Posts Tagged interviews
Device addiction, how we treat ‘others’, and a love of horses – talking to @authorgreene about World Fantasy Award longlisted Lifeform Three
We talk about the authors who inspired me, the novel’s issues and questions. Actually, where do we start with that? I love novels that pose questions! Here are some of them – what makes us human, how we are persuaded to conform even though we have free will and rights, how our devices enable us but also program us, how nature and animals are an essential escape, how we treat people who aren’t like us, why Ray Bradbury is a genius, toxic capitalism and corporate bullying, climate change, visions of the future and places I would be sad to lose. Here’s more about Lifeform Three if you want to know about it.
Randal’s also a writer, so we also get into the practical stuff – how I develop a complex set of themes and ideas into a readable story, how I juggle creative writing with other work that uses those same faculties, and why writing is always a long game for me. 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.
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 – award-winning novelist and short story writer Ann S Epstein @asewovenwords
How do you end up as a fiction writer? Some people learn to use their word skills for a career, then also discover a strong creative calling. My guest today, Ann S Epstein, wrote psychology papers for many years and then discovered joy in writing fiction. Now she has a solid catalogue of published short stories, a Pushcart Prize nomination for creative nonfiction, the Walter Sullivan prize in fiction, and an Editors’ Choice selection by Historical Novel Review. Her fourth work of longform historical fiction, The Great Stork Derby is released this week. We talk about this – and many other moments that slowly added up to Ann S Epstein, author.
Ann, was your family creative in any way or are you an outlier?
I didn’t grow up in a creative family, although my mother taught us to appreciate art and music. My father liked to make things for our small Bronx apartment, but these were primarily utilitarian: radiator covers, storage chests, and step stools. (I come from a line of very short people.) As a child, I loved to draw and write, and continued these activities long after my friends abandoned them. However, the arts were seen as a “hobby,” not a means of livelihood.
My brother and I both became social scientists – he an anthropologist, me a psychologist – and we each produced a lot of professional writing, but not creative writing. And yet, at some point later in adulthood, he began to write poetry and I started to write fiction.
Tell me more about that.
I thought it would be fun to try writing fiction when I retired. Then I asked myself, “Why wait? Why not give a go now?” So, I did, and I loved it.
Have you taken formal instruction in writing?
I’ve taken a couple of classes and several workshops, but most of what I’ve learned has come from being a long-time member of two fantastic critique groups. We’re supportive and encouraging, but also honest in our feedback. Our participation stems from a need to improve, not to be patted on the back. (Or skewered.)
I learn as much by reading and giving thoughtful feedback to others as I do from receiving their input about my work. We celebrate one another’s successes and, perhaps best of all, commiserate over our inevitable rejections.
I’ve also learned from developmental editors who make me think about what I’ve written. Their ideas and questions push me to go deeper and wider.
You also have a PhD in developmental psychology and an MFA in textiles. What fulfils you about these disciplines?
My 40-plus years as a developmental psychologist were extremely gratifying. I was a researcher and curriculum developer at an educational nonprofit foundation whose mission was helping at-risk children and their families and teachers. One of my books, The Intentional Teacher (published by the National Association for the Education of Young Children) remains a bestseller in the field, and has been translated into several languages. I still hear from readers around the world about how the book affected their relationships with children and the adults who work with them. Knowing that the foundation’s work, and my contribution to it, made a significant difference in the quality of their lives reassures me that my chosen career was meaningful.
I actually got my MFA 10 years after my PhD. As I said, I never stopped making art. In addition to drawing, I loved working with fibre. While I was in graduate school in psychology, macrame was the big thing. (I’m still doing penance for creating knotted and beaded jute wall hangings and planters.) The local YMCA offered a class in weaving. I signed up and immediately knew I’d found my medium.
Do they find their way into your writing?
Psychology and art certainly do. My character-driven stories explore relationships between parents and children, siblings, friends, co-workers and even the nameless people we cross paths with who make us wonder about their lives, and our own. I’m intrigued by the challenge of making an “unlikable” character sympathetic by humanizing them.
My immersion in art makes me attentive to imagery. And I love textiles because of how fibre feels passing through my fingers. The act of weaving — feet pounding on treadles, heddles clanking up and down, shuttles flying back and forth — establishes a noisy whole-body rhythm. Each type of yarn, plant or animal, has its own smell.
Ultimately, in art or writing, I try to make the disparate pieces coalesce into a satisfying whole.
What non-writing jobs have you done/ do you still do?
In college, I worked summers at an office and a bank. In graduate school, I was a research assistant and a teaching fellow. After I got the MFA, I changed my schedule at the nonprofit to four, 10-hour days, and used the fifth weekday (and weekends) to make art. I exhibited my work in dozens of shows, and sold several large pieces to corporate clients. Later, when I began writing, I kept the same schedule and shifted some hours from creating at the loom to the keyboard.
I’m also a firm believer in (unpaid) community service. In high school, I was a Junior Red Cross volunteer. In college, I was active in the civil rights movement and tutored youth from low-income families. I currently serve on the board of my Jewish community centre.
You have four novels and a solid catalogue of short stories. What makes an Ann S Epstein work?
My work is character driven, both inner and relational, but I’m also attentive to plot as the driver of each character’s arc. The people I write about might be called underdogs or outsiders, those who are discriminated against because of poverty, religion, race or ethnicity, gender, immigrant status, handicap or other otherness.
My characters come from diverse backgrounds (gender, religion, race and ethnicity, countries) and ages (very young to very old). I favour ambiguity over tidy endings; I want readers to keep writing the story in their own heads. I’m not a nihilist or pessimist, but I accept that people are flawed. Yet I believe that hope is a renewable resource. Many of my works are historical.
Any signature periods or settings?
They are set in the years from before WWI to after WWII, but bear messages for today. The novels often span several decades so that parts are more contemporary. I love researching the periods I write about, but my emphasis is on fiction, not history. Other than being a stickler for certain details (I abhor anachronisms), I invent people and events as long as they’re consistent with the time, place, and culture I’m writing about. I’m delighted, after finishing a manuscript, if I can no longer remember what is real and what I invented.
On your website you have a quote about Susan Sontag. To paraphrase: becoming a writer is a long process of apprenticeship and failure. You comment that you find this reassuring as you look at your own evolution as a writer. I can certainly identify with that. The first novel of my own that I published (after I was a ghostwriter) was a book I’d been incubating for about 18 years. I sent it to publishers and agents, who were encouraging, but really I was trying to write something I wasn’t ready for. Eventually I wrote that novel properly, and it taught me to be the writer I am now. So that’s what ‘apprenticeship’ looked like for me – and of course apprenticeship never ends. What did apprenticeship look like for you?
In the two decades I’ve been writing fiction, perhaps the greatest change was having the courage to write about things that were NOT part of my own experience. My early stories were inspired by the people and events that populated my childhood. However, I quickly learned the freedom of writing from my imagination, not my memories, although I’ll draw on the latter to add details.
Not having formally studied creative writing, my apprenticeship has meant incrementally mastering the craft, including how to write dialogue, where to start a story (endings are easier for me; beginnings are harder to nail), and when to kill my darlings. Like every writer, I’ve learned the importance of (re, re, re) revision.
Me too. I’m a total reviser. Revision is where I do my most creative work.
I also read differently than before I began to write. I’m not overly analytical (that would drain the pleasure), but I’m more aware of the mastery behind a passage that makes me stop in admiration, awe, and (I admit) an appreciative twinge of envy.
How did you end up at Vine Leaves Press?
In December 2015, I saw a call for submissions in Poets & Writers and sent a query for On the Shore. Two months later VLP requested the full manuscript and the following month they wrote that they wanted to publish the novel and included an amazing review by Peter Snell.
The bookseller Peter Snell! We’re good friends! I might even have introduced him to VLP/ (BTW, I feel I should mention our radio show, So You Want To Be A Writer…)
Peter has also given the go-ahead to my two other VLP books, Tazia and Gemma and now The Great Stork Derby. Pending the response to this third book, VLP has also accepted a fourth. So, I’m among those fortunate authors who can laud and thank Peter for being our gateway to VLP publication.
An unexpected benefit has been joining the international VLP community. Not only do its members connect with a group of talented writers and staff, we support one another through every stage of the publication process, and cheer our individual and collective achievements in the literary world at large. I’m in awe of what Jessica Bell has created and continues to innovate and build upon.
Amen to that. And here’s an interview with Jessica herself.
Ann, tell me about your latest release, The Great Stork Derby.
Based on a bizarre but real event in Canadian history, The Great Stork Derby begins with a husband pressuring his wife to have babies to win a large cash prize. In 1926, an eccentric millionaire leaves most of his estate to the Toronto woman who has the most babies in the 10 years following his death. Emm Benbow convinces his wife, Izora, to enter the contest. His ambition becomes an obsession and Emm ends up disappointed by his large family and alienated from his children. Fifty years later, and now a widower, Emm is told by his doctor that he can no longer live alone. He can either go to a dreaded old age home, or move in with one of his disaffected offspring. The novel follows Emm as he tries living in turn with each of his adult children and attempts to learn that the true value of fatherhood is not measured in big prizes, but in small rewards.
That’s quite a concept.
The idea came when I stumbled on this weird event. As often happens with me, I knew there was a story, but the question was “What?” Or more accurately, “Whose?”
To find the heart of a story, I must first decide whose point of view to tell it from. An idea may incubate for years before that “aha” moment. My original short story covered the 10 years of the stork derby itself, written from the wife’s perspective. When I envisioned the novel, I knew it had to be from the husband’s viewpoint. As I said, I love the challenge of turning an unlikeable character into a sympathetic figure and Emm put me, and I hope readers, to the test.
The period from 1926 to 1976 was also fascinating to research. It encompassed the Depression, WWII, post-war boom, and emergence of the women’s and gay rights movements. So, another challenge was imagining how these societal developments affected the development of the Benbow parents and siblings. I had lots of threads to interweave in this book.
You’ve also written memoir essays. Has your memoir informed your work in fiction?
Both memoir and fiction involve storytelling. Character drives both. And creative nonfiction employs the structure and rhythm of fiction, that is, character(s) follow an arc or trajectory. They have desires, face setbacks, make discoveries, and either evolve or fail to change.
How do you think creativity operates in non-fiction if it must be based on fact?
I think of fiction as construction and memoir as reconstruction. Both mix fact and fiction. Fiction has elements of fact (such as details of time and place, the truth of human nature). And memoir is not strictly factual, but rather an honest attempt at recall. Writers and readers of memoir sign a contract in which they agree to accept that the events and people are described ‘as best remembered’.
To me, what makes memoir interesting is not a mere recitation of what happened, but the writer’s reflection and analysis. Unearthing what lies below the surface, letting the mind play with the message underlying the facts, makes the piece creative. And meaningful — to write, and to read.
Do you teach writing in any form?
For many years, I taught workshops on grant-writing, which I was very successful at; I brought in millions of dollars (public and private) for the nonprofit I worked for. The people who attended my workshops tended to be from small agencies in search of operational funds so they could serve their target audiences: children and families from low-income, minority or immigrant backgrounds.
I taught by putting students in the position of the people deciding who to grant the money to. I distributed five sample proposals that I had written, each with strengths and weaknesses, then had them debate who to grant the award(s) to. They learned from sitting on the other side of the table. I see this method as analogous to my saying we learn as much from critiquing others’ work as we do from getting feedback on our own.
You seem prolific as a short story writer. What’s your working routine like?
I don’t have a routine in the sense of sitting from X to Y o’clock at the computer, or producing a minimum number of words a day. That said, I write — or do writing tasks such as submissions or critiquing — pretty much every day, including weekends. Quite simply, I like to work! I’m an early riser, so I get an early start. I’ll usually knock off mid- to late afternoon to work in the yard, go for a walk or read. Around 5:00 PM, I head two blocks east for my daily playdate with my grandsons, aged nine and five. I keep paper and pencil handy during dinner (also at my bedside) to jot down thoughts that pop up. I think a writer’s mind never stops churning.
I mentioned I’m short. My work space where my laptop sits is an old oak kindergarten table (with child-size chairs) and I’m writing by hand at a child’s roll top desk (also antique).
Do you have any tips for submitting to literary publications?
Perseverance! You never know when something you’ve written will resonate with a reader or editor. I’ve submitted some stories dozens of times before they found a home. That said, don’t submit blindly. Learn what type of work each journal publishes and if/when you have a piece that fits (or are inspired to write one), send it in. And every time you get a response that says “Your submission wasn’t the right fit this time, but we’d love to read more,” take heart. I keep a folder labelled “Encouraging rejections.”
What question about writing do you find hardest to answer?
‘Where do your ideas originate?’ Occasionally I can trace when something I read or heard ignited a spark, but the path to the endpoint is too circuitous to pinpoint the exact source. As I craft each character or scene, I often ask myself, ‘Where on earth did that come from?’
No wonder the Greeks invented muses. Dipping into the creative well is like dunking a bucket blindly and seeing what you pull up. Thank goodness, my bucket has never come up empty.
An easy question, often asked by new writers, is how to go about writing. Should one write every day? If so, how many words? Is it best to knock out a first draft and revise it later? Should one make an outline or follow wherever the writing leads?
My answer is that there are no ‘shoulds’. My colleagues each employ a different method that suits them. So, I say, experiment and find what works for you.
Also on your website is another quote I love – from a personal essay by Peter Schjeldahl, which (in your words) ‘captures the “Did I really write that?” sensation. Writing is a present/absent process. One is at once fully immersed in the act, yet also removed to another plane’. Now you’re leaving The Great Stork Derby behind, what are your feelings? Do you want to linger with the characters and world?
My characters never leave me. Once I enter their world, I continue to occupy it. I think that’s why those with whom I’ve become deeply embedded migrate from a story to a novel. (And why they were great company during my solitary pandemic lockdown.)
However, once I complete a novel, while I may stop in to say ‘Hi’, I rarely linger. Recently, though, I pondered writing a prequel to a book I finished not long ago. The completed novel, which follows the seesawing friendship of two women from their teens to their 70s, touches on their traumatic childhoods as WWII orphans and I’d love to explore those early years in depth. The Great Stork Derby has a large cast of intriguing characters. Maybe someday, I’ll write about Emm’s death and the continuing lives of his many children over the next 50 years.
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 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).
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 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.
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.
A quick interview at the online home of book blogger Jo Barton, aka Jaffareadstoo. The questions are lighthearted, but they raise interesting issues about reading.
Writers and book bloggers have something in common – a TBR pile that’s neverending. We’re reading to keep up with recent releases. We’re reading as research. We’re reading to help our friends. And we’re reading a lot – an awful lot – to do our jobs. When do we read for ourselves?
Do you have a rule that if you start a book, you finish it? I used to. It was a habit instilled at school – abandoning a book was bad manners. I almost felt the author would know I’d sneaked out before they’d said their piece. I remember there was a moment when I decided I had to let go of that rule or I’d never get everything read that I had to. And I’m a slow reader. I like to appreciate a book, not bolt it. That raises another question – if reading is our job, do we still allow ourselves to read for pleasure? I know plenty of people in publishing who have lost their joy of the written word.
Anyway, tell me your thoughts, either here or at Jo’s blog. You’ll also see Jo and I discuss this, the oldest book on my shelves.
If you’re looking for writing advice, try my Nail Your Novel books. If you’d like to know more about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk (and my very exciting new novel), look here. You can subscribe to future updates here.
Ghostwriting, writer’s block, researching a novel … and training a horse. Interview at @officialSNWfest
How do I tackle writer’s block? How much research do I do before I start writing – and what kind of information do I look for? What’s the hardest thing about writing and what is the most joyful? And… what’s it like to write books for other people as a professional ghostwriter?
On Sunday 25th April I’m presenting a session on ghostwriting at the Surrey New Writers Festival (you don’t have to be in Surrey to attend.. we are Zooming!). So here I am on their blog, talking about how I work, how I keep working when it isn’t necessarily easy, and other strategies for a productive author life. Oh, and they asked about a little horse. Do come over.
Meanwhile, if you’d like more concentrated writing advice, I’m teaching the second part of my self-editing masterclass at Jane Friedman’s next Thursday. It’s all available as videos and transcripts if you can’t make the live broadcast. Find it here.
You might also like my Nail Your Novel books.
If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores use Bookshop.org. And if you’re curious about what’s going on at my own writing desk (and my very exciting new novel), look here. You can subscribe to future updates here.
Getting to the truth about strong women and troubled teenhood – novelist, playwright, essayist, writing coach Martha Engber @MarthaEngber
Martha Engber is a wordsmith in multiple ways. You’ve met her briefly – when she asked me to write a piece about my horse. Her most recent release is a YA novel, Winter Light, but that’s just one aspect of Martha’s art and work. So here she is in full – editor, playwright, poet, novelist, essayist, writing coach, journalist.
Roz What’s the core Martha, your recurring themes, the character types you’re most interested in? And where did they come from?
Martha I grew up in a nuclear family of two older sisters, a mom and a dad. My mom strongly believed women should be independent financially and in action, a sentiment with which my dad agreed. As such, my sisters and I mowed lawns, played to win, stood our ground in arguments and otherwise always believed females can do almost everything males can, other than pee standing up, which I’ve since learned females more talented than myself can actually do.
Roz I can see this will be a fun conversation. Sorry, you were saying…
Martha So running through all of my stories are girls and women such as 15-year-old Mary Donahue in Winter Light, i.e., strong in the way of strong females.
Throughout life I’ve been annoyed, no end, by cliched women characters who act like men with boobs. They talk tough, they fight like ninja, they’re brought into stories to be tortured or killed as a means of providing male characters with that final burst of motivation to win the day.
Roz Give me the better version…
Martha Women are awesome at working together. They’re flexible both emotionally and creatively. They’re willing to help one another and ready to try, and try harder, and try harder once again using all available resources and every ounce of passion and intelligence. And no, they don’t hate men. Quite the contrary: they work with males, while at the same time always angling to create new paths for moving forward.
My next book, for which I’m seeking a publisher, is about two young Native American women warriors of opposing tribes. How they challenge one another can only be described as very female.
Roz Tell me about Winter Light.
Martha It’s a story about what I witnessed in high school during the blizzard year of 1978-79. The characters are dealing with alcoholism and addiction.
Martha I used my yearbooks and memories about fashion and music, and research to refresh myself regarding the politics and cultural events of the time.
Martha Actually I had no intention of writing a YA novel. I wrote a literary story.
I grew up when there was no “YA.” My favorite books were those that didn’t pull any punches: To Kill a Mockingbird, Jane Eyre, The Outsiders, Lord of the Flies. Such stories left me with lots to think about and opened my eyes to the strife others suffer.
Both as a teenage reader and as a writer, I hated the idea of an author dumbing down a story for me in order to make parents feel less vulnerable to problems that take place somewhere within all families.
While I didn’t witness alcoholism and abuse in my nuclear family, I heard and could see those harsh stories taking place almost right next to me. Stories that weren’t cute or cliched or focused on a sweet teen romance. Instead, they involved brutal truths about our species, that if we’re abused and unhappy, we pass on that misery and ugliness. Only those who are strong, smart and get a helping hand rise to overcome their lot in life.
Initially I was disconcerted to learn my story would be categorized as YA, just because of Mary’s age. But I’ve since been encouraged by two facts: 50% of YA readers are adults, and many contemporary YA books take on tough topics, such as The Hate U Give by Angie Thomas.
Roz You describe your work as literary. There must be a hundred definitions. What’s yours?
Martha Thank you so much for asking! Over the years, I’ve honed this definition: a story for readers who like to puzzle over human nature.
Roz You have another novel, The Wind Thief.
Martha The story literally arose from the fact I love winds of all kinds: breezes, gusts, headwinds, tailwinds, etc. I began to imagine winds as sentient, with different personalities and motives. I gave that belief to the main character, Medina, who allows that fantasy to envelop her in an emotional cocoon to protect her from a tragedy she suffered when she was a girl.
The research was fascinating, which is one of the reasons the book took me 10 years to write, though honestly, I seem unable to sufficiently plumb the depths of any story in a shorter time period. I typically work on a story until I don’t see even one more connection I make or one more angle from which I can view the characters’ actions.
Roz I love this. I’m also a long-haul writer. You’ve also been a journalist, with hundreds of credits in the Chicago Tribune. Any specialities?
Martha I enjoyed writing medical stories, since science is so fascinating. I also enjoyed the features that took me on one adventure after another. I’ve toured a haunted hotel; spent time talking to ice fishermen in sub-zero weather; met Imelda Marcos, the infamous Filipino First Lady who accumulated a vast shoe collection; and witnessed amazing dance and music troupes that include the Kodo Drummers from Japan.
Roz I’m envious of those experiences. What rich ore for your work. Speaking of rich ore, you’ve distilled your editing knowledge into a book on character development. Why characters?
Martha Characters are the story!
If writers develop their characters properly and let those characters lead, those protagonists will write an exciting plot.
Most readers only know if they like your book or not. If you were to question them closely, though, they’ll comment first and foremost about whether they love your characters, meaning they find them consistent, believable and admirable.
Like most writers, I failed at most of my initial characters. Then I realized throwing readers a lot of details about characters tells a lot about them, but doesn’t give readers what they need most, the one detail that explains how a character ticks. And that’s the concept of Growing Great Characters From The Ground Up.
Roz What writing craft question are you most commonly asked?
Martha At the beginning of workshops I ask participants what questions they’d like to have answered, and this is almost always on the list:
How do I find my protagonist’s motivation?
That leads directly into character development, which ends up looking like this:
character’s defining detail —> what they’re most afraid of —> what they’re motivated to do (run away from that fear!)
The plot consists of pushing them toward that greatest fear by placing ever bigger obstacles in front of them until they run straight into their worst fear. Boom!
Roz The arts are something we never truly master. There’s always more to learn. Even if we’re also teachers. Where do you do your learning?
Martha I think creative brains are like bottom-feeding fish: we’re constantly sweeping up every morsel for possible nutrients.
Biggest problem-solving moment: in semi-sleep just before I wake up. Most significant moments of enlightenment: while deep into editing a scene in which the characters are only inches away and I can see and hear and feel them.
Greatest generation of ideas: art museums –
Martha … and the journeys of other creatives, especially podcasts like Hidden Brain and documentaries like My Octopus Teacher that explore how humans think.
Roz So what’s your writing process at the moment? Does it change from book to book?
Martha I continue working until the story gets less terrible.
Seriously, every story begins as a huge pile of dung. Then it’s a matter of using my shovel to find that stupid, irritating, tiny, brilliant gem within.
My writing life would be a lot simpler if I stuck with one style and genre. Instead, I write poetry, experimental short stories, journalistic/opinion/personal essays, historical fiction, etc. But I like that variety, and understand each story deserves its own shape.
Roz What are you working on at the moment?
Martha A memoir. Only within the last few months have I managed to wrestle the damn thing to the ground. What’s emerging is a poetry-prose hybrid that captures my personal upheaval. While not perfect, the story now has its own quirky, appropriate dwelling.
Secondly, I’ve started a book for writers based on my workshop regarding show vs. tell, and what a misconstrued piece of advice that is.
Roz Oh, it is. I explained it in one of my books and an author wrote to me and said: thank goodness, I’ve never understood it before.
With editing, journalism, workshops and running an author career, how do you find time for your own creative writing?
Martha Juggling time commitments is so tough! I want to do everything before I croak, which makes me busy, indeed.
I most likely have undiagnosed Attention Deficit Hyperactivity Disorder (ADHD), which means I have a high need to move. I do so every day: hiking, biking, running, surfing, etc. Energy expended, I can then sit down to think in an orderly manner. I’ve followed that behaviour pattern since I was a kid: dance around, then write.
Creative writing is my zen, meaning the deep place I go to meditate on life. Once I’ve taken in information about the world through my other activities, that writing time is when I get to chew on the ideas and pull out every possible nutrient, whether for a poem, short story, book or other project.
In a good day, I’ll get two hours of creative writing, one-and-a-half hours of marketing and one hour of writing planning (workshops, new story ideas, submissions). That allows me the other hours to work out and train my clients. I’m also a fitness instructor and personal trainer.
Roz Tell me about that. I’m also a gym fiend. (And guys, you can find Martha’s fitness blog here.)
Roz Body Pump, running, dance, horse riding…
Martha It sounds like you and I need to work out together sometime! After this pandemic, come visit.
Roz I used to suffer from RSI but discovered that the more exercise I do, the fewer problems I have with shoulder, wrist and back pain. Also, it’s an utterly necessary complement to the world of imagination and words. Of course, I think about work while exercising. Nothing stops me thinking. But the thoughts come differently when my blood’s up. If I’m chewing on a story problem, I take it for a run and I find a solution that’s more aggressive and daring than if I sat at a desk… I found the midpoint of my last novel that way. (Here I wrote about writing and exercise.)
How about you? How does fitness professional Martha merge with writer-journalist-editor Martha and how are they different?
Martha The beauty of a creative brain type is that creativity sweeps across every moment of my day. Every choice I make, whether going for a run, making chocolate cake or mapping out a story, are all just variations on the need to squeeze out every possible moment of enlightenment.
The trick to accomplishing that goal is to daily move amongst a healthy swirl of activities, because each feeds the other.
The body is very much a chemical lab, and each body represents a unique mix of chemicals. No matter your capacity for movement — people are different in what they can do — some type of movement is necessary to circulate blood and oxygen to the brain so we think better and have the energy to create.
And when we create, we make the world a better place.
Roz We do. Thank you, Martha.
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. If you’d like to support bricks-and-mortar bookstores use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.