The resilient mindset, overcoming blocks and living every moment of the creative journey – interview at @insideyourhead0

Today I’m on a podcast that’s not my usual territory. Although I’m talking about writing and creativity, the podcast’s main focus is psychology, self-help, neuroscience and wellness.

Inside Your Head is hosted by my friend Henry Hyde, whose name you might recognise because we’ve podcasted together before. Henry’s a writer and designer, and has taken this new direction after a health issue. He wants to explore how we tick on many levels – from our physical health to other less quantifiable aspects of our lives that are central to our wellbeing.

And here’s where creativity and writing are relevant.

Resilience and self-belief are needed for the artistic life. You carve your own path. It’s a long game. You might make plans – and nothing will turn out as you thought it would. When I started writing seriously, I hoped I’d complete a book, and if it was good enough, it would be taken up by a publisher or a literary agent and I’d begin my author career. Certainly I’ve ended up as an author, with the kind of books I hoped I’d write (and readers who like them!), but absolutely nothing went as I imagined it would.

There’s also another kind of self-belief you need as a creative artist – to discover where you truly fit. You try lots of writing styles and genres that don’t suit you until you find the right ones. You wonder sometimes – actually, quite a lot – if that’s good enough. You’re teaching yourself an artform, and learning to express yourself, and learning who you are while you look for your own distinctive style. You’re often torn down or disappointed – but gradually these experiences teach you better who you are.

There’s loads more on the podcast. Henry knows that one of my day jobs is editing a medical magazine, so we talked about the problems facing doctors in the UK at the moment – which I see first hand, from their own pens. It certainly puts creative struggles into perspective when you talk to people who handle life and death. This led to a very interesting chat about emotionally demanding jobs, and the people who are suited to them and are also burned out by them – an issue I tackled in my first novel, My Memories of a Future Life.

So it’s a wide-ranging and often surprising conversation. Did you spot horses in the introduction Henry’s written? Indeed you did. Horses teach you a lot about your inner chatter, self-trust and self-compassion. Do come over.

If you’d like help with your writing, my Nail Your Novel books are here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

The accidental way to build a writing career – interview at @AnnalisaCrawf

How did I get where I am? I’ve asked that question of a number of authors (in my series, How I Made My Writing Career). One of my interviewees, Annalisa Crawford, has returned the invitation and today I find myself in her interview chair.

I’m probably a typical writer – introverted, at home in my own head, not the kind of person to thrust myself into the spotlight or to think I had anything significant to say. But somehow I ended up with my name on book covers, and writing novels for others, and even helping other writers to grow up into authors.

We discuss how that happened, the jobs I did that pointed the way, and how I discovered what kind of writing I should be doing.

Do come over.

If you’d like help with your writing, my Nail Your Novel books are here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

What’s literary fiction and how do you sell it? Interview on the Self-Publishing Show @SelfPubForm

What’s literary fiction? Today I’m on Mark Dawson and James Blatch’s Self-Publishing Show, wrangling this question.

We talk about definitions, of course. Where literary and genre overlap. What literary isn’t. We also talk about marketing strategies for literary, and about my work as an editor, ghostwriter and writing coach.

Find it here.

If you’d like help with your writing, my Nail Your Novel books are here. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

How I made my writing career – poet, publisher and creative writing tutor David Starkey @WhatHaiku

David Starkey was always a writer at heart. After a few attempts at novels he found his feet in poetry, and has published a range of collections, including one that follows the plot of a series of The Sopranos. If that’s stopped you in your tracks, fear not, we will talk about it in due course. His latest book is What Just Happened: 210 Haiku Against the Trump Presidency. We’ll talk about that first.   

Roz Why did you choose the haiku form for this material?

David I initially started the series by writing one 15-line poem for each month of Trump’s awful presidency, but he did so many bad things in any given month, I quickly realized that I would have to go week-by-week. Around that point, I remembered David Trinidad’s hilarious Peyton Place: A Haiku Soap Opera in which he’d written one haiku for each episode of that 1960s TV show. I didn’t want my book to turn into an epic, so that seemed like a good model, and I decided to stick to the traditional five-seven-five syllable pattern, which forced me to be careful with every syllable. Haiku purists might have trouble with some of the poems, but my subject matter was anything but pure.

Roz Why is poetry your chosen medium?

David When I was young, I wanted to be a novelist, but although I’ve finished a couple of (thankfully unpublished) novels, I haven’t yet been able to get the hang of it—though I haven’t given up yet. But basically, I became a poet by default. I had a knack for it, and the longer I worked at my craft—it’s been 35 years since I published my first poem—the better I got. At least, I hope that’s the case.

Roz What is poetry? Is it possible to answer this? What do you look for in a poem?

David Just about anything can become a good poem—I’m open to whatever a poet wants to try. But when it comes to the poems I really enjoy reading, they’re usually imagistic, concise and alive to the possibilities of sound. I like to hear assonance and consonance in service of the phrasing.

Roz How did you arrive at this creative career? Were your family in the arts or are you an outlier?

David Both my parents were schoolteachers, and while they valued education, they certainly weren’t big into the arts. I grew up in a lower-middle-class neighbourhood in unexciting Sacramento, California—it wasn’t the sort of place where anyone is expected to write poetry.

Roz Did you enter the world of professional creative writing directly or did you take a longer road?

David I always liked to write, but before I became an academic, I worked for an insurance company for a while. That was pretty miserable.

Roz You’ve got an impressive range of credits, with poetry published in American Scholar, Georgia Review, Prairie Schooner, Southern Review and many others. How long did it take to get serious attention for your work?

David I started getting published fairly quickly after I began writing seriously, but that’s probably because I was so persistent in submitting my work. This was back in the mid-80s, when you typed up your poems on a typewriter, used Wite-Out to make corrections, and surreptitiously made copies on the office copy machine.

Roz Were there many rejections? Are there still many rejections?

David Yes, I’ve been rejected countless times, and no doubt there are many more rejections ahead. I think that rejection just means that a writer, especially a poet, is still willing to take risks and experiment, to get things wrong first, before getting them right.

Roz I love that. But I think rejection is different in longform publishing. Certainly a book will be rejected if it needs more work, but it might also be rejected because it doesn’t suit the publisher’s audience.  

In your poetry, what are your main themes and concerns?

David I write a lot about family, and though I’ve just called my hometown ‘unexciting’, I frequently draw on the city and surrounding farmlands and foothills for material.

Roz Have these changed over the years?

David As I get older, I’ve begun writing more elegies. And I’m always open to some odd incident or happenstance becoming the germ for a poem. In fact, if I am an “underappreciated” poet, as I read a few years back, it’s partly because my tastes and subject matter are so idiosyncratic. You get a sense of that eccentricity in What Just Happened, which mines another of my favourite themes: politics, in particular America’s perpetually disappointing behaviour, which we saw so clearly during Trump’s reign.

Roz If I could whistle up a time warp, what would Today’s David say to Earlier David?

David I hope I’m more sophisticated and more concise than I was three and a half decades ago, but of course there’s a certain jouissance any young writer has that’s inevitably going to diminish over time. That said, I think tonally my work has been pretty consistent: there’s always lots of irony in a David Starkey poem.

Roz You’ve had 11 poetry collections published with small presses. Tell me about that.

David I completed my MFA in poetry writing at Louisiana State University in 1990, and of course I was hoping I would be the Next Big Thing. I’d received a lot of praise in my graduate program, but there are a lot of graduate programs in creative writing, and more coming online all the time. So, when I didn’t win the Yale Younger Poets prize, or any of its equivalents, I soon realized that my best publication chances were going to come through small presses, which are generally more welcoming to someone like me, who doesn’t excel at schmoozing.

Roz Is it possible to sum up each of your collections in a word or two? If we put them all together, would we see the barometer of David’s life?

David I don’t know that I could sum up each book in a single word, but I’d say the arc has gone from very small micro-presses to those that are more robust in marketing their writers’ work. I think if you read the books from first to most recent, you would get a pretty good sense of what was happening in my life and my general attitude toward things. One big caveat: I write frequently from other people’s perspectives—in fact, I’d say a good half of everything I’ve written is some form of a dramatic monologue. So, the actual details in any given poem might be completely fabricated. And, again, I’m liable to write a poem about anything, so there are a lot of tangents in there.

Roz Let’s talk about editing poets. How does one edit poets? And what do poets look for in an editor?

David I think serious poets want to write the best poem they are capable of writing at that particular moment. A good editor is someone who works with the material that’s already there, who doesn’t try and take over another person’s poem and make it their own.

Roz What about teaching? How does one teach poets? What kind of guidance do they need and seek?

David What young poets need and seek don’t always match up. When poets are first starting out, as they usually are when they take a community college creative writing class, they really benefit from being exposed to lots of different writing that they probably didn’t know existed. For instance, if all you’ve read is sentimental verse celebrating birthdays and anniversaries, or on the other end of the spectrum, you think poetry equals hip-hop, and that’s it, you’re going to be surprised by how many other ways people have found to effectively express themselves. My creative writing textbook is going into its fourth edition this year, and I think part of its success is due to how keen I’ve been to seek out and share a wide variety of new writing, in all genres.

Roz I notice Wikipedia mentions your collection Like a Soprano, based on the TV series. This is such a surprising idea. How did you come to write it?

David The book by David Trinidad that I mentioned earlier was an inspiration for Like a Soprano. However, instead of writing one haiku for each episode, I went with the prose poem, which gave me a lot more flexibility to handle the nuances of the show. I was also thinking of how in centuries gone by poets would write about the gods and heroes, and yet they seem so distant to us now. Our new mythology is formed by television—and movies and video games—and Tony Soprano is a larger-than-life figure for our time.

One of the main characters in the show—Michael Imperioli, who played Christopher Moltisanti—lives in Santa Barbara and was nice enough to write a blurb, so I thought Like a Soprano would make a bigger splash than it did. But it turns out that if you make a Venn diagram, the overlap between viewers of The Sopranos and readers of literary poetry is, alas, pretty small.

Roz The unexpected combination of genres and readerships… This is also a hazard for longform writers. Anyway, tell me about another work of yours that you wish would get more attention.

David It’s the book I published just before What Just Happened. It’s called Dance, You Monster, to My Soft Song, and it contains the best poems I wrote between 2014, when Like a Soprano was published, and 2020. Like so many pandemic-era poetry books, it seems to have been lost in the shuffle.

Roz You founded – or helped to found – the creative writing programme at Santa Barbara City College. How did that happen?

David Prior to my arrival at City College, creative writing was just a couple of classes offered every once in a while. As founding director, I went through all the official curriculum development that a college requires, gave the offerings some structure, set up a reading series, instituted student writing contests, and so forth.

Roz Does this mean you have created your own ideal creative writing programme – and what does that look like?

David I don’t know that it’s my ideal programme. American community colleges are designed to propel students into four-year institutions after just two years, so there’s not a lot of continuity among the student population, but I think it’s done a lot of good over the past 14 years. I just retired a month ago, and it’s been hard to let it go.

Roz You’re a co-editor of Gunpowder Press…

David I started Gunpowder Press back in 2014 because I wanted to publish two books of poetry. The first was by my late friend, David Case, who died when he was just 49. He named me as his literary executor, and I heard from publishers that bringing out a book by a relatively unknown poet who was no longer alive to promote it was a losing proposition for them, no matter how good the poems were.

Then my Santa Barbara friend Chryss Yost had a wonderful first book that she’d been having trouble publishing. As it happened, Chryss was also a whiz at book and web design, and after I published her book, I asked her to come on board as co-editor.

Most of the books we publish are through our annual Barry Spacks Poetry Prize, which is named after Santa Barbara’s first poet laureate. Chryss and I choose our 10 favourite manuscripts then forward them, without names attached, to our final judge, a prominent poet who changes every year. We also have an anthology series, started by Chryss, that features poets of California’s Central Coast.

Roz Also you’re co-editor of the California Review of Books…

David I got the idea for The California Review of Books when our local arts paper, where I’d been publishing book reviews for years, decided to focus only on local writers. I teamed up with Brian Tanguay, another of the paper’s long-time reviewers, and Chryss Yost, and we’ve been publishing reviews since January.

Roz For both, are there any mistakes or shortcomings you see frequently in submissions from authors?

David It’s the standard thing most editors would say: some potential contributors don’t seem to be aware of the type of work we publish. But the submission chances for the two are very different, at least at the moment. Getting even a very good poetry book published by Gunpowder is really difficult, but getting a strong, 1,000-word review published in CRB is absolutely doable.

Roz What have I forgotten? Oh yes, your six textbooks on creative writing, and several other textbooks you’ve edited or contributed to. Do these represent changes or refinements to your teaching approach over the years?

David I think a lot of students, and teachers, dismiss textbooks as a not very important genre of writing, and it’s true some are pretty horrible. However, it’s extraordinarily hard, and time-consuming, to write a good textbook. As my teaching matured, I did become a better—and, yes, more refined—writer of textbooks, certainly since the first one was published in 1999. The older you get, though, the more actively you have to work to place yourself in the mind of a 20-year old student.

Roz What are you working on at the moment?

David I’ve started and stopped several projects since I finished What Just Happened. I usually have a sense after five or six pages that something has the potential to make it to the finish line, and if it doesn’t, I will quickly abandon ship. I like Keats’s thought that ‘If it come not as naturally as the leaves to a tree, it had better not come at all.’ That doesn’t mean there won’t be plenty of hard work and revision, but I don’t want to feel like I’m swimming upstream—to use my third cliché of this response.

Roz You’re teaching the writers of tomorrow. You’re publishing them too, and your own body of respected work. Are you living the dream?

David I always remind myself how lucky I am to have the time to write at all. Most people are too busy trying to make a living, or simply finding edible food and clean water, to even think about writing poetry. Having the chance to sit down and say what’s on my mind is an incredible luxury. I’m definitely living the dream.

Find David on Facebook and tweet him at @WhatHaiku

Find What Just Happened, which is published by Vine Leaves Press, here

If you’d like help with your writing, my Nail Your Novel books are here. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

Making my honest art – writing and publishing literary fiction: interview at @thecreativepenn

Today I’m at Joanna Penn’s now legendary podcast, The Creative Penn, talking about writing and publishing literary fiction.

We cover the writing process for a very long-haul book (ie Ever Rest), the research process, creative revision, how you battle on when you’ve lost your way, and how you design a cover for a book that doesn’t have established genre parameters.

We also cover another big question – if literary fiction isn’t the most predictably lucrative kind of book, and marketing is tricky, what are the guaranteed rewards? Hence the line about making honest art.

As always, I thoroughly enjoyed our discussion. Do come over.

If you’re curious about my creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

How to become an author (and how to stay one) – interview at Write-Hearted with @MisterWakefield

How do you become an author? I realised, while recording this interview, that for me it had two elements. There was an Outer Me, who didn’t know what I wanted to do in life, and an Inner Me who did. If only they could talk to each other, but they didn’t, and that was the problem.

Outer Me went to school, took advice about careers, wondered how on earth I’d earn a living. Inner Me spoke only in Yes and No, like an oracle. No, you don’t want to do marketing or accountancy or any of those graduate careers.

So what should I do? said Outer Me.

When you find the right thing, said Inner Me, I’ll let you know.

One day, after being fired from a job to which I was very unsuited, I saw an advert for a temporary proofreader at a local publisher. I arrived there, a place devoted to the making of books. Yes, said Inner Me. This will do nicely.

That’s one of the subjects we’re talking about on this podcast, Write-Hearted, hosted by book coach and author Stuart Wakefield. It was fun!

We also talked about –

Ghostwriting versus writing the books of your art and soul (BTW, I have a professional course for ghostwriters)

What I learned from working with the strictest editors in the business

How to solve plot holes and keep writing when the muse is AWOL

How to manage your writing and editing so you can make measurable and consistent progress, even if the book is taking you years (like mine do)

The rewards of mentoring

How to live with another writer (and not kill each other).

You can find Stuart on Twitter @MisterWakefield. Watch our interview on YouTube or listen on Write-Hearted’s Spotify page. Do come over.

If you’re looking for detailed writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

How I made my writing career – novelist, playwright, photographer, actor Steve Zettler @szettlerauthor

How do you become a fiction writer? For some people, it’s almost by accident. That’s how it was for Steve Zettler, but after a series of cosy mysteries, another series of thrillers and a play, he seems to have found a good groove. His latest title, Careless Love, puts romance and thriller together, and is released today.  

Roz Steve, you’re a photographer, actor and author. And according to your website you have an even wider CV. In the great tradition of adventurous arty folk, you’ve done an encyclopaedia of jobs. To pick a few: bricklayer, bartender. And that’s just the Bs.

Steve Ha! I read this as BS.

Roz I had a feeling you would.

Let’s continue being predictable. Those jobs must have given you great material.

Steve It’s been an interesting ride, which has left me penniless on more than one occasion. I’ve always travelled in whatever direction the wind is blowing, even from an early age. There’s never been anything that vaguely resembled a master plan; I’ve never once considered where I might be, what I might be doing, at age 40 or 50. Thus the endless list of assorted occupations – I get bored easily and don’t like going in reverse, so it’s always been something different, a new way to pay the bills. It’s put me in close proximity with a whole gaggle of very interesting people.

In the early 70s no one had come up with the term PTSD (they were still calling it shell-shock), but if they had labelled it PTSD I could have been one of their poster-boys. Seventeen months’ combat duty in Vietnam had left my brains resembling scrambled eggs and I found photography to be the perfect escape. I was a freelancer in NYC and it allowed me to live a life where I spoke to almost no one. It took me about seven years to become a socially acceptable animal.

The downside of freelancing; I was broke most of the time and needed to tend bar, drive a taxi etc to pay the bills. But photography forced me to become a consummate observer, which I’ve been to this day. So with all of the twists and turns my life has taken I’ve been able to study a very divergent assortment of people and landscapes. And I’ve never ceased to be fascinated by what I see and hear.

I ended up doing a lot of photography for theatre companies and taking headshots for actors. One theatre company was doing a children’s show and an actor injured himself. They were in need of a warm body and asked me to take his place. They neglected to tell me that the Handsome Prince was blind as a bat and we would have a sword fight, but I lived through it and this kicked off my acting career.

So I was now a new person with a new title; the wind had taken me elsewhere. I threw all my black and white negatives in the trash and sold my cameras.

And by the way, acting is a fabulous training ground for writers. I’ve often suggested just that to fellow writers; take an acting class, get to know your characters from the inside out, live their lives.

Roz Yes! I’ve often thought this while polishing dialogue. You have to know what it’s like to be the character. Also, know why it’s good to be them, especially if their actions aren’t nice. But I’ve never had the chance to discuss this with an actor. Glad you raised this.

Steve Anyway, I worked as an actor for a number of years in NYC and Los Angeles. My wife was an actor as well but when we moved to LA she began to write. Her first novel was published by Simon and Schuster, and her agent was the infamous Irving ‘Swifty’ Lazar. We moved to an island off the coast of Connecticut. The wind just blew us back east. But there wasn’t a lot there, acting-wise, so I started to write. And this will annoy the hell out of every writer who reads this: I simply gave my first novel to my wife’s agent and he got me a two-book deal. I remember thinking, holy crap, I’m going to have to write another book.

Roz Holy crap, indeed. So that’s how writing became ‘the thing’?

Steve I never did give up acting and photography altogether; I bought another camera when things went digital. I now live in Philadelphia. My passion for stage acting has left me but I work with young filmmakers getting their careers off the ground and the occasional independent film shooting in the area. It’s more of a desire to mix it up with the younger generation than anything else. Their energy is contagious, even though the money’s short.

Photography-wise, I generally do stuff for free, unless it’s a commercial entity. Since everything is now digital it’s easy enough for me to help an organization, or author, or actor, with photos and send jpegs. There’s no longer the cost of film or the annoyance of darkroom work, so why not help people?

Roz Were your family artistic in any way?

Steve Not remotely. My dad owned a bar/restaurant and we lived above it. It was in the county north of Philadelphia and was basically a country inn. It was a very rural and very charming place along the Delaware River and essentially a shack-up spot for New York writers, actors, directors and producers. Some crazy people drifted through when I was a kid. I would never mention who spent the night there, but I still have the guest registry from 1936 through 1965. Regular customers at the restaurant included Pearl Buck, John Dos Passos, Robert Frost, James Michener, Oscar Hammerstein and the like. I was much too young to know who they were, let alone converse with them, but they attracted quite a bit of attention when they walked in for dinner. It seemed like the life I wanted to live.

Roz What would you tell your 16-year-old self?

Steve I’m afraid the 16-year-old Stevie never listened to anyone or took anyone’s advice. He’d look at me and say. ‘What the hell do you know?’

I’ve made some really bad decisions in my life and had to live with them. In a strange way that has become a blessing. I don’t lie to myself. I guess if I told Stevie anything it would be to slow down a little. There’s a wonderful Billy Joel song called ‘Vienna’. I’d tell him to listen to it over and over. Unfortunately it wasn’t around when Stevie was 16.

Roz Your novels are mainly suspense thrillers – the Joe Bradlee series (Double Identity and The Second Man), also Ronin, a standalone thriller. Why that genre?

Steve I really enjoy the format, both in reading and writing. You know from the beginning who’s the good guy and who’s the bad guy, and most likely, by the end, the good guy is going to crush the bad guy.

I love the ride of a thriller. You can go wherever you want. People walk into the story out of nowhere and you have to deal with them; give them a life and a purpose for being there. You can’t disregard them. You can’t tell them to get the hell out of your book because they won’t. They stay there and pester you until you give them that purpose. I think writing thrillers is as much of a joy ride for the writer as it is (hopefully) for the reader.

Roz What’s the characteristic flavour of a Zettler thriller?

Steve I take nothing too seriously. My protagonists are always self-deprecating and I can’t seem to prevent myself from pointing out some of the lunacy that exists in the world. Hypocrites are often my favourite target.

Roz What’s the Steve writing method?

Steve I have to admit, I’m not a consummate writer. I can go a long time without writing a thing and it doesn’t bother me. I don’t have that burning desire to write. My wife does; I don’t. At some point I seem to get visited by a spirit that tells me to write and if that spirit is off fishing in Alaska I’m not going to write a damn thing. But then the spirit shows up and gives me the first sentence of a novel and informs me where the novel’s going to end and tells me to fill in the middle. If I don’t have that first sentence, I’m not going anywhere.

And interestingly the first sentence never remains anchored as the first sentence, but it always shows up in the novel somewhere; it becomes the driving metaphor.

Roz You also write crossword mysteries under the name Nero Blanc, with your wife, Cordelia Frances Biddle.

Steve There are 12 Nero Blanc titles. Each book contains a series of crossword puzzles – solve the puzzle, solve the crime. Crossword puzzles are black and white, thus the pen name; nero is black in Italian, blanc is white in French.

The mysteries fall into the ‘cosy’ category, meaning no swear words, no sexual situations. There’s a cute couple who solve the crimes, with sort of a Nick and Nora relationship. They have a lot of fun with one another, which is pretty much how Cordelia and I travel through life. More often than not at book signings people would say they didn’t bother with the puzzles; they only read the books as romance novels.

Roz Doh. Why didn’t I spot that?

Steve Cordelia and I had, for quite a while, been scouting for something we could write together; anything, travel books, cookbooks, whatever. Remember we were on this island with a lot of time. We were having lunch one day, sharing the crossword puzzle, when she got so frustrated she threw down the pen and said ‘Someone should just kill this guy’, referring to the person who had edited the puzzle. We were off and running.

Roz So it’s good, working with your spouse?

Steve Cordelia and I worked together as actors; that’s how we met. I’ve always maintained that acting teachers should understand that if they assign students a scene from La Ronde, those students are going to end up sleeping with one another to properly research their characters.

But once again, this acting background was invaluable when it came to collaborating as writers. As actors we had become very comfortable with taking direction. Directors can be very blunt. Actors need to listen and make it work, no matter how biting the criticism might be. Often Cordelia and I would act out dialogue scenes and write them as we had improved them. And the main characters were simply a reflection of our own relationship. We had a great time writing Nero Blanc together, but eventually wanted to get back to the swear words and sexual situations.

Roz Your latest novel, Careless Love, is published by Vine Leaves Press. How did you end up there?

Steve My thrillers and mysteries were published by big houses, and quite often, as I’m sure you know, literary fiction and poetry get the short end of the stick from the big boys. And their editors can be somewhat, shall we say, mercenary? They want you to stay on the horse you rode in on.

But it seemed with each book the editors became more and more hands off. I wanted a smaller, more personal, literary publisher, so that’s the direction I went. Vine Leaves Press was the first to respond to my query. They did so very quickly, which was tremendously encouraging. They were very positive, and I have to say they’ve proven to be far more supportive than my previous editors and publishers. Other publishers have since contacted me about Careless Love. There is something wonderful about being able to say, ‘Sorry,  that ship has sailed’.

Roz What inspired Careless Love?

Steve It came from my soul. It’s been bouncing around in there for decades. The spirit finally visited me, gave me the first sentence, and told me how the novel was going to end.

Roz What would readers of your previous work recognise in Careless Love?

Steve Oddly, it does almost have that thriller format, and I think readers of my previous work would enjoy it for that reason. But I would call it literary romantic suspense – is that a category? It is inspired by true events. Every incident in Careless Love has happened to me or someone I’ve been very close to.

Roz Why that title?

Steve It was inspired by a blues song written in 1921 by WC Handy. It’s been recorded by almost every blues singer since, but Madeleine Peyroux’s cover just brought it all home for me. There are some blues songs that really must be sung by a woman to hit the mark, and this one of them. It’s just two words, but they can be interpreted so many ways. My novel is very much a woman’s story. Like the song, I’ve interpreted careless love to mean that love is careless, it will grab your heart, rip it out and stomp on it if you’re not careful. But when you’re deeply in love it’s not so easy being careful.

Roz What’s coming next?

Steve I’m halfway through a memoir focused on the year I was eight years old, discovering my great aunt dead in her bedroom, living above my dad’s restaurant and rubbing elbows with the celebs out front and the down-and-outers who worked in the kitchen. It was a wonderful way to grow up.

Roz Rich material indeed. Give me some unzettling final words.

Steve A seminal moment was the day I returned to the US after my months of combat duty in Vietnam. As the other Marines filed into the terminal I dropped onto my knees and kissed the tarmac. This brought on a fair amount of laughter from the others, but I stayed there, on my knees, for some time. Eventually a lieutenant joined me and did the same thing.

He then said, ‘You know we’re a couple of lucky bastards, you and me’.

I said, ‘I’d guess we all are, sir’.

He responded by saying, ‘No, you and I are luckier that the rest’.

‘How’s that, sir?’

‘Because we know how lucky we are. They don’t.’

Find Steve on his website, on Facebook, on Instagram – https://www.instagram.com/stevezettlerauthor/

And tweet him on @sZettlerAuthor

Find Careless Love here

If you’re looking for writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

How do you like to talk about books? Themes, juxtapositions and the complication of being human – an interview at Late Last Night Books @L8NiteBooks

I have a Bachelor’s degree in English literature, but if I’m honest, I didn’t enjoy the course. However, I loved studying English literature in the final two years of school, at A level. (Note for non-Brits: you probably call this high school, age 16-18.)

My degree disappointed me because it was too wideswept; it seemed chiefly to value an author for the way they represented a historical period, a concern of the age or a step in the evolution of a form. I was disappointed because it gave little priority to the literary work itself – the novel, poem or play as a creation of beauty and power, enduring resonance and relevance.

But A level was mainly about appreciating the work. While context wasn’t ignored, each novel, poem or play was examined in its own right, as an entity worth detailed attention. We learned to notice how the author might be playing with our hearts and minds. We discussed themes and juxtapositions and narrative devices. We might have found patterns the author did not intend; we might have overthought things. That did not matter; decoding this richness was part of the joy, a quest to discover why this work enspelled us so. We were discovering a wondrous thing – the author’s craft.

I still love this. It’s my favourite way to talk about a book.

If you like that too, you might enjoy my interview here at Late Last Night Books,

The subject is Ever Rest and my interrogator is Garry Craig Powell, a former creative writing professor and author of the prizewinning short story collection Stoning The Devil (which you might remember from his appearance on The Undercover Soundtrack).

We talk about juxtapositions. Why I put this with that. The man frozen in the ice, as young as the day he went in, and the people who remember that day and are now 20 years older.

We talk about themes and narrative aims. We talk about places where we can be gods (playing music to a crowd of 10,000) and places where we are too fragile to survive (the top of Everest). We talk about love and death and loss, the massive complication of being human. And things I wasn’t aware of until Garry asked. Do come over.

Do bring your own questions too if you’ve already read the novel – or you can drop them in the comments here.

Would you enjoy Ever Rest? Here are a few reviews to help you decide.

If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

On nailing your novel, finding your blind spots and writing with artistic integrity. And a few horses. Interview with @CarlyKadeAuthor

Today I’m at the online home of Carly Kade, an award-winning author and creativity coach who helps authors start and develop their writing careers.

We talk about writing, writing processes and deepening your craft by learning about your own blind spots – and strengths.

Carly was interested in my career as a ghostwriter. We talk about that and about the challenges of discovering my own voice after writing in the voices (and souls) of others. (I have a professional ghostwriting course if you want to know more.)

Whoa. You’ll have spotted the word ‘equestrian’ in the description. Carly’s own writing revolves around her lifelong love of horses – she writes the In The Reins series of equestrian romances. So we compare notes on being rider-writers, the particular challenges of horse life, how this affects our approach to writing problems… and probably the odd heartwarming anecdote. A mention of my novel Lifeform Three, too.

Our interview is also available on video – follow this link to find us on her YouTube channel. Though I’m afraid we couldn’t bring our horses to our computers for the recording so these pictures will have to do instead. Do trot over.

Meanwhile, I have a new novel out this month –Ever Rest. Find it in all print and ebook formats.

What’s it like? Here are a few reviews to help you decide.

If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

Your first pages – 5 more book openings critiqued by a literary agent, author/Bookstagrammer @KateESalisbury (and me!) at @Litopia

I’ve just guested again at Litopia, the online writers’ colony and community. Each week they have a YouTube show, Pop-Up Submissions, where five manuscripts are read and critiqued live on air by literary agent Peter Cox @agentpete and a guest, or sometimes two. This time the other guest was one of Litopia’s producers, Kate Salisbury, who I’ve corresponded with numerous times but never met. She’s formidably qualified for the critic role, being herself a memoirist, YA author, school librarian and Bookstagrammer.

The format is simple. Five manuscripts, each with a short blurb. We hear the opening pages, then discuss how they’re working – exactly as agents and publishers would consider a manuscript that arrived in their inbox.

As always, the submissions had many strengths. Issues we discussed included how much detail to include in a blurb, setting up an emotional hook for the reader, the suggestions inherent in a title, what literary fiction is in today’s market, whether a story has to be made socially relevant, introducing the world in science fiction and historical fiction, digressions and flashbacks in memoir, and how the author’s voice can create a sense of charm or bleakness.

Enjoy! And if you’ve got a manuscript you’d like critiqued, apply here.

PS I’ve had a release of my own this week – my third novel Ever Rest. Find it here in all print and ebook formats.

What’s it like? Here are a few reviews to help you decide.

If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.