radar for a decade, been so close so many times, and so many people have (God bless ’em) been waiting to see it. But you know what? Honestly? I wrote what I hope is a fresh take in a genre I love. I really hope that people love the ride and feel with the characters as deeply as I do. But I live in fear of that over-hype. I’m not a literary writer. I’m a storyteller. Some people talk to me about it like they’re expecting some ten-year opus of literature. I just want people to have fun with the read. Hope they walk away wanting more of it.

I’m terrible with “the pitch” aren’t I?

Buy the book. I’m pretty sure you’ll dig it.

I really, really suck at the pitch…

Ten years is a long road, ten years of being passed through so many hands and coming so close to publication. During any of that time did you think, I’ve got this brand, Thuglit, maybe I should just do this on my own? Especially with the changes in the marketplace in recent years?

I have considered it. The problem was, years ago, to self-publish was tantamount to career suicide. You couldn’t get reviewed, you couldn’t get in bookstores. Most products that came out of print-on-demand publishers was shoddy. Kindle and E-books were in their infancies and didn’t have the market share that they’ve achieved in only the last three or four years.

Another issue with self-publication is promotion. And when I say promotion—let’s face it—we’re talking money here. If you look at the numbers, a very, very, low percentile of self-published authors reach any kind of success. And those that do, have either invested immense amounts of money in their promotions, or have benefited from publishing the traditional route first—benefited previously from having the stamp of “legitimacy” awarded to their work and had their names churned in front of audiences through the marketing machines of the industry. It really pisses me off to see these “self-publishing gurus”, who have had thousands of dollars spent on publicity by their previous publishers, shit on writers who want the same benefits that the “gurus” enjoyed by starting out on the traditional route—also with editors who helped them refine their craft over the years. Then these fuckwits walk around like they’re self-made and did it all themselves, and everyone else is a pack of idiots for attempting to do it the way THEY did. Pisses me off even more to see their acolytes blindly cheer these egomaniacal jerkoffs on by buying into their bullshit. And I don’t know if anybody else has noticed, but a HUGE number of these loudmouthed “successful” self-published authors jump onto the next “legitimate” publisher that sails by when the opportunity arises. That should say something right there about the problems with doing it yourself.

I still believe that an institutional stigma exists against self-published works, it’s just not as severe. Hell, I have prejudices against self-published work. When I tell people that my novel is coming out, their first question is, “Who’s publishing it?” Most of these people asking the question don’t know Random House from Full House. They just want to know whether it’s self-published or not, since I’m sure that the majority of the time they ask the question nowadays, the answer is going to be “self-published.” Comparably, I self-published a collection of short stories earlier this year, and when I tell people that it’s self-published, I can almost hear the muscles straining under their eyelids as they fight the urge to roll their eyes. The eyes roll a little less when I rattle off the magazines that previously published the stories. The problem is this—when you’re a writer thinking about self-publishing, your opinion is not enough. It really isn’t. While it’s nice to enjoy a self-actualized sense of quality in your writing…you WROTE the fucking thing. If you get an entire industry telling you that something is not up to par in your work, you might want to pay attention, try another angle. A real problem with the relative ease and product quality of the self-published market is that so many of the books writing-wise just aren’t that fucking good. I like to think that the last ten years have taught me a lot, both by giving me room to grow as a writer AND to implement that in my novel as I went along. Looking at the earliest drafts of my novel, I want to fucking puke—and it was almost published. If it had been, either by myself or someone else, it would be in that state forever. NOW, will I look back at The Hard Bounce in another decade and want to puke? I sure hope so. I hope I continue to learn and grow in the craft to that point until every decade makes me want to projectile vomit all over my prior work.

If you want to be a writer…a real writer…then you should learn something from every rejection you receive, try to grow, rather than stomp your feet and just publish it yourself. Being a writer is a fuckload more than just being published.

Are there any new voices come up through Thuglit or other short story venues readers should keep an eye on? Some rising stars?

There are other short story venues???

With the THUGLIT reboot only two issues in, it’s too small a sample size to really determine who’s a rising star just yet. We’ve already published a couple of tales from powerhouse regulars such as Jason Duke, Matt Funk, Mike Wilkerson, Katherine Tomlinson and Pat Lambe. Any one of them could blow up at any time.

Jordan Harper, Hilary Davidson and Mike MacLean and Johnny Shaw are already superstars in their own right, so they get a DQ from “rising star” status.

Justin Porter, whom we’ve published multiple times over the years, just sent off his first novel— which I’m willing to throw money on as being something to watch out for.

But the name that’s already setting off my radar is Terrence McCauley. The guy has submitted only two stories and he’s already got two stories accepted. Even though there’s crossover within the narratives, each story reads at such different emotional/perspective levels that I was legitimately surprised when I realized that both stories were written by the same person. That punk can write his ass off.

Thank you for taking time with us, can you give us, our readers, any parting shots or pearls of wisdom?

Tell your story. That’s it. Just tell your story.


Interview: John Kenyon

When you think about “Things I’d rather be doing?,” generally it’s a more personal thought. For me that’s how I was introduced to John Kenyon, whose website Things I’d Rather Be Doing acted as a gateway to all things that interest John. Part blog, part magazine, it is an introduction to John’s thinking, manner and style. Since then I’ve gotten to know John through his fiction and his publication Grift Magazine, even shared lunch with John and his interviewer, Chad Rohrbacher, along with some shop talk.

John, a former newspaper man, get’s the tables turned this week with Chad asking the questions.

How’d you get the gun? Or rather what drew you to crime fiction?

I suppose it all dates back to my Dad and the Hardy Boys. He read them as a boy, so there were some of those iconic blue-spined books passed down when I was a kid, and I devoured those. From there it was a constant progression through to the point where I started reading mysteries as an adult. Lawrence Block was my gateway drug, leading me in all sorts of directions.

As for crime fiction vs. straight-up mysteries, I’m more interested as a writer in exploring the impact of a situation more than the situation itself. The whodunit, while still interesting, doesn’t grab me the way an exploration of the social and economic impacts of crime do.

Tell us a little about yourself. Just a little background

After 20 years in journalism, I have moved to the nonprofit world. Iowa City is a UNESCO-designated City of Literature, and I am the director of the nonprofit that manages that designation. It’s a dream job, working every day to spread the word that books matter.

Can you talk a little about your writing process: computer? Long hand? Dark corner in an office? By candle light? Coffee or whiskey?

Stories usually start out with a scribbled note about a situation, followed by couple hundred hastily banged out words the next time I can get to a computer. Then I’ll pick at it until it feels like it’s going to work. From there, it’s usually late nights working in the home office after everyone’s in bed.

So your collection, “The First Cut,” recently came out via Snubnose Press, can you tell me a little about the collection?

For the most part, The First Cut collects the best of the stories I’ve published over the past five years or so, including a couple that first appeared here at Shotgun Honey. There’s one new story that I didn’t really perfect until it was time to submit the manuscript which is new to the collection, and one decade-old story that appeared in a great regional journal here in Iowa, The Wapsipinicon Almanac.  It’s all crime fiction, save for the last, which was more a stab at literary fiction but which still has sinister overtones that I feel makes it a good fit with the rest.

Did you listen to music while you wrote any of the stories? Is so, what? Did you find them affecting your narrative?

I can’t listen to music with words while writing, so it’s a lot of jazz and instrumental stuff. White Lunar, an album of soundtrack work from Nick Cave and Warren Ellis, and Angelo Badalmenti’s soundtrack to “The Straight Story,” are two that I return to a lot. If I need to get hopped up, I’ll do it with something loud and fast before I sit down.

Were there any specific people, places, or incidents that inspired a story?

For some of them, yes. But in most cases, it would be something small that set my mind to wandering, and it’s the eventual mental destination that led to the story. More often my stories begin with a “what if?” proposition. What if an organ transplant guy had his vehicle break down and had to take the subway? What if a mobster’s attempt to bury a recently deceased colleague didn’t go as planned? What if someone wrongly caught up in the War on Terror decided to exact revenge? I set challenges for myself with these questions and when I have successfully answered, I know I have a story worth keeping.

Can you explore the process of putting the stories in the particular order in the final version? Did it change? If so, can you share some of the choices you made and why.

I knew from the moment that I thought of assembling a collection that I wanted to start with “Cut.” It sets a tone I wanted. It’s dark, but also funny in spots. It also was my first real success, thanks to the fine folks at Thuglit. From there, it was simply a matter of wanting the stories to flow, mixing long and short, dark and funny. I also wanted to end with “The Bluffs,” which is the oldest story in the book. It’s the most different, stylistically, and the longest, and it felt like a good closer.

In this book, there seems to be a real clear throwback to old-time pulp and the late 40s-50s radio thrillers. Do you find those as influences? If so, any in particular?

That’s the first I’ve heard that description, but I’ll take it. Really, my aesthetic is less hard-boiled than that of a lot of my peers (or the rest of the Snubnose stable), and that’s part of it. I suppose as well that it is my journalistic background. I’m used to telling the entire story, and so perhaps my plotting reflects that.

So you have a magazine? What was your thinking behind it?

As I said above, I have a different aesthetic from some people. I love the other publications that are out there, but there wasn’t one that offered exactly what I wanted. The only way to get that, I realized, was to do it myself. I wanted something that offered strong stories as well as some solid non-fiction with essays and reviews. The first issue was something I’m very proud of; replicating that has been difficult. Which leads us to…

How do you balance your editing versus writing work as I imagine both take a lot of time?

If you asked any submitter for the second issue of Grift, they would say I balance it in fairly lousy fashion. It has been a struggle. As I launched Grift with the first print issue this spring, my writing really took off. It was hard to balance the two (particularly when you add in family, job and other pursuits). It’s a matter of being mindful of the need to tackle both jobs. I have a duty to the people who took the time to contribute to Grift, but I have a duty to myself to keep working on my own stories and projects.

The website looks fantastic, so what made you want to also have a print version and not just on-line?

Thank you. I’d like to take the credit, but it’s really just a well-tweaked WordPress theme. As for having one or the other, the print mag idea came first. I wanted a web presence, and then figured it would be a good idea to have news, reviews and flash fiction there as well. That has proven more difficult to maintain than I thought, but it has been a nice way to keep the name out there during the long wait between print issues. Plus, I have had the honor of publishing some great short fiction from the likes of Matthew C. Funk, Andrew Waters, Thomas Pluck and many more.

With the your collection, The First Cut, behind you and the ongoing Grift Magazine, what’s next for you as a writer? What’s your next pitch?

My hope is that my next thing will be a novel. I have one done and edited, and now it is being read by a few friends with the hope of having it polished and ready to send out very soon. It’s a crime novel, but more funny (I hope) than hard-boiled. I’m about halfway through a second novel and have an idea for a third that would be a fairly radical departure. While I’m juggling those projects, I’m working in earnest on a contribution to the Fight Card series of novellas about boxing that should come out early next year.

Thank you for taking time with us, can you give us, our readers, any parting shots or pearls of wisdom?

“Making the simple complicated is commonplace; making the complicated simple, awesomely simple — that’s creativity.” – Charles Mingus.


Interview: Peter Farris

I had just gotten to BoucherCon (what another BCon story?) in the middle of panels, just before lunch, not a person I knew roaming about, so I set down and look over my goody bag. That when Pete came up and asked me if I was me and introduced him as he. Or something like that.

My first impression was Pete was a genuinely nice guy. That he was about as bad ass as could be. Was this really the guy who wrote that funny, disturbing Disney Noir? He is definitely multifaceted. As you can see from his contributions to Shotgun Honey: Disney Noir, Tornado Noir, The Traffic Stop, and the microfiction bundles Day Traders 1 and 2.

If he wasn’t already in his own band, I’d call him a rock star and try my lamest Doom Claw.

I’ve wanted to interview Pete since we met, but held off to support his book, THE LAST CALL FOR THE LIVING, not that it needs it. I heard it’s as complex and riveting as listening to Kent and Peter talk about Bee Keeper Noir and Hard-boiled Clowns. It was some fun talk. Now let’s grill this mother.

How’d you get the gun? Or rather what drew you to crime fiction?

To be honest, I feel like I fell into crime fiction by accident. I wasn’t as familiar with the genre while writing the first draft of LCFTL as compared to now. Sure, I’d read folks like Chandler and James Ellroy, but I was really influenced by southern writers more than anybody else, stuff that carried the “literature” tag even though now that I think about it, William Gay, Cormac McCarthy and Larry Brown were dabbling in crime and noir in their own ways. Now that I’ve read more authors in the genre, it excites me just how varied and wide-open crime fiction can be.

About ten years ago I was working as a bank teller when my branch was robbed. That experience made a lasting impression, and when I sat down to write LCFTL about the only thing I was sure of was that it would open with a violent heist. I’d always been fascinated by prison gangs and prison culture, too, which eventually seeped into the novel. When the book sold, I took a step back and figured: you’ve got the Aryan Brotherhood, a bank robbery, cops and convicts…I think you wrote a crime novel, buddy.

It sounds like LAST CALL FOR THE LIVING might just fall under that umbrella. Outside of the bank robbery, what inspired you to write LCFTL? What inspired you to write?

I played in bands for all of my twenties, and was always writing lyrics, but I remember exactly when a friend of mine recommended I read Mississippi author Larry Brown. That was in May of 2002. Brown’s work (and path to publication) inspired me, and triggered what’s since became a compulsion to (try and) write publishable fiction. Up until that point I’d read mainly horror, some of Chuck Palahnuik’s books, stuff like that. Dirty Work was the gateway novel, leading to what’s since become a deep love of regional fiction. More importantly, Dirty Work demonstrated to me how you could tell a complicated, brutally honest story using simple language. That kind of revelation was huge.

My old man is an author, too, and as I get older I realize what a profound influence he’s had on me. Growing up I was always around books, and had the opportunity to see everyday what the life of a working writer entailed. The immersion and concentration required of the gig…and occasional afternoon nap. My father had a bestseller at twenty and spent a lifetime telling stories. If writing remains a vocation or hobby that occasionally brings in a little money, that’s fine with me…as long as the work comes from an honest place. I suppose it really boils down to having an impulse to express yourself. I don’t know why that impulse is there, or where it comes from, but what I do know is if I don’t act on it my mood and outlook go to shit.

Tell us about the bands where you in? Do you think that music influenced the type of writer you’ve become?

I was in a band from Connecticut (CABLE) for approximately eight years. We were a sludgy noise rock band influenced by everyone from Black Sabbath to Fugazi to Waylon Jennings.

One thing that defined CABLE through the years were abstract lyrics that touched on recurring themes…mainly frustration with everyday life and a desire to escape it. We (meaning myself, bassist Randy Larsen and guitarist Bernie Romanowski) always hit certain notes in our lyrics i.e. whiskey, pills, Montana, heartache and broken glass…that sort of thing. But because our vocals were screamed and not sung, it allowed us to write outside the box of your typical rock band verse and chorus. Now that I think about it, our songs were like mini working-class dropout fuck-the-world noirs. We were writing fiction without really knowing it. By simply trying to be creative with what were essentially short prose pieces, I understand now that CABLE inspired me to think in terms of second and third person, in characters and situations and story lines that could be resolved or at least suggested during a few minutes of distorted riffs and balls-out screaming. No doubt that influenced me as I made the leap to short stories and eventually novels.

The Failed Convict (our crowning achievement if you ask me) was actually a concept record about a prisoner who breaks out of Brushy Mountain State Penitentiary in Tennessee. It was pure coincidence, but around the time I signed the book contract and not long after we cut the record, I realized The Failed Convict and Last Call for the Living shared a sort of creative synergy, so much so that I decided to use Randy and Bernie’s lyrics from the album as epigrams.

So you’ve traded telling stories with music for books?

In some respects, yeah. Putting lyrics to music was the avenue for me that I imagine could’ve been poetry or flash fiction for another writer. Eventually you wind up experimenting with every form, although I admit I’ve never tried to write a play. Maybe one day.

From you, I expect a heavy metal musical, THE DOOM CLAW RISES. Are you still juggling between work, writing and music? How do you compartmentalize?

As for balancing a day job and writing, it’s a challenge at times. I’m not big on word counts but I’ve found the goal of 2-3 pages a day (or night) achievable more often than not. But there are stretches where I don’t write a single word, moments when I simply can’t will a decent sentence. I’m always thinking about writing, though, especially when I’m knee-deep in a new novel. You walk around with those characters. “Mulling time” is what a writer pal of mine from South Carolina calls it. And sometimes a really productive Saturday and Sunday is all it takes to erase from my memory a lackluster work week.

I’ve worked early in the morning and by contrast stayed up all night and never seen the sun. I’m finding as I get older I’m placing more value on consistency and routine. This quote by Flannery O’Connor has become a motto of sorts over the last year: “Just write every day whether you know what you’re doing or not…Sit at yr machine.”

You’ve written a few shorts for us, each different from the other, each successfully entertaining. Do you approach short stories differently than a longer work, like LAST CALL FOR THE LIVING?

Absolutely. I really enjoy writing short fiction. It’s a challenging form but I tend to only write if the mood strikes me. I think that’s one reason my short fiction bounces around, from splatterpunk to crime to Lovecraft-inspired material and even more literary-minded stuff. It’s much more impulsive and I never put too much thought into where I might submit a story or what genre it fits in to. With a novel, however, I know what sandbox I’m playing in from the start.

One of the stories that gets brought up in conversation, and was even nominated for a Spinetingler, is “Disney Noir”. It was brutal, funny, absurd and if the Mouse House cared… well, I don’t want think about it. What’s the story behind the story?

I actually visited Orlando with my fiance and her family. I can’t remember who mentioned it, but the costumed employees came up in conversation…about the tunnels they used to get around the park and also the rumored party culture associated with that line of work. As we were walking around I assumed the guy in the Mickey suit had been on a week-long coke binge and Snow White was banging evening-shift Donald Duck behind Goofy’s back, that sort of thing. I have trouble taking anything at face value so I had to suspect with all these lovable characters there was something dark and sordid going on beneath the surface. Lord knows what’s actually under Disney World. Probably torture rooms and burn pits.

After reading LAST CALL FOR THE LIVING and thinking back to your short “The Traffic Stop”, what is your relationship to the cops? Are you a wanted man? You seemed pretty clued in?

Haha! Nah, I’m a law abiding citizen. Drive the speed limit and even use my turn signals.

I’ve hung out with quite a few cops over the years, and consider one a really good friend. He was an early reader of Last Call and an invaluable resource. Every writer should have a friend in law enforcement.

I think you’ve nailed the hardened criminal and the prison ecosystem, with your portrayal of Hicklin and Preacher. What are you’re top 3 Prison Life movies, why?

American Me and Michael Mann’s The Jericho Mile are at the top of the list for sure. The Jericho Mile is a really touching story, one that manages to humanize a hardened convict while still nailing the unique social dynamic that informs every minute of penitentiary life. Jericho Mile was actually filmed at Folsom Prison and knowing what a student of west coast prison culture Mann is, there doesn’t seem to be a false note in the entire (made for TV) film.

American Me has to be one of the finest and most frightening movies about latino gangs I’ve ever seen, and a dangerous production to be associated with. From what I understand former members of the Mexican Mafia serving as consultants were murdered, allegedly for the film’s depiction of homosexual rape. Writer-Director Edward James Olmos’ life was even threatened. Regardless of whether that particular element is exaggerated or accurate, every other aspect of American Me just drips with authenticity.

Another favorite of mine is Animal Factory, directed by Steve Buscemi and based on the novel by former convict-turned-writer Edward Bunker. Most folks talk about Mickey Rourke’s turn in the film, and it is impressive, but for me it’s Big Fish with a heart of gold Willem Dafoe that steals the show. It’s a nuanced little film with a lot of depth, and one that never is compelled to hit you over the head with stereotypes. Oh, and Danny Trejo is in it. How could you not love Danny Trejo?

My dad is somewhat of a gun enthusiast, to put it lightly, so I have an appreciation. Hicklin’s Mossberg is a beaut. What’s the biggest gun you’ve fired?

I shot a muzzleloader in .45-70 back in the Fall. It was a hand-loaded round, used for large game like black bear although it’d take down a buffalo or elephant of that I have no doubt. After I fired that beast, the rifle’s owner (a friend of my fiance’s father) said I did exactly what everyone else does after they shoot it: laugh hysterically.

With the release of LAST CALL FOR THE LIVING, anyone who reads it is going to what more, so what’s next for Peter Farris?

I just turned in my next novel. It’s about a teenage prostitute who finds sanctuary with an eccentric bootlegger.

I’ll have to put that one on my “To Want” list. Before you go, do you have any parting words or pearls of wisdom for our readers?

Listen to Waylon Jennings.


Interview: Frank Wheeler Jr

I remember my first night at BoucherCon this last year, hooking up with Matthew C Funk, Dan O’Shea and the moving party that was Team Decker, named for their astounding agent Stacia Decker. And I asked one of the party goers, “Where’s Frank?” They pointed over in the general direction of Frank Wheeler Jr. and I was confused. He had a beard, but that wasn’t Frank, was it? I was looking for Frank Bill.

Sorry Frank.

The next day, during the bowling tournament, where Frank, this Frank, and Joelle Charbonneau were valiantly anchoring Team Decker (alas not enough to bring home the win). Name on the board was Frank Wheeler.

I would later find out more about Frank and his book THE WOWZER, which after these many months since has launched this week from Thomas & Mercer, the mystery imprint of Amazon.

As I finish up this interview, thumbing my way through THE WOWZER (almost 90 pages in), I can say I am thrilled to support Frank and his debut. Terrific book.

How’d you get the gun? Or rather what drew you to crime fiction?

I came to Crime Fiction through the side door: Crime Films. I was raised on Hitchcock. This instilled in me a love of watching people do bad things. One of my earliest memories of a sociopathic character is from the movie “Charade.” One of Hitchcock’s lighter films, very jokey in parts, but there are a few very intense scenes. The scene that really got under my skin was where James Coburn is blocking Audrey Hepburn from leaving a phone booth. He wants to know where the money is and she doesn’t know. He begins lighting matches and dropping them in her lap as she cries and screams for help, snuffing them out frantically. He never changes his expression, or tone of voice, for the whole scene. He’s just this calm and steady monster. I thought, “God that’s cool!”

I became obsessed with Scorsese and DePalma films in my teens. I couldn’t get enough of the Crime Genre. In my late teens, when I started thinking of writing as more than a hobby, I kept coming back to murder in my stories. I experiemented with several different types of writing, but they always seemed to be lacking that sociopath. That’s where I got the gun, I guess. Starting with Hitchcock.

I can see the influence of film in your stories. Both “The Good Life” from Crime Factory #7 and “Slick Texas Money” recently from Beat to a Pulp have a cinematic feel, scope. Is it fair to say your writing is more Scorsese than Hitchcock?

Hitchcock drew me in, but Scorsese was a revelation. Two of his films, “Goodfellas” and “Casino,” still rank in my top five movies of all time. Again, it comes back to this archetype of the sociopath. They are the protagonists in so many of his films. For a kid raised in a series of very conservative church congregations that used guilt as the primary instructive tool for their children, that lack of guilt felt by these characters was quite an attractive thing. I really envied these gangsters, these mob guys, that acknowledged no authority higher than themselves. I knew I’d never be one of these guys, but I found that they were the personalities I put into my stories. Even recently, in the novel I’m working on now, I noticed that I’d used that scene from the end of “Casino” where Joe Pesci’s character dies in the cornfield. Also, in the same novel, the slow motion shot of the silenced .45 when Samuel Jackson’s character is executed, this stuff just creeps in. And thank God for that, I guess.

What kind of influence will readers find in your upcoming novel, THE WOWZER? Give us the pitch.

The books that influenced THE WOWZER are primarily Patricia Highsmith’s and Vance Randolph’s. I was reading “The Talented Mr. Ripley” around the time I wrote the short story THE WOWZER is based on. And I’d been reading Randolph’s collections of Ozark dialect and folklore for maybe a year prior while I was working on a different novel set near Fayetteville. In fact, most of the chapter titles are little idiomatic gems I found from his collection of Ozark folk speech. I wanted the readers to feel like they were being told one of those Ozark stories, rather than feel like they were reading a book. The voice, Jerry’s voice, partially came out of that desire. Maybe it was my way of paying homage to my storyteller-uncles from the area.

Patricia Highsmith was who I consulted to make the monster into flesh and blood. In her Tom Ripley novels, she shows how a nice, considerate, unassuming young man may commit the most atrocious crimes, then go right back to being to being that same gentle person. That was important, making Jerry a believable monster. He needed to seem like a guy you’d want to have on your bowling team. But only because of what you don’t know about him.

THE WOWZER, named for the monstrous Puma like creature from the Ozark’s lore, as told to you and likewise your protagonist Jerry, mixes folklore with drug running and corruption? How did you go about mixing legend with fact, or the reality within your story?

I never was told any Wowzer stories by my uncles. I don’t know if they’d ever heard of it or not. But that’s how these things go. Some legends are popular in certain spots and not in others. I found the story when reading Randolph’s Ozarks folklore collections. As for Jerry’s perspective, it’s difficult to separate legend and fact. Sure, he knows the Wowzer is just an old folktale that no reasonable person would believe about a monster in the woods. But a different part of Jerry’s brain knows the Wowzer to be very real. I don’t see this as being in conflict. People can experience the supernatural as real even when they deny its existence. You can absolutely know there are no ghosts in the attic, but you get goosebumps going up there all the same.

Where did the idea for THE WOWZER, tying folklore to crime and corruption, come about?

Corruption was always an important part of the stories I heard growing up. One uncle from Oklahoma would, when driving around the county, point to the political yard-signs and tell me a bribery or cover-up story for every candidate for sheriff, mayor, or city council. Some of my uncles from Arkansas had been heavily involved with labor unions, and they had lots of stories about corruption and the conflicts that came from it. People prey on others. That was a theme I learned early on.

Maybe this means I’m out of touch, but I’m something of a perennialist. I don’t believe people, after millions of years of evolution, are suddenly going to start thinking and behaving differently. Same with the stories we tell. I’d agree with Campbell that the modern stories are ultimately the same old ones we’ve been telling for as long as we’ve had language. And corruption has been a persistent theme. Think about Aesop’s fable of the Wolf and the Lamb. The moral at the end of the story begins: “A tyrant will always find a pretext for his tyranny…” This was written something like 2,600 years ago. But I don’t mean to suggest I’m seeking justice for any perceived tyranny. I cite this example only to show how pervasive what we call corruption is in human experience. It only makes sense to me: people use whatever means they have to protect their own interests. If someone has more to protect, and also more means, he will certainly be at a greater advantage to do so than someone without.

The word I use is predation. Regardless of the lamb’s objections, the wolf preys upon him. Or sometimes, upon a weaker wolf. Dog eats dog, right? In the human realm, this is when violence is visited on another merely as a matter of business. Nothing personal about it. Just a temporary denial of the other’s humanity in order to accomplish an end believed to be necessary to the one inflicting the violence. When I encountered the work of Niccolo Machiavelli, I got a much better look at this side of human nature. I admired the practicality of Old Nick’s approach to politics. Don’t deal with people as they ought to be, but as they are. What people should be never enters into it. In order to protect themselves, some people find they are capable of denying the imperative to love thy neighbor, which allows them to do the bad things.

I mentioned earlier that The Wowzer is the monster in the woods. Probably that’s the best explanation for the story. This kind of predation, the kind they teach you not to do, is deep within some (I’d argue most) of us. It scares us (some more than others) to think that it’s just below the surface. I believe it’s the same thing, whether the story is several millennia old, or just a few days. The monster in the woods really isn’t that far away.

A well thought out reply. The deeper context of beast in relation to the man is something you’ve lived with for a while, and stirs thoughts for this reader on just what or who the monster, The Wowzer, is? Let’s shift a bit, describe the writer’s journey? How did THE WOWZER become the one, the debut?

I’d written this short story based on a minor character from a different novel I was working on. The protagonist of that story was Jerry. Once I’d begun telling his story, I couldn’t stop. My original intent had been to keep revising the other novel till it was ready for submissions. While writing the third draft, I had to start writing notes for Jerry’s novel. I must’ve written two dozen false starts. Then I took a fiction workshop with my mentor, Jonis Agee, and I convinced her it was time for me to put down the other novel and write the new one.

Grad school was quite difficult for me. See, I’m a pretty slow reader. And having three classes in one semester that require you to read over a hundred pages each week for each one (a lot of it dense critical theory that may as well have been in Greek), also while working at my assistantship, didn’t make finding the time to write easy. Finally I decided to clear aside one day. I picked Saturdays. I made sure I did everything else, homework and otherwise, on the other days of the week. Saturdays I committed to working on Jerry’s novel. That semester, for a few months of consecutive Saturdays, I’d write for twelve or thirteen hours straight. Nine AM to ten PM. I have a shoulder injury from a car accident several years back, and during these writing sessions, my whole left arm would just go numb after a few hours. I’d have to break ,and work the feeling back into it. Eat something. Then go back into The Wowzer. At the end of the semester, I had the first draft.

Jonis told me to clean it up, then send it out. After talking to some people, she got me some names of agents. Stacia Decker read it, got it, said she wanted to represent it. After doing some more revisions, we got it on the desk of an editor at Thomas & Mercer, and he gave it a green light. The rest you know.

A lot of lonely Saturdays that seem to have paid off. Time management is always an interest to me, how writers juggle family, work and/or school. Are you still on your Saturday schedule or are you notching out time in other ways?

It’s very rare now that I can sit down to type for a stretch of time like that. I’m working two jobs now, and when I have a day off, I spend it with my wife. That means I’ve had to learn to steal an hour here, two hours there, sometimes just a half hour, and use it to write. The first draft of the latest novel I’ve been working on was written mostly in the library of the community college where I teach, in the ninety minute gap between two of my classes. But the time I spend sitting in front of my laptop, that’s only a fraction of the time I spend writing. I think a lot of writers may agree with me on this. I’m working on stories in my head whenever something else isn’t occupying my attention. And that’s where much of the creative work is done. When I sit down to type, I’ve already been working on the story for a long time.

I call that tumbling the story around, the internalization and mental dialog that take place during stolen moments of work. Living with the story for a while like that, do you just purge when you write or do you do any kind of outlining?

I always outline, whether a novel or short fiction. I need a map, or I get lost. But part of the beauty of an outline is that it can be changed when necessary. I work the story around in my head for a while, draw some characters, get an idea of where I want to go, and then I sketch it out. But it’s just the major plot points. Only the bare bones. When I sit down to type, I fill the flesh in on the skeleton.

THE WOWZER debuts this week with the support of Amazon’s Thomas & Mercer, whose growing stable includes Barry Eisler, J A Konrath, and Shotgun Honey alum, John Rector, plus many more incredible authors. I bet it makes all those lost Saturdays worth it to get this point and be part of a next generation publisher?

Publication certainly does sweeten the deal. But to be honest, I’d be writing this stuff anyway. For me, writing is a way to be a kid again. And the fact that people want to read it, well, that’s like telling the kid he’ll get a bigger allowance if he keeps playing outside after curfew.

Best of luck with THE WOWZER‘s debut. I know I’m eager to open that first page and not put put it down until the end. Before you go, do you have any parting words or pearls of wisdom for our readers?

I’m nobody to take advice from. I write fiction for the fun of it, and I don’t care to tell others how to live or what to do. I will say that this novel was a work of pure joy for me. I loved every minute of writing it. That’s not to say it was easy, but it was rewarding. I hope you all enjoy it.


Interview: Heath Lowrance

A gambler, a liar, and a cheat walk into a bar…

Heath Lowrance has been telling stories most of his 40+ years, and like with good whiskey, the stories just get better with age. And let me tell you, Lowrance’s stories go down smooth and hit you with a kick.

Last year, I shared pages with him in Luca Veste’s OFF THE RECORD anthology, enjoyed his debut THE BASTARD HAND, as well as stories from his collection DIG TEN GRAVES. Not to mention we added Heath Lowrance to our list of offenders recounting the story of a “No-account Sonofabitch” last November.

So let’s find out how this man from the South, living in Detroit, got the gun?

How’d you get the gun? Or rather what drew you to crime fiction?

The same thing that draws me to all good stories, regardless of genre– I enjoy stories about extreme situations, and people behaving in extreme ways. Crime fiction probably does that better than any other kind of story. We sometimes dismiss the idea of melodrama or tragedy, but those qualities are what make fascinating stories, and hardboiled/noir has them in spades.

Were there any writers, present or past, that have inspired or motivated you?

Yes, lots. It’s no secret that I adore the old paperback original writers, cats like Gil Brewer, Day Keene, Charles Willeford, etc. I always go back to them when I’m in need of inspiration. Their modern day counterparts, for me, would be Allan Guthrie, Tom Piccirilli, Ray Banks, just to name a few. There are more great writers around these days than we’ve had since the early ’60’s, so there’s no shortage of choices.

Your blog is called Psycho Noir, where you interview, review and pimp a wide variety of books, authors, and not just crime or noir stories. What does the combination of psycho and noir mean to you? Your readers?

Honestly, I chose the title Psycho Noir only because I liked the sound of it, and the fact that my first novel (THE BASTARD HAND) more or less fell into that genre was a total coincidence. As far what it means, well… I would say psycho noir has everything to do with the protagonist’s state of mind. There’s usually some element of delusion, or a skewed perception of reality that leads him down a very dark, dangerous path. Jim Thompson’s POP. 1280 is a great example, and so is Allan Guthrie’s SLAMMER.

But I find myself moving away from using the terms “noir” and “psycho noir” because, as marketing code-words they’re fairly useless. Your average reader has no idea what you’re talking about when you say them. And the readers who DO know have their very own specific definition in mind already. If I have to hear one more time about how “noir” and “hardboiled” are not the same thing, I think I might snap.

Publisher New Pulp Press released several wonderful books last year, your debut THE BASTARD HAND being one of them. It’s been well received, for those who haven’t read it, can you give us your pitch?

Yeah, New Pulp Press is great, and Jon Bassoff is an absolute pleasure to work with.
THE BASTARD HAND goes a little something like this: A seedy drifter with a tenuous grasp on reality meets up in Memphis with a charismatic preacher bent on booze and women. Together, they travel to a small north Mississippi town, where the preacher, who has a hidden agenda, begins sowing the seeds of discord– all in order to bring down the Wrath of God on their heads. Sex, over-the-top violence and other hijinks ensue.

I’d ask you how you came about writing THE BASTARD HAND, but I doubt a straight answer could be had. So I’ll ask you what do you have in mind for a follow up novel? And when?

My next novel is coming pretty soon from the awesome Snubnose Press. It’s called CITY OF HERETICS. It’s a very different sort of novel than THE BASTARD HAND–a little tighter and meaner. Even though it takes place mostly in Memphis, I’ve moved away from the Southern Gothic thing and into more hard-boiled territory with this one.

You don’t stake your writing to any one particular genre. This last year you wrote two Western novellas Miles to Little Ridge for and from Beat to a Pulp Books, and That Damned Coyote Hill which is currently unavailable. What brought about the diversion?

I just like challenging myself in various genres, I guess. As far as Westerns go, I’ve always liked Western movies but had never read a Western novel until shortly after finishing THE BASTARD HAND. I had an idea for a story that would only really work as a Western, and so thought I should familiarize myself more with the genre before attempting it. On recommendations from James Reasoner and my friend Cullen Gallagher, I was lucky enough to start with some of the best stuff out there. When I realized the rich story potential in the genre, I just sort of went nuts with it and read something like 60 or 70 Westerns in the year that followed. I got excited about it. So you can expect more Westerns from me in the future.

And about That Damned Coyote Hill— it’ll be available again pretty soon, from Beat to a Pulp, along with a second story about the character Hawthorne.

You did a fine job on both. Glad to hear Beat to a Pulp is picking up That Damned Coyote Hill and its follow up. With these various projects going on, what’s your style of writing? Are you an outliner or a seat-of-the-pants kind of guy?

A little of both, really. I usually start a story with only a vague idea of what it’s about. I just go where it takes me at first. By the time I’m about a fourth of the way in, I’m normally able to figure it all out from there and will do a very, very loose outline of the rest, just so I don’t get lost. But I really think it’s important to keep the outline as loose and open as possible, just so you don’t wind up strangling it to death before it has a chance at life.

My wife and I have been watching that show “The Dog Whisperer”, and writing fiction is a lot like walking a dog– you have to let the mutt explore a little bit, but you also have to hold tight to the leash and let it know YOU are the boss.

You must have a well behaved dog. Not only keeping yourself on point with various genres, you wrangle your stories well regardless of length. Are there any different challenges to writing a success short story as opposed to novel length prose?

I think so. Short stories are more unforgiving. They need to be a tight, cohesive set of scenes, far more so than a novel. There’s no room to mess around– you have to go right for the jugular, whereas with novels you can toy with your prey a bit more, bat it around and taunt it. A short story shouldn’t allow anything extemporaneous. I think that’s why a good short story is able to shake us up and leave us slack-jawed, a much different feeling than finishing a good novel.

In fact, I find myself moving toward that philosophy with novel-length stuff as well these days. I think THE BASTARD HAND meandered a bit (in a good way) but CITY OF HERETICS and my other stuff since then are different. Short, fast, savage.

What’s been your most challenging story to tell and why?

I’d say the one I’m working on at the moment, actually. I’m closing in on finishing it, but it’s taken waaay too long and has been amazingly difficult to pull off. It’s a commissioned novella, and it gets hard for me when I know there’s someone waiting for it. I freeze up for some reason, start worrying about whether it’s good enough. That’s a character flaw for a writer that I’m working on fixing. But I think, for all that, I like that it’s something different for me and it’s been a rewarding experience. But every story you write has its own set of challenges, right?

There’s a lot of truth to that. What fun would a story be if it weren’t a challenge? None for you equals none for the reader, I’d imagine? As a reader, who are you reading right now?

I’m just finished up James Reasoner’s collection, TEXAS RANGERS. After that, I’ve got A DIET OF TREACLE lined up, by Lawrence Block. Then maybe an old Elmore Leonard Western called GUNSIGHTS. I just came off a month long non-fiction binge, though– read this great history of the 1930’s called THE DARK VALLEY, by Piers Brendon. About twice a year I get the non-fiction itch and will read five or six before getting back to fiction.

Sounds like wonderful fodder, both fiction and non, to nourish the creative brain. Give us one last bite, do you have any parting words or pearls of wisdom for our readers?

Words of wisdom? Not really. Keep kicking against the pricks? Question authority? Be cool?

The only thing I’ve learned in my 47 years is that there are no platitudes or words of wisdom that stand up to deep scrutiny. So to hell with it.


Interview: Nigel Bird

One of the beauties of being part of the Shotgun Honey team, of the internet in general, is having had the privilege of “rubbing” shoulders with writers from around the world, and a true gentleman like Nigel Bird.

I first “met” Nigel when he caught one of my first stories online and did the darnedest thing — he invited me to participate in in his Dancing With Myself series of self-interviews. I was nobody, but Nigel said, and I paraphrase, it’s not what you’ve written or read, but that you love the genre. It was something like that and I was gobsmacked.

Since then, Nigel has released three outstanding short story collections, edited and/or contributed to a half-a-dozen anthologies, not to mention been part of a fantastic British Invasion we’ve had going on here at Shotgun Honey.

How’d you get the gun? Or rather what drew you to crime fiction?

My first gun was a ray gun.  Built to shoot aliens.  It came in the back of a tricycle that Santa left for me one year, next to my astronaut suit.  It gave me big dreams.  And saved the world.

The attraction to crime-fiction grew from a love of old black-and-white films – gangsters, westerns and private detectives.  It was probably the heroic aspect and the power of the male leads that drew me in.  That and the adventure.  And there was always a power-play between justice and injustice that had my emotions doing cartwheels and the contradiction of the most powerful characters being utterly flawed.

TV played a big part, too.  Kojak, Hill Street Blues, Hawaii 5-0, Bluey Hills, The Sweeney and the like were the best things on the box.

The draw to books took a while.  Because of the way my eyes scan, reading’s not the easiest of pleasures and because I felt I had to keep up with my mates who were all reading serious literature, the marriage wasn’t immediately harmonious.  At college I studied Social Science.  I took the Sociology of Film and the Sociology of Literature as options because I wanted to spend time on things I really cared for.  The issue with the literature class was that, though I read many brilliant books, there were a fair few that were dry as a bone.  I found Raymond Chandler and Junky and Maigret, all introduced by the same mates who read every spare second they god, and that was what entertained me on the bus to those literature seminars.  I loved them.  Still do.

My reading continues to have something of a mix to it, but since my writing has become crime and noir based, I’ve concentrated mainly upon Crime Fiction for the last couple of years.

Did you have an early interest in writing? Or were your studies in Film and Literature born from other desires?

Something in school put me off writing.  My presentation was untidy and my spelling  not up to scratch.  I spelled my name Bid once when I was  about 8 or 9.  Teach did his line in wit and managed to make me feel completely useless.  So I think I came to hate it.

Film was all about pleasure.  Going home after a hard day at school and finding relief in the form of Laurel and Hardy or Buster Keaton who were always on at about tea time.  Pure escapism would have been my motivation, the thrills of being the hero or the villain or the man who ended up with the girl.

Literature was also escapism, but only when it was read to me and I’m another on the list who can cite special teachers who made all the difference in that respect.

My life wasn’t awful or anything.  Escapism wasn’t born out of unhappiness in general, but it did stem from my general ineptitude socially and from my being painfully shy – other worlds were far more straightforward than real people.

You’ve seem to have managed your way through that awkward stage, becoming a growing voice online in crime fiction. What inspired the Dancing With Myself interview series on your blog Sea Minor?

There were a couple of things.

The first was an event at the Hay-On-Wye  book festival.

I went along to see an interview with Lawrence Block and Ian Rankin as guests.  It should have been brilliant.  Thing was, the interviewer was so determined to show off as he asked his questions, he took more time speaking than his guests and managed to completely ruin something I’d really been looking forward to.  I did get to grab Mr Block outside afterwards though, giving him a copy of the poetry/story zine I was producing with my brother at the time.   ‘Something for the plane’, I said as he took it – and you know, he was a real gentleman about it and said  he’d take a  look.

The second idea came from the launch of Allan Guthrie’s first novel ‘Two Way Split’.  I’d like to be able to say that my finger was so very much on the pulse that I knew what I was in for.  Sadly, it wasn’t the case and it had more to do with the name and the  book cover (I didn’t like the cover, but it didn’t half shout out at me).   Anyway, he read for a while and then went on to interview himself with the questions he’d anticipated.  It was so refreshing to get the answers we wanted to hear instead of the usual obvious type things and it cut out the  need for any ‘smug bastard’ type questions that seem to come up every time a mic is passed around.  Me being there was a lucky break for me – it started a ball rolling in my mind that hasn’t really come to rest since.

In both cases, I had the feeling that a writer might be the best positioned to ask interesting questions of themselves.  Hence the idea.

And it meant I didn’t have to do lots of research  (sorry).

The Dancing with Myself series seems like a great way for writers to break out, be themselves. Nice nod to Allan there. Inspiration is everywhere. 2011 was a bit of a break out year for you, releasing 3 short story anthologies and being included in at least a handful more. What changed in 2011? Stars align? Deal with the devil?

The devil and I parted company a while ago.  He still pops up every now and again, but I have disguises that are keeping me hidden for now.

You’re right to say that 2011 was a great year.  A break out year.

Like many things, the part observers got to see was the tip of an iceberg, one that’s been floating around for many years.

I can’t put it down to any one factor.

First of all hard work.  I’ve been slogging away at different aspects of writing for over half my life.  Along the way I’ve had a number of break outs.  Perhaps I could describe each movement as being a passage from one waiting room to the next.  There’s the effort involved in locating a door before any knocking can start and then there’s a whole lot of knocking.  The door opens a crack and you have to push as hard as you can for as long as you can until it opens enough to pass through.  Instead of finding wide-open spaces and the heaven of your choosing,  you find another door – bigger than the first.  Heavier.  More robust.  Higher up and harder to reach the knocker.  I imagine the sequence could go on forever.  Which is beginning to sound like a fairytale – I’m thinking of the soldier going down into the ground to steal things for the witch.  Anyway, last year I entered through a lovely door, kind of realised that I liked it  there and decided to stick around for a while before looking further ahead.

Luck.  I did get lucky.  Lucky that the web made the world smaller for me and that I found myself within a rather splendid community.

The backs of others.  I hitched some rides along the way.  Places where people work hard to support writers and fiction in general – magazines, blogs and publishers.  There have been so many, but I can illustrate by picking Spintetingler as an example, putting up a ‘Conversation With The Bookless’ with me, selecting me for a ‘Best Story On The Web’ then later inviting me into the Snubnose debut, ‘Speedloader’, picking ‘Smoke’ for their ‘Best Novella’ lineup.   All of those pieces helped me to put together a bigger puzzle, a more focused picture.

Confidence – each success brought the confidence to write the next piece and to produce work without compromise.  It’s no accident that after a break where my muse had vanished that the return to work comes just after being chosen among this year’s Spinetingler nominations.

Progress – getting better at the craft of writing.

The break of e-books and getting in early enough to be noticed.  It was the next wave of the revolution and I happened to catch it and manage to stay on my feet for a while.

Friends.  The support of others has been incredible.  People writing reviews and offering interviews; those who’ve taken part in the ‘Dancing With Myself’ series; the Woofers and Tweeters; those on hand with kind words during tougher times.  They’ve been one of the biggest factors.  (Thanks all).

‘Pulp Ink’ sums a lot of it up, really.  Working alongside Chris Rhatigan was a real treat.  I learned a lot from him as we went about our business as editors.  It brought together a group of writers of the highest quality.  We tapped into the knowledge, experience and talent of Needle Publishing and we had ups and downs along the way that we managed to even out.  The result is terrific and a testament to the coming together of so many factors.

It’s not all been plain sailing either.

My best friend went and died on me last year.  I spent a great weekend with him on his houseboat in London, said goodbye and got on the train home to hear the news that  he’d gone  while I was on my way.  It did mess me up pretty good and writing just hit the skids.

And ‘Smoke’, the novella that was almost an accident that seemed to be very highly regarded had to be pulled from sales after the implosion of the publisher.   That cloud does at least have a silver lining in that it will be published after some hard edits by Blasted Heath.

And my novel ‘In Loco Parentis’ hasn’t made the cut yet, so who knows what will happen there.

Yes, it was a great year.  I hope it can carry on in such a way and that I can find the stamina to stick with the ride.

Much of your success, and following accolades stem from your decision to venture into e-pubbing. What made you venture out into those unsteady waters and what advice do you have for those contemplating e-pubbing?

The decision was an easy one given the material I was writing.  Short stories haven’t been flavour of the month with traditional publishers for many years, so the opportunity of putting out Dirty Old Town was difficult for me to resist.

To give a little perspective, I’d written a novel and had been given enough rejections to fill a folder.  Stemming from that were some positives in terms of feedback on my style, but it didn’t fit the market.

I didn’t have the confidence to put that novel out and left it while the clarity of vision about what I wanted to write improved in its focus.

Dirty Old Town (and other stories) seemed like the step I needed to take.  I knew I had strong material, that there was enough in my production from the year prior to its release to make a  very good collection so it was all systems go.  I am a little impetuous, to be honest, so as soon as I had the idea I was going to do it regardless.

I didn’t know what I was doing.  The cover design was a learning curve, I had no ideas about formatting and I wasn’t sure how to sell the thing .

To start off, sales were a nightmare, but I got to a happier place eventually.

The rest followed.

Two more collections have seen the light since then, as well as work in anthologies  and with publishers.  It’s all part of the curve.

I even put out that novel of mine, too; it’s under a pen -name, so it won’t be found, but I’m glad I’ve let the characters in the story out of the box.  Sales are barely a trickle, though on that one it’s not the point.  When ‘In Loco Parentis’ hits the streets (and it will), I’ll still see it as my first novel .

Advice is difficult to give.

There’s nothing wrong with putting out work as self-published, not at all.  It’s something I’d like to encourage.  I would suggest that it should be part of a rising curve rather than the start of one.    Build up some kind of platform before just launching into things.  Edit well.  Keep it to the best of your ability.  Don’t throw things up there with the idea that more books will equate to more sales (more books of lesser quality shouldn’t).  Don’t give up the day job.  If you feel you have something really good on your hands, approach a publisher – tree or e – and wait for some feedback.  Don’t take any of it personally (I’ve made that mistake more than once), whether it be a harsh comment, malice, no sales for a couple of days, or whatever form the adversities take; it really isn’t something to get hurt feelings about and if you aren’t able to rise above things you may well go crazy.  A good cover always helps.  A good title is cool.  If you can get some quotes under your belt, so much the better.  Don’t be too hyped on the forum boards and try to understand the rules of self-promotion wherever you are.  Leave the trolls to share the poison between themselves.  Keep pushing and asking and begging and prostituting until you can’t take it any more.  Try and break out of the obvious circles when seeking publicity.  Be patient.  Don’t stop writing because you’re trying to sell something you worked on a couple of years before.  When your book leaps in the Amazon charts, don’t take it as a sign that you’re the new Hemingway or Atkinson, because a day or so after you might be lurking in the hundred-thousands.  Listen to advice, especially about your work.  Try and improve.  Write to the best of your ability.  And don’t give up the day job (I know I said that already) no matter how quickly it seems to be killing you.  Enjoy it.

IN LOCO PARENTIS sounds like your next big project, can you give us the pitch?

Teacher noir.

We have a youngish male teacher working with Reception class children.  He’s a bit mixed up, particularly when it comes to women and in relation to being overly protective of his charges.

Not only does he gets mixed up with a rather sexy parent from the school, he’s half-in half-out of a relationship with his step-sister.

When a drug-addicted parent deals out a little too much discipline to his son,the teacher makes sure that it won’t happen again and when a colleague slaps a child round the head it leads to some pretty unpleasant results.

It’s a novel where the protagonist unravels and where the heart and the head of the reader might well end up in conflict, or at least I hope it is.

I haven’t read ‘The Slap’, but I’m guessing it could be  ‘the hard slap’ or ‘the slap with teeth’.

I haven’t read ‘The Slap’ either, but this sounds a little close to home, at least with the protagonist being a teacher. What has being a teacher brought to the table as a writer?

For that particular piece, one hell of a lot.

In general terms, it’s difficult to say exactly.

I do get to experience aspects of the world that I’d rather not have to see.  There are situations that I become fairly closely involved with that shine a light on what poverty and substance abuse and the like can really do.

Perhaps what comes through the most frequently in my work relates to the fact that no matter how tough things get for a child, family or community, there always needs to be someone around trying to ignite or maintain a flicker of hope.  Without the hope, everyone would most likely give up.  Maybe that’s why my tales seem to have that angle.

And where things go badly wrong and hope is useless, I guess it comes out in  my stories in the good I try to find or the reasons (for that some may read liberal excuses, but I can’t change that outlook any more than I can completely transform a child’s actions in a situation when it’s all they’ve ever known).

What does 2012 and beyond have in store for Nigel Bird? More collections, anthologies?

I’ve just started something new.

It’s not the novel I was anticipating at all, but the idea came and I’m rolling with it in my usual organic way.  It started with the desire to write about someone with ‘locked in syndrome’ and has evolved from there.

Pulp Ink 2 is well on its way now.  We’ve had a great response and some brilliant stories.  Chris and I are hoping to roll up our sleeves a little more in terms of the editing this time round.  I’m a little more in the back seat this time; it’s not the way we set out, it’s just the way of the flow.

I’ve been lucky enough to have had a story accepted for Lost Children’s follow up and I have a couple of juicy invites that I hope I can live up to.

If I were to pick a five year path, I guess it would be to write and have published a couple of high quality novels of novellas and that I have enough material for another collection.

I’m also rather enjoying reviewing books these days.  I’d like to hone some of the skills required for that and to spread the word for the writers I’m reading.

Do you have any parting words or pearls of wisdom for our readers?

Mainly thanks.  Thanks to you for this interview here.  Thanks to all those who’ve helped in so many ways.  I have shocking organisational skills, but do have a good memory for kindnesses done and will do my best to make sure they’re paid back in some small way – you can hold me to that , too; a little nudge might help if anyone feels the need.

And wisdom? My favourite quote comes from Wittgenstein, – ‘All I have to offer is my own confusion’.  I can’t tell you anything else he said, but that one phrase has become my excuse.

One more thing.  If you read something of mine and don’t rate it, see a mistake, an incongruity or room for improvement I’d be delighted to hear about it.  Just drop me a line.