Posts Tagged interviews
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.
Where would you most like to go? Underground, overground, back in time, out of this world? I’ll have all of them, please. (That’s the mysterious Down St Tube station in the picture, abandoned and dark since 1932.)
Book blogger Davida Chazan (who you might remember was incredibly nice about Not Quite Lost) has devised this quirky questionnaire for authors she’s reviewed and today it’s my turn. As well as preposterous travel, expect brightest of times, darkest of times. and a book I wish I’d written. She’s also known as The Chocolate Lady, so one of her questions is, of course, answered by this.
And if you’re curious to know more about my weird and wonderful, here’s my latest newsletter.
Writing multiple projects and keeping in touch with a book when you take a break – interview at Joined Up Writing podcast
One of those books is my third novel, Ever Rest, an undertaking that seems as gigantic as the mountain itself, and has to be fitted around other deadlines.
Hopping between projects is a way of life for most writers and is one of the subjects I discuss with Wayne Kelly on this new episode of his podcast. We also talk about ghostwriting (my course on that is here if you’re seriously curious), how we learn as writers, finding our niche, growing up in a landscape full of stories and the new Nail Your Novel Workbook. Do come over.
PS If you’re curious about why Ever Rest is taking so long, and how many other mountains I’m trying to tackle at the same time, there’s more in my newsletter
I recently recorded this interview at The Bestseller Experiment, and I’m hugely flattered because their guest hotseat has held some pretty famous bottoms. Bryan Cranston has sat there. Richard Morgan who writes Altered Carbon has sat there. Tad Williams and Michelle Paver have sat there (and Michelle and I share a liking for Everest so I made sure I listened to that one). Anyway, it’s my turn. You can find the others if you dig around their vaults.
And if my interview has made you seriously consider ghostwriting, don’t forget to check out my course.
How much should a writer’s personality show in a book? Some authors keep themselves out of the narrative voice, even in a personal book such as a memoir. Others colour every page with their sensibilities and personality, even if they’re writing fiction. This is just one of the questions I’m discussing today in the literary magazine Rain Taxi.
You might recognise my interviewer – Garry Craig Powell, who has been a guest on The Undercover Soundtrack (he put Phil Collins songs to unforgettable and cheeky use). Garry has also taught creative writing at university level, so that’s another discussion we have – are these courses useful, necessary, a hindrance, something else? What about journalism – when is that a good start for a fiction author?
And then there’s Englishness. What is that? Well, it could be a quality of restraint – when saying less means more. It might also be a sense of Elysian yearning for an emblematically romantic world, including the tradition of stories about remarkable houses. We’re trying to thrash it out. Do come over, and bring tea.
I ran into Victoria Dougherty a while ago in a Facebook group and recognised a kindred spirit. Not just because she writes fiction, personal essays and memoir, but because of the way she is inspired by family, place and relationships. (Take a look at this piece, Growing Old(er) Together, and tell me you don’t want to know her too.) She took a shine to Not Quite Lost and invited me to her blog, Cold, for a chat about the culture of a long marriage, the delight of exploring places that no-one else would bother with, the micro-cultures of quiet English towns and whether I should get out more. She raided my photo album too, as you can see. Do come over.
Southerners going north, the most romantic ruin and the town you can’t leave – interview at Chris Hill’s blog
Chris Hill is a name you might recognise here. A while ago he appeared on The Undercover Soundtrack with his prizewinning novel about young men taking lessons in love, The Pick-Up Artist. Today he’s picked up a copy of Not Quite Lost and asked a few questions.
Chris is originally from the north of England, and enjoys teasing southerners who never venture to those wuthering regions. Especially if, tsk tsk, they have the temerity to write a travel book. (In that case, he got a surprise – I’m from the north.) Chris also knows that travel isn’t all about postcard-perfect places and is not afraid to wield the term ‘crappy’. Expect a blunt conversation with a dash of Laurie Lee and The Prisoner. Come over if you dare.