[Interview] Jess C. Scott

Jess C Scott is a short story writer, a novelist and a poet. She lives in Maine in the United States.

Her work includes the blog novel, EyeLeash (jessINK, 2011); the collection of erotic short stories, 4:Play (jessINK, 2011) and the novel, The Other Side of Life (jessINK, 2011).

In this interview, Jess C Scott talks about her writing:

Do you write everyday?

I don’t write everyday, though I try my best.

I like writing by hand (at least initially), especially when I’m planning things out before a first draft ... there’s just something about seeing the words appear in ink on paper that beats typing (despite the efficiency and convenience of the latter).

If I’m working on a story, it ends when I feel it’s complete (everything has to be “tied together,” there must be some form of resolution, etc.). By that time, I’m usually mostly focused on the next writing project.

I like to challenge myself as an artist and keep improving that way. Stagnating is bad because I think I’d be regurgitating material, if I allowed myself to put in less effort.

How many books have you written so far?

I’ve written novels, anthologies, short stories, and poetry, so here’s a selection. They are all published under jessINK, my burgeoning publishing empire that's committed to producing "authentic, original work ... rather than the same old re-packaged mass-market pulp" (review by Bibrary Book Lust).

• EyeLeash: A Blog Novel (2009). EyeLeash captures self-discovery in the 2000s, and showcases the colorful, intricate drama in two youths’ relentless search for themselves—and what’s really in their hearts.
• 4:Play — A contemporary cocktail of erotic short stories (2009). With a scope and style that is fresh and compelling, 4:Play dives into the depths of navigating gender, sexuality, and the lines of desire.
• The Other Side of Life (2011) . Book #1 (The Other Side of Life): A thieving duo’s world turns upside down when an Elven rogue uncovers the heinous dealings of a megacorporation.
• And more @ jessink.com/books_genre.htm

What is your latest book about?

My latest book is a non-pornographic BDSM-themed anthology. It’s taken me slightly longer than I expected to finish it (was aiming for a May 2011 deadline; probably will be finished in August 2011). It’s part of my Primal Scream anthology, my second collection of erotic short stories.

On the mainstream, non-erotic side, my latest book is the first installment in an urban fantasy series featuring cyberpunk elves (January 2011). That one probably took at least a year to write (while I was completing my bachelor’s degree).

I’ve self-published my novels since mid-2009. I enjoy the speed and efficiency of indie publishing and see it as a tremendous opportunity for writers everywhere.

Disadvantages include the necessity for constant multi-tasking (I handle the book design, writing, editing, publishing, web design, marketing, publicity, accounting — basically everything, at the moment).

I deal with it all by understanding that this is something I chose to do, that I want to do, and that I’m capable of doing.

Which were the most difficult aspects of the work you put into the books?

I’ll talk about Primal Scream since it’s a pretty big anthology that spans several genres/styles (erotic fiction, erotic literature, “factual fiction” and “contemporary fiction with erotic elements”).

I think the BDSM-themed collection was the most difficult (as I suspected), because of the subtle implicit route I decided to take.

I’ve always felt that BDSM can be a very intimate form of love and affection, a perspective which is heavily compromised when BDSM is presented in a purely pornographic form.

I’ve nothing against porn on the whole, but when people start thinking that pornography is real sex (when it technically isn’t — it’s a business that generates money from graphic depictions of sexual fantasies which stimulate arousal) and how sex should really be all the time ... that’s when I try to do something with my work, to present a more relevant, down-to-earth, insightful perspective on love/life/sex.

Sexuality is a core component of humanity. It should be respected (as it was in ancient times), not feared, exploited, or repressed.

Which aspects of the work did you enjoy most?

Masochistic as this might sound, I enjoyed working through the difficult aspects of the project. As an old saying goes: “There’s no glory without sacrifice.”

What sets Primal Scream apart from other things you've written?

 It’s a little more sophisticated than my earlier work (which was more raw and “in-your-face” at points). It covers less ground in terms of genre, but covers more ground in the internal lives of the characters involved (I think).

In what way is it similar to the others?

The focus is still on the characters and the storyline. That’s the basic thing I never stray too faraway from.

I’ll next be working on an anthology titled Naked Heat (an incubus/succubus-themed anthology). It’ll be an interesting and unique take on the “paranormal romance” genre (one third of it is complete).

After that, I aim to complete the other two parts of my Cyberpunk Elven Trilogy. I’ll consider it an achievement if that one’s completed over 2012.

So far, what would you say has been your most significant achievement as a writer?

Generating an income from my writing. Seeing the dream materialize so that it’s not just a fantasy I play out in my mind, but the life I have always worked towards securing.

When did you start writing?

 I used to write lots of fantasy-themed short stories as a kid. I began to take the craft more seriously when I wrote my first poem (around nine years old; there was a creative writing type course at school). I journalled a lot throughout my teenage years, and someone requested an erotic story from me when I turned eighteen. I started writing my first proper full-length novel when I was around twenty years old.

How would you describe your writing?

Non-conformist and authentic. I don’t tend to follow trends or formulas. I usually aim to write something honest and relevant.

I don’t think I have a specific audience in mind (in terms of a commercial genre label, as is used for marketing/advertising purposes). I always try to include universal themes to appeal to a wide audience (across genders, age groups, lifestyles, etc.).

I think I’ve always been aware of “certain things in the world” which the mainstream media tends not to cover thoroughly or truthfully enough. I’ve never wanted to narrow down my target audience so “it’d be easier to target/market towards a specific niche audience.” That being said, I am aware of the business aspects of publishing, so I do both alternative and mainstream writing (to strengthen my brand on the whole).

Which authors influenced you most?

I think the authors that influence me the most are the ones that I love and hate the most (I’m very intense... no grey areas... when it comes to passion!). I’ve read and love many classic works (books by Vladimir Nabokov, Anais Nin, Roald Dahl, Edgar Allan Poe, Oscar Wilde, etc.), and I’ve read material that I’ve found really superficial and/or shallow.

I try to emulate what I like, and be somewhat of a diametric opposite to what I loathe, and am confident that someone somewhere in the world will appreciate what I do.

How have your own personal experiences influenced your writing?

Hugely! I used to journal voraciously through my teenage years — I recorded every single detail of every thought and feeling down. I journal less nowadays, but I continue to spend a lot of time on the whole self-discovery and self-understanding concept. The things I think about, am frustrated about, wish to see addressed in the world, are all direct influences on my writing.

What are your main concerns as a writer?

One of my main concerns is balancing artistic vision with commercialism (the financial aspect, so that I don’t end up a perpetually starving artist existing in complete obscurity).

It’s a delicate balance, and can sometimes be fraught with wildly differing views of opinion and sentiment (in my personal experience). I usually deal with it by keeping things real — by taking a good, hard look at myself to do my best to align my personal goals with business goals. I like having both personal/artistic integrity and business ethics. I can’t ignore one at the expense of the other.

One of my biggest challenges is cultivating patience (haha). I have a tendency to expect results for my efforts, fast. I can get grouchy or discouraged if things don’t happen as quickly as I’d like. I try to deal with it by telling myself that I am wasting time and energy by fretting about things I cannot control.

I used to draw a lot and meditate during my late teen years, which did help calm my mind down ... I should probably schedule some time for those activities once again.

Related books:

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Related articles:

• The Other Side of Life by Jess C Scott [Book Review], Murphy's Library, July 26, 2011
• Jess C Scott [Author Spotlight], By Katie Salidas, Written in Blood, July 10, 2010
• M. J. Pearson [Interview], Conversations with Writers, June 6, 2007

[Interview] Ayodele Olofintuade

Ayodele Olofintuade lives in Ibadan, Nigeria where she works as a creative writing teacher.

She made her debut as an author with the publication of the children’s book, Eno's Story (Cassava Republic, 2010). The book has been shortlisted for the 2011 Nigeria Prize for Literature.

In this interview, Ayodele Olofintuade talks about her writing:

How many books have you written so far?

I’ve written several but have only one, Eno’s Story which has been published by Cassava Republic.

The story is about an eight year old girl who was accused of being a witch because of the fact that she’s an unusual child. It is the story of how the love of a parent can make the difference in a child’s life. It is about how Eno was able to hold her own in the face of great adversities. Eno is a child who does not have the victim mentality people are fond of giving to children of African descent... you know the usual story, a victimized and downtrodden child holding out a begging bowl and feeling sorry for him/herself.

How long did it take you to write Eno’s Story?

It took me about three months to write but the editing, illustrations and proofreading took longer.

How did you choose a publisher for the book?

I sent my manuscripts out to several publishers and got a "We love your book but we are not publishing anything along that line" story until I sent one of my stories to Bibi Bakare-Yusuf who loved it and gave me a contract for a series of books about a pair of twins Tounye and Kela who got into a lot of trouble and had many fun adventures.

When the ‘child witches’ issue started in Calabar, I sent in a story and Cassava Republic decided to publish that one first, because it is a one-off story.

Which were the most difficult aspects of the work you put into the book?

I have never been to Calabar before although I have been to several other cities in the South South so it was a bit difficult working on the locations. Luckily, one of my friends and co-workers, Esther is a Calabar woman she made a lot of contributions to the book in terms of research.

Every aspect of the work was enjoyable. Eno practically wrote about herself, the research was done with a friend and the subject matter was close to my heart, child rights.

What sets Eno's Story apart from other things you've written?

Each book is always unique. There can never be two that will be the same. Even with my series that is yet to be published, although each book in the series has the same main characters in common, each adventure is unique.

What will your next book be about?

In addition to my Terrible Twins series, I am also working on a sci-fi novel for teenagers.

What would you say has been your most significant achievement as a writer?

The fact that children read and enjoy my works.

I remember a story told to me by a friend about a boy who walked into a superstore with his mum and after their shopping he wanted my book but the mother was not interested in purchasing it for him, he started crying and my friend bought the book for him. The fact is, contrary to widespread rumours, Nigerians do read, especially the children.

Do you write everyday?

Not really.

It’s the Muses, they descend on me and I find myself bashing out a story.

In most cases I allow the story to write itself and afterwards I go back and look at it. Then the stories develop gradually.

And I got myself children who read and critique my stories because those are the people who understand me the most.

When did you start writing?

When I learnt that I can string words together to make stories, which I then wrote on pieces of paper sewn together with needle and thread.

I didn’t decide to become a writer. I discovered that the only thing I did really well was writing and reading and I kept writing and giving my manuscripts to the children of my friends to read and I kept sending my manuscripts out to publishers until Cassava Republic published me.

Who is your target audience?

I didn’t particularly set out to write for children, I just wrote and discovered that children understood and enjoyed my stories.

Which authors influenced you most?

I can say D. O. Fagunwa, Ajayi Crowder, Mabel Segun, Roald Dahl, Dr. Seuss and Enid Blyton.

I grew up on their books. My grandfather made me read all the D. O. Fagunwa books to him while I was young and they all stirred my imagination. It was as if I entered each of the books and participated in all their adventures.

I also love telling stories to children. I love the rapt expressions on their faces when these stories are being told and this greatly influenced me. It is a great experience that keeps me returning to the keyboard to bash out more books because the thrill of seeing a child read and enjoy good stories is one of the best feelings in the world.

What are your main concerns as a writer?

My greatest concern is that I will grow old, broke and busted because one cannot make money as a writer in this country.

How do you deal with these concerns?

I got myself a day job so as to make ends meet and still be able to follow my passion.

Related books:

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Related articles:

• A chat with the author of Eno's Story, By Jude Dibia, Jude Dibia: New Writings, Reflections, Reviews, August 7, 2011
• Eno's Story by Ayodele Olofintuade [Book Review], ImageNations, August 9, 2011
• Eno’s Story by Ayodele Olofintuade [Book Review], Geosi Reads, August 31, 2011

[Interview] Suzi M

Suzi M is the author of several novels, among them, Nemesis (Smiling Goth Productions, 2007), Lamia (Smiling Goth Productions, 2008) and The Tower (Smiling Goth Productions, 2008).

In addition to that, ten of her short stories appear in Cover Stories: A Euphictional Anthology (CreateSpace, 2010).

In this interview, Suzi M talks about her writing:

When did you start writing?

Many many years ago. Roughly 1990.

Writing came very naturally to me, as did storytelling. It seemed evident to me that eventually my work would be published. It was never a question of 'if' but was more a matter of 'when'.

I began writing my first novel, Nemesis in 1992. It took nine months to complete, and it was exhausting. When I held the full first draft of the manuscript in my hands, I had such an overwhelming sense of accomplishment that I stopped writing for two years.

I sent the manuscript to agents and publishers, and got some very nice rejection letters. One in particular suggested my novel was too violent for a romance. After checking the cover sheet to make sure I had indeed typed 'vampire horror', it became apparent that my particular brand of writing may not be for everyone. By everyone, I mean mainstream folks.

Thirteen years later, Nemesis finally did get picked up by a small publisher. Sadly, the publisher ran into difficulties and Nemesis missed being published by one month. At that point I realized it was now or never and published Nemesis under Smiling Goth Productions. Since then, it's all been a bit of a strange rollercoaster ride.

How would you describe your writing?

I do quite a bit of what I jokingly refer to as 'real writing', meaning not vampire horror. My main published works so far are mostly vampire horror, however.

Typically, my target audience is anyone looking for horror, or who isn't afraid to try out an author that isn't mainstream. Of course, if I become a mainstream author, then my priorities will inevitably shift to include whoever wants to read me.

Which authors influenced you most?

To be honest, much of my influences are gothic writers such as Ann Radcliffe, Horace Walpole, and more recent and of this century: Stephen King.

I would be remiss if I didn't mention Anais Nin and Henry Miller in there, as well as Jim Butcher and Neil Gaiman.

I enjoy details as much as I enjoy a good story. In the case of gothic literature, it felt almost like I was there standing beside the characters. The other writers I mentioned are equally rich in imagery and story, and it's not spoon-fed to the reader.

I like stories that stick in my head and make me think about them. All of the mentioned writers have had that effect, and it's an effect I hope to inspire with my writing as well.

And since I tend to write while listening to music, I'd have to say Fields of the Nephilim and Combichrist are two of my favorite bands to listen to while writing.

Have your personal experiences influenced your writing in any way?

There have been quite a few experiences in my life that have helped my writing expand into something more.

Sometimes people I meet get thrown into the character mix with others, sometimes situations and events get pushed into a story or become a story on their own. In the case of Nemesis, the story bloomed around the main character, who just walked into a dream one night and stuck around.

What are your main concerns as a writer?

Insomnia. I tend to stop sleeping when I'm working on something creative, and if I'm not reminded to eat, I forget to do that, too. Other than eating and sleeping, writing is more an exercise in exorcism for me. There's a story inside me that needs to get out, and my only concern is how fast I can make that happen.

What are the biggest challenges that you face?

Writer's block.

How do you deal with it?

I don't force it. The worst thing I can do to myself and those around me is to try to force writing when the words won't come. Instead, I work on some other creative endeavor that requires me to use my hands, and when the story is ready to be written, I go back to it.

Do you write everyday?

Write, yes, but not always creative writing.

To get the creative juice flowing I start off drawing circles in my notebook until the words come.

Once the words flow, I write down as much as I can, then edit. When the basics or sometimes the entire story are in the notebook, I type it into my laptop.

Sometimes it can end mid-sentence. Other times it ends at the end. I let the story go where it needs to go.

How many books have you written so far?

I've written three novels and a book of short stories so far.

Nemesis is the first novel, published in 2007, followed by Lamia in 2008, and The Tower in 2008. All three are books in The Immortal War Series, and follow the story of Nemesis and Lamia, two vampires that love to hate each other in the most brutal ways. All are available on Amazon as both print and Kindle editions, and are also available anywhere books are sold.

Most recently, ten of my short stories have been included in the Cover Stories: A Euphictional Anthology, which is also available on Amazon.

In Cover Stories, I had a real chance to stretch my literary legs and show off my other writing.

How would you describe your latest book?

The Tower is the most recent novel I've published. It ties up loose ends, and explains the origins of the vampires. We also get to meet our main characters' parents.

How long did it take you to write the novel?

Thirteen years.

The novel was published internationally in 2008. I went independent with The Tower in order to keep my sanity and storyline intact. Since I'm the publisher for my novels, can I say it's because I'm awesome? *grin*

Optimistically speaking, the advantages to going independent publisher for my novels have been numerous, but so have the disadvantages. For example, I now get to work specifically with those I know will understand my writing, and who have a knowledge and liking for the story and characters. I know my editors well enough that they can say 'this needs to be changed because...' and it makes sense for the story.

The downside to being independent is that I'm not a marketing person. Most of my sales have been largely by word of mouth and via social networking. I'm okay with that, though. It means I get to interact with my readers on an individual basis, and really get to know them. By getting to know my readers, I can then write stories for them instead of just to them.

What sets your contribution to Cover Stories apart from other things you've written?

Cover Stories features ten of my short stories, some of which feature Nemesis and Lamia from my novels, and other stories that are completely unrelated to anything vampiric.

With Cover Stories, Christian Dumais contacted me to be part of the book, and I said sure. Cover Stories was an official nod to the musical influences that play in my writing soundtrack. It was also the first project I had worked on following someone else's lead.

What will your next book be about?

I'm currently working on a novelization of a horror movie called The Fallen Ones. It is about a family that goes on a killing spree for fun and revenge.

I'm also kicking around an expansion of one of my short stories.

What would you say has been your most significant achievement as a writer?

Finishing what I started writing. *laughing* But seriously, each year I build on what I accomplished the year before, so I would like to think my most significant achievement is always yet to come.

Related books:

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Related articles:

• Nemesis [Book Review], By Rhonny Reaper, Dollar Bin Horror, July 10, 2010
• Erik Schmidt [Interview], Conversations with Writers, August 31, 2011
• Reading fiction 'improves empathy', study finds: US researchers measure impact of reading JK Rowling and Stephenie Meyer, By Alison Flood, The Guardian, September 7, 2011

[Interview_2] John Eppel

John Eppel is a teacher, an award-winning poet, short story writer and novelist.

His books include the poetry collections, Spoils of War (The Carrefour Press, 1989) and Songs My Country Taught Me (Weaver Press, 2005) as well as the novels, Hatchings (amaBooks, 2006) and Absent: The English Teacher (Weaver Press, 2009).

In this interview, John Eppel talks about Together (amaBooks, 2011), his latest book:

How would you describe Together?

My latest book, Together, is a joint affair, combining poems and short stories by Julius Chingono and me; so it’s our latest book – a poignant phrase since Julius did not live to see it in print.

I wrote my portion of the book in 2008. Since I was earning almost nothing as a teacher, I applied for a year’s leave, and wrote three books: a novel, Absent: the English Teacher, a collection of short stories, White Man Walking, and a collection of poems, Landlocked. I sent them to Weaver Press who accepted the novel but rejected the poems and short stories. It was from these rejected items that my contribution to Together was made.

I sent Landlocked to three other publishers, Snailpress (Cape Town), Bloodaxe (UK), Carcanet Press (UK), all of whom rejected it.

Then Julius and I met with Brian Jones and Jane Morris of amaBooks, and we decided to bring out a joint volume. The title was suggested by Brian, and the project was generously supported by the Zimbabwe Culture Fund Trust. Dr Drew Shaw of Midlands State University agreed to write an introduction, and it wasn’t long before the University of New Orleans Press and the University of Kwazulu-Natal Press agreed to co-publish.

What advantages and/or disadvantages has your choice of publishers presented?

amaBooks of Bulawayo would have been my first choice for all my books, but they seldom have the wherewithal to finance a publication; that is largely because they have the commitment (and courage) to promote new Zimbabwean writing, including poetry, which almost nobody buys. Indeed, more people write poetry than read it!

An obvious disadvantage with a small, underfunded publisher like amaBooks, is distribution; and the sort of promotion you get with big publishers, like book-signings at major retail outlets, appearances on radio and television etc.

A huge advantage for a writer like me, who has a tiny readership, is that small publishers, who are more committed to promoting literature than to profiteering, will accept my books. My most recent, still unpublished novel, The Boy Who Loved Camping, spent more than seven months with Penguin South Africa before it was rejected on the grounds that the publishers did not think they could make a commercial success of it.

One significant way amaBooks has dealt with these problems, in the case of Together, has been to persuade publishers from two other countries to co-publish. That can only benefit the distribution and the promotion of the book.

Which aspects of the work you put into the book did you find most difficult?

I didn’t find anything difficult. The publishers, on the other hand, were particularly disturbed by one of my stories, “Of the Fist”, set during the run-up to the 2008 Presidential elections, which they asked me to omit. It’s a very violent story about political rape and murder, based on a real incident. Come to think of it, most of my stories and poems in this anthology are based on real incidents. We replaced “Of the Fist” with a harmless satirical sketch called “The CWM”.

For most of my writing life, I have thought of my predicament as someone who is neither African nor European to be a disadvantage; as if, somehow, I had slipped through a crack; but now that my years as a Zimbabwean have caught up with my years as a Rhodesian, the crack has metamorphosed into a threshold, a magical place where opposites merge, where contradictions become paradoxes. Now I don’t have the bitter thought that I am neither African nor European; I have the sweet sensation that I am African and European. And it is this aspect of my work that I have enjoyed most. I can imagine cutting-edge experts in postcolonial literature snorting at these sentiments, but I’m too old now to care.

What sets Together apart from other things you've written?

The potent symbolism of two elderly Zimbabweans from different cultures, races, regions… coming together and sealing a fissure. It’s a pity one of us isn’t a woman!

In what way is it similar to the others?

It is steeped in irony, which can so easily be misread.

It is frequently funny in the way that a cartoon is funny. When Ranka Primorac said, in an essay entitled “Poised for Literature’s Last Laugh”, that “There is remarkably little laughter resonating across the history of Zimbabwean literature”, she swept Julius Chingono and me under the carpet.

How many books have you written so far?

• Spoils of War, 1989 (The Carrefour Press, Cape town), poetry.
• DGG Berry’s The Great North Road, 1992 (The Carrefour Press, Cape Town and Hippogriff, Johannesburg), novel.
• Hatchings, 1993 (The Carrefour Press, Cape Town), novel. [re-published by amaBooks in 2006]
• The Giraffe Man, 1994 (Queillerie, Pretoria), novel
• Sonata for Matabeleland, 1995 (Snailpress, Cape Town and Baobab, Harare), poetry.
• Selected Poems 1965-1995, 2001 (Childline).
• The Curse of the Ripe Tomato, 2001 (amaBooks, Bulawayo), novel.
• The Holy Innocents, 2002 (amaBooks, Bulawayo), novel
• The Caruso of Colleen Bawn, 2004 (amaBooks, Bulawayo), poems and short stories.
• Songs My Country Taught Me, 2005 (Weaver Press, Harare), poetry.
• White Man Crawling, 2007 (amaBooks, Bulawayo), poems and short stories.
• The Boy Who Loved Camping, 2008 [awaiting a publisher], novel.
• Absent: The English Teacher, 2009 (Weaver Press, Harare and Jacana, Johannesburg) novel.
• Together, with Julius Chingono, 2011 (amaBooks, Bulawayo and UNO, New Orleans and UKZN, Durban), poems and short stories.

What would you say has been your most significant achievement as a writer?

I think, the way I have learned to fuse, mainly through parody, prosody with socio-political commentary.

In my poems in Together, you will find examples of the Blues, the sestina, the haiku, the ballad, the sonnet, the Sapphic, vers libre, dramatic monologue, pure lyric... I even invented a new form, which I (no longer secretly) call duodecadina. It is called “Yet another Flower Poem” and it consists of two ten-line stanzas. Each line consists of fifteen syllables, and the end words of the first stanza are repeated exactly in the end words of the second stanza. If you don’t notice all these details when you read it (with enjoyment!) it succeeds. It is an attempt at the art which conceals art. Of course, a lot of this has to do with healthy self-mockery.

Do you write every day?

I write during school holidays and occasionally over the weekends.

With poetry I get an image or a rhythmic cluster of words, almost never an idea. The moment of inspiration is passive, like a flower awaiting pollination. With prose (most of the time), it’s the other way round, a bee looking for a flower to pollinate.

In a sense, my writing never ends - it stops.

Photo credit: Ben Williams, Books LIVE

Related books:

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Related articles:

• John Eppel [Interview_1], Conversations with Writers, September 12, 2007
• Poets' diaries: John Eppel, Poetry International Web, August 18, 2005
• Together By Julius Chingono & John Eppel [Book Review], By Sibusiso Tshuma, Panorama Magazine

[Interview] Lorette C. Luzajic

Lorette C. Luzajic lives in Toronto, Ontario where she works as an artist and an author.

Her books include The Astronaut’s Wife: Poems of Eros and Thanatos (Handymaiden Editions, 2006); Goodbye, Billie Jean: the Meaning of Michael Jackson (Handymaiden Editions, 2010) and Fascinating Writers: twenty-five unusual lives (Idea Fountain Editions, 2011).

In this interview, Lorette Luzajic talks about her writing:

When did you start writing?

The cliché but true answer is that there was never a time I didn’t write. I started making up stories and researching projects as soon as I could read, which was very early on. There was never a time for me outside of that identity.

I was very earnest in my childhood, dutifully preparing my double-spaced typewritten poems for submissions to literary journals, complete with the obligatory self-addressed stamped envelopes, in the days before email submissions.

It never dawned on me that submitting my youthful-hearted works to adult literary journals was a waste of time. I saved each rejection and kept track of what pieces were sent where. Many editors kindly took the time to encourage my talent and direct it to more appropriate venues – for years I treasured these handwritten rejection slips as meaningful.

It wasn’t all for naught, however - quite a few childhood poems made their way into the pages of small zines and journals, and I wrote a few religious articles for magazines that had no idea I was a teenager. I won a contest in a Christian magazine when I was twelve. Since adulthood, hundreds of poems, stories, and articles have been widely published in zines, journals, blogs, magazines, anthologies - from Modern Poetry to Dog Fancy.

My colleague, writer Crad Kilodney, who is brilliant, once wrote that getting accepted by a magazine or publisher at a young age is the worst thing that can happen to a writer. Ever after that, they are sure they have what it takes and don’t prepare for another life.

How would you describe your writing?

Right now I am wrapping up a collection of short fiction stories.

I also just released a collection called Fascinating Writers: twenty-five unusual lives.

The topics I write about range extensively, but I think what my favourite and most inspired works are people stories. The best response from my audience so far has been about my Fascinating People series - which are subjective, experiential essays about interesting personages throughout history, especially artists and writers. People who are curious about culture and history and people are the readers who most appreciate these pieces.

I confess that I go about everything backwards.

To be successful, you should probably decide on your audience and write for them. I tend to write what interests me most and hope for an audience. I don’t recommend this approach to writing or art, not unless you are independently wealthy or have a day job.

Which authors influenced you most?

Isabel Allende was a true inspiration in her way of experiencing the magic of life.

Ray Bradbury inspired me because he has written every single day for some eight decades, and striving for this kind of tenacity has helped teach me great discipline and focus, which are not in my nature.

I admire the way different authors use language, from e. e. cummings to Donna Tartt to Haruki Murakami - I am given permission to use the language I see fit and see if I can’t create something of my own, something original.

I read Oscar Wilde when I need to regain a caustic sensibility and a dose of courage. But by and large, I devour non-fiction on nearly every topic under the sun... Mark Kurlansky, Camille Paglia, Matt Ridley, Michael Shermer, Thomas Moore... I believe in unlimited thinking.

How have your personal experiences influenced your writing?

I have lived a life of great passion and intensity. I think those things come through in my work, both my writing and my visual artwork.

Since I am quite averse to wasting any part of my life doing something banal that I don’t wish to do, my concern is how I can find my own place in the business of art and publishing. I don’t play the game well. I want complete creative control. I studied journalism in university but I have no interest in strict reporting. I am impatient and want to write about what I want to write about, as opposed to following a reasonable plan. It would have been much easier if I had just gone to work for a single newspaper or if I followed the advice of a literary agent who sought me out. But I didn’t want to stop all the things I have going on in my head to try to adhere to the tried and true methods of working as a writer.

I don’t want to wait or switch gears. I’m not saying this is wise, but it has made me incredibly innovative. I rose to the challenge by creating a creativity portal, the Idea Fountain, which combines my work as an artist and as a writer, along with my pet cause, freedom of expression.

Since I feel so strongly about freedom of expression being the fundamental human right, the foundation of all freedoms, and so grateful for my own freedom to write and paint, I tied all of this up as “fiercely independent.” Now I run the whole show.

I started Idea Fountain Editions for my books and for other people’s books in the future. I sell my art online and promote my ideas independently. I welcome buyers and sponsors and patrons. And I pledge ten percent, a tithe of my product earnings, to promote freedom of expression.

My biggest challenge is that when you do it all yourself, and you don’t play the game, then you actually are on your own. It can be scary. I take credit for everything I do - and that includes the mistakes. I am responsible for every aspect of my work, which includes the stuff I’m not very good at, like promotion and administrative work. But I’m learning, and I’m so happy and so grateful. And I feel a sense of authentic connection with my small but loyal fan base. Those who enjoy my work don’t want me to be anybody but myself.

Do you write everyday?

Yes. Around seven a.m. I bound out of bed and leap to the coffee machine. I can’t wait to wake up and get to my desk, starting even as I wait for the coffee to brew. I work for several hours on a particular project, determined in one of my many lists of things to do. Important emails and interviews and research are all part of it.

Then I spend several more hours working on a bunch of different projects for a half hour here, ten minutes there, an hour here. There are always many things underway. I thrive when working on fifty things at the same time, but each one advances slowly.

Deadline items take front seat in the morning. I also work in my studio in the afternoons, often moving back and forth from my desk to my easel in half hour shifts. I only stop working when my carpal tunnel syndrome forces me away from my desk or I have a meeting or some other obligation or commitment.

I try to take walking or stretching breaks and get a bit of exercise since the work is sedentary.

In the evening I make plans with family and friends, get some exercise, cook, and sometimes I stay home to read and to keep working. I am totally obsessed with creating. I can’t seem to create enough. I am trying to make up for lost time when in the past, I was not focused or disciplined or didn’t know how to go about what I wanted to do. But I remind myself that the well will run dry if I don’t get out and live, too.

How many books have you written so far?

• The Astronaut’s Wife: Poems of Eros and Thanatos, Handymaiden Editions, 2006. Poetry about love and grief.
• Weird Monologues for a Rainy Life: irreverent ramblings from the end of the world, Handymaiden Editions, 2008. Assorted essays and blogs about grief, addiction, literature, people, popular culture, food, bipolar life, art, and more.
• Dendrite Pandemonium: hits, misses, and random b-sides, Handymaiden Editions, 2009. The sequel to the above.
• Goodbye, Billie Jean: the Meaning of Michael Jackson, curated by Lorette C. Luzajic, Handymaiden Editions, 2010. An anthology of diverse reflections about Michael Jackson, by 51 different writers, including a monk, a drag queen, a communist, a Jungian therapist, a Pulitzer prize winner, a reverend, a senator, and many more.
• Michael Jackson for the Soul: a fanthology of inspiration and love, Handymaiden Editions, 2010. An anthology of heartfelt pieces about Michael Jackson by regular fans.
• A Heartbreaking World of Staggering Glorious: the visual imagination of Lorette C. Luzajic, Idea Fountain Editions, 2011. This is an anthology of my paintings, collages, and photography.
• Fascinating Writers: twenty-five unusual lives, Idea Fountain Editions, 2011. A collection of 25 essays on Ernest Hemingway, Virginia Woolf, Dr. Seuss, Carson McCullers, Danielle Steel, Arthur Miller, and many more.

How long did it take you to write Fascinating Writers?

My latest book is about fascinating writers, exactly as titled. I get to know 25 writers and share my experiences in a gossipy, personable style that invites everyday readers into literature, rather than limiting enjoyment to a more scholarly crowd.

Technically it has taken about three years to compile the 25, since I am never working on one thing at a time.

How did you find a publisher for the book?

As I mentioned above, I started my own publishing company, Idea Fountain Editions, as an initiative of Idea Fountain Productions.

The advantages of small press publishing include creative control, expediency, and innovation.

The disadvantages are stigma and the lack of marketing support. The stigma that self-publishers or small presses have is the idea that someone couldn’t find a traditional publisher because the books are sub-par or unprofessional.

This stigma is often founded in reality - there is a veritable sea of bad books drowning the populace with atrocious poetry from hopefuls everywhere.

With small presses, there might be only one or a couple of people working on everything from overall design to proofreading, so there might be errors that companies with millions of dollars to work with won’t make. But it’s all relative, since the independent press is also highly innovative, offering more variety since its investments and expectations are not necessarily to hit the New York Times Bestseller list (though no one would scoff at making it!).

Creative control in my small press means I get to decide what goes in and what goes on the cover - frankly, I can’t believe the terrible cover art of the vast majority of large press publishing.

Also, bad books are not exclusive to the small press. The vast majority of books are forgettable, and the vast majority of books are poor sellers. But to me, that doesn’t matter. If someone puts themselves out there, I admire that. Only a few people will have a million fans. Only a few books will be brilliant enough to transcend history as classics. And who cares if someone wants to share their bad poetry with their friends and family? We sneer at the gall of someone who dares to put their stuff out there, when we don’t have to buy it. But we all pay taxes that go into grants that pay for so-called legitimate writers to write boring books that no one will read.

We just as often sneer at the big best-selling writers for their mass-manufactured approach to writing - but it is these few who allow the industry to exist, since nearly every writer, old and new, loses money for its publishers. Publishing is a losing game.

I try to accept all of it, and believe there is room for all of us. This doesn’t mean that I think all literature is equal - quite the opposite. I think literature serves many different purposes. No one is forced to be an audience to what they don’t like - but I can’t see any harm in people expanding their horizons in different directions, either. Academic readers might do good to relax with sentimental mush from time to time - and readers who are intimidated by the elitism of classicists shouldn’t be discouraged from trying to experience the joy of hallmark literature. Everyone can benefit from reading from the opposite end of their political spectrum and learning something about their own confirmation biases.

I work hard at my art and writing. I try to find an audience that appreciates my work. I live humbly thus far, but I live in a “room of my own” and spend each and every day doing what I love.

What will your next book be about?

My next book is a collection of short fiction stories. It will be out this year. My second poetry collection is also pending and will probably be out this year, too.

The companion to Fascinating Writers is underway - Fascinating Artists: twenty-five unusual lives. I’m hard at work on it, and hope to see its completion this year, but it takes a considerable amount of time to write each piece and I don’t want to rush them. I want them to be inspired.

What would you say has been your most significant achievement as a writer?

The Idea Fountain, which merged my visual art work, my writing work, and my passion for freedom for all people - freedom of expression - is my most significant achievement.

The Fountain will, I hope, continue to flow with new ideas and generate new ways to work, to market myself, and to support creativity and freedom for people who live under tyranny. Through the umbrella of the Fountain, I want to continue to learn about history and politics and promote the art of people who are not as fortunate as I am. It is a tremendous blessing to be born free, to 20th century Canada.

I used to feel guilty for “frittering” my time away on art and writing when I should have been doing useful tasks - “real” work. Now I know that it is a privilege wasted to not pursue my creative potential when historically I wasn’t allowed to do so. I would not have the same privilege if I were born into socialism or theocracy. In a way, I feel committed to making the most of my writing and art because it is a privilege few have.

I hope for the day that all men, women, and children will be free. And I’m optimistic, despite the atrocities and censorships and torments and war that people endure. The Idea Fountain is about my hope and optimism, and finding that place of gratitude is my most significant achievement thus far.

Related books:

,,

Related articles:

• Lorette C. Luzajic [Artist Showcase], Epiphany Magazine, Issue 9
• The Summer of Michael Jackson: An interview with Lorette C. Luzajic, Open Book Toronto, January 21, 2010
• Reading, Writing and Self-publishing: What's Your Experience of It?Conversations with Writers, April 13, 2007

Interview _ Erik Schmidt

Erik Schmidt lives in Georgia and is a sports editor and a freelance writer.

10 of his short stories appear in the anthology, Cover Stories: A Euphictional Anthology (CreateSpace, 2010).

In this interview, Erik Schmidt talks about his writing:

When did you start writing?

I had to write fictional stories throughout elementary school, but I started taking it seriously — or at least as seriously as any 11-year-old boy can take anything beyond backyard football and baseball cards — in sixth grade.

Our teacher, Mrs. Jacoby, consistently had us write 100-word essays and then read them aloud in class. I remember thinking some of the topics were boring or uninspiring, so I started creating my own themes for my own amusement. They weren’t anything special, but it was important for me to realize that innovation, creative thinking, and stepping outside the expected parameters are huge elements in the writing process.

There was no epiphany or mind-blowing realization in regards to becoming a published writer. When I was a junior in high school, I saw an ad for a sports writer for a twice-weekly newspaper called the Wall Herald in New Jersey. The owner, I think his name was Ed Brown, had his own airport. The Herald ran a regular contest where you had to find a small caricature of Mr. Brown flying a plane somewhere in the paper. If you found him, you won an ice cream sundae. Basically, this wasn’t the New York Times, so I figured, “What the hell?”

I realize this doesn’t paint the most romantic of literary pictures, but I loved sports, I was a decent writer, and this seemed like a better way to earn money than working as a dishwasher or telemarketer. Again, this isn’t a feel good, movie-of-the-week story. I applied for the job, they invited me in for an interview, and I drove down there. I showed them a few clips from my high school paper, the editor looked them over, and then she asked if I had a driver’s license and a car.

I had both.

They hired me.

I subsequently decided to turn this into a career. I majored in journalism at the University of Georgia and ultimately found work as a sports editor at The Oconee Enterprise in Watkinsville, Ga. I’ve had two stints there and along the way I’ve done some freelance work for daily papers, magazines and a website or two.

As for becoming a published writer in the fictional realm, again, there wasn’t any exact “I know what I must be” moment. It was just something I thought I could do and something that would allow a more creative outlet beyond structured sports writing.

I do know several people who absolutely have to write. I’m not one of them. If I write something and someone wants to buy it, that’s great. If not, so be it. I’ll live. Of course, I’ll live better if everyone buys it. I’m certainly not against that scenario.

How would you describe the writing you are doing?

Aside from the sports writing that pays my bills, my work can be classified as semi-realistic, humorous fiction. I’ll take a completely believable scenario and let it run a step beyond ordinary. It keeps things in the real world, yet entertains. At least that’s the idea.

I despise the phrase, “target audience.” It confines the human race to three commercially motivated categories: age, gender, and annual income. I don’t write for any of these. I write for people who refuse to take life too seriously. I write for people who aren’t easily offended. I write for people who aren’t afraid to acknowledge that “Corporate America” is nothing more than a two-word excuse that permits the wealthy to abuse the middle and lower classes. Okay, I really don’t write for that third group. But I admire their attitude.

In the writing you are doing, which authors have influenced you the most?

This is always an interesting question, and here I’d like to point out that while I respect the classic writers every kid wades through in high school as well as their modern day contemporaries, I’m not a fan of the traditional style of novel writing. It involves far too much verbiage.

I’ve read books where an author uses three paragraphs to describe a mountain. Honestly, I’m impressed by the vocabulary involved here, but personally, I detest that level of intricacy. It’s not necessary. I know what a mountain looks like. Tell me how high it is and whether or not it’s snow-covered. I can figure out the rest.

As such, I can’t get enough of books from Chuck Klosterman, Dave Barry, and Carl Hiaasen. As journalists, they have a straight-to-the-point style that grabs your attention and doesn’t let go. Just as importantly, they share a biting wit and a tremendous sense of humor. In my opinion, these are the most entertaining writers around. Since I write to entertain and not to fill pages with 17 long-winded portraits of the color blue, theirs is a style I can relate to and embrace.

How have your personal experiences influenced your writing?

First and foremost, as a journalist I talk to a lot of people. Ergo, I have a decent handle on realistic verbal communication which helps put believable dialog in my fictional works. Along these lines, my wife complains to me that I have too much profanity in my stories. My response is simple, “People curse a lot.”

Outside of dialog, I’m sure my personal experiences are similar to those of most other writers. You drink with friends, you spend time with family, you get into the occasional scrape with the law, etc. Some things you remember and draw upon for ideas. Others you don’t.

What are your main concerns as a writer?

In regards to the process of writing, sometimes I worry that my central conflict isn’t strong enough. Sometimes I don’t think I’ve fully developed my main characters. Sometimes I think I’m just rewriting someone else’s story. Sometimes I think my conflict, my characters, and the story I’m writing all suck.

I don’t have a set way to deal with any of this and there’s no way to describe how these issues are resolved. Sometimes I scrap the entire story and sometimes I just make a key tweak or two. That’s it.

What are the biggest challenges that you face?

I think getting published is the biggest challenge facing any "new" writer. I’ve spoken to authors at signings and seminars and perused countless books on the topic.

Essentially, if you don’t know someone, the whole process appears to be a crap shoot. I know that may sound bitter or harsh, but let’s face it. Just like you can go to a dive bar and see a random band that sounds just as good as Seether or Nickelback or whoever, there are unpublished writers out there who have written a novel that’s just as good as something you might find on the shelf at Borders or Barnes & Noble. Maybe the published author wrote a better query letter or maybe the agent who read the unpublished author’s query was hung over that day. In my mind, it’s that random. I could be wrong, but that’s my feeling.

Thankfully, the self-publishing world has the capability to dent this norm. Sure, there are self-published works out there that are absolute garbage, but at least self-publishing gives writers the opportunity to find an audience who can label their work as garbage. And I mean that in an incredibly positive sense.

Agents and publishers aren’t the only people on the planet who can read and form an opinion. Just about anyone with a high school diploma has that capacity. Self-publishing allows for the opportunity, at the very least, to succeed or fail without a middle-man censor.

Do you write every day?

I’m not one of these people who designates two, three, or four hours of free time a day to write.

If I feel like writing (aside from my actual sports writing job where knocking out a 12-15-inch story is something I can do in my sleep), I write. If I don’t feel like it, I don’t write.

Obviously, if I was a paid novelist and my livelihood was dependent on the written word, I would change this habit ASAP. However, at this point it’s not necessary to do so.

That being said, I don’t have a process or schedule when I write. If I have an idea for a chapter or a screenplay scene, I write it. If I have another idea, I keep writing. If I’m out of ideas, I stop.

I’ve found that I can’t force quality creativity. Again, if it meant the difference between having the air conditioning on and the power turned off, I would certainly reconsider this thought process. Whether or not I’d succeed is another question.

How many books have you written so far?

I’ve written one novel called Hair Ball that I’m currently in the process of marketing. The log line is as follows: When two fallen rock stars from the days of Guns n Roses attempt to blackmail a Florida politician to finance their career resurrection, they inadvertently intertwine the lives of a Norwegian assassin with a foul-mouthed parrot, a smug attorney suffering from hair envy, and a pop metal tribute band single-handedly keeping the spandex and hair spray industries afloat.

I’ve also written five screenplays, although none of them have sold.

In addition to that, I contributed 10 short stories to a compilation entitled, Cover Stories that was released on June 21, 2010. The material encompasses a wide range of territory, from horror to romance to comedy to stuff I don’t wish to describe for fear of misinterpreting another author’s meaning.

Christian Dumais organized the entire process and centered it around something called euphiction. Chris and some of the other writers busted their tails coming up with a definition for this and there’s actually a Wikipedia entry for it.

Here’s a quick explanation: Euphiction is a writing genre where writers do literary “cover versions” of specific songs, a marriage of musical inspiration with the written word, or a story that works like a three-minute single.

Basically, we all picked an album and wrote stories inspired by the titles of 10 songs from that album. I chose Sugartooth’s self-titled debut, which is really an incredible body of music. However, because I was unable to obtain permission to use the titles, I had to change my story titles at the last minute to avoid any post-publication complications.

Of course, I don’t blame Sugartooth for any of this. They broke up over 10 years ago. My issue is with the corporate stranglehold on such issues and I’ll hold this grudge until the day they pry the Miller Lite bottle from my cold, dead hands.

How long did it take you to come up with the material that appears in Cover Stories?

From start to finish, I think it took about a year. I wasn’t really paying attention.

We went the self-publishing route, and I believe that was the thinking from Day 1. Simply put, it was more practical.

The down side, of course, is that we have to market the book ourselves. Thankfully, we have several authors on board who are incredibly accomplished at this. They love virtual cafes, blogs, etc. Their passion has proven to be a tremendous boon.

Which aspects of the work you put into the book did you find most difficult?

Choosing which album to base the stories on was by far the most difficult task — unless you count the current marketing process. I have a rich CD collection and depending on the day, any one of them could be in my top 10.

Honestly, I ended up choosing Sugartooth because a friend and I had just been discussing little-known bands that deserved to make it big. A day or two later, Derrek Carriveau, one of the other writers and a close friend of Chris’s, sent me an email asking if I’d be interested in participating in this project. It made my decision a lot easier.

Which aspects of the work did you enjoy most?

I liked the challenge of the word limit. Christian set a strict cap of 1,000 words per story. As I mentioned earlier in the interview, I’m not a fan of unnecessary verbiage. However, to create a protagonist, plot, crisis, and resolution all within 1,000 words still proved difficult at times. Fortunately, I think the most I ever had to cut was about 100 words.

Also, as a music lover, the idea of assisting in the pioneering of what will hopefully become an accepted genre in euphiction was very appealing.

What sets your contribution to Cover Stories apart from other things you've written?

Working as part of a collaborative effort was unique. Also, I only knew two of the writers, Derrek and Chris, going into this, so reading thoughts from “strangers” was a new experience.

However, with one or two exceptions, the content of my stories is similar to what I usually write about. I didn’t branch out too much. It’s not that I feel my style is unchangeable. I just happen to like it.

What will your next book be about?

I’m currently writing a yet-to-be-titled novel about a Jewish Little League team subjected to a roster overhaul. It’s kind of South Park meets The Bad News Bears.

What would you say has been your most significant achievement as a writer?

Well, I’ve won several awards as a sports writer from the Georgia Press Association, but honestly, just completing Hair Ball was my biggest achievement. Even if I never make a dime off that book, I’m extremely proud of the finished product. I busted my ass on it, and seeing it through to an actual ending was very rewarding.

Related articles:

• Christian A. Dumais [Interview_2], Conversations with Writers, August 20, 2011
• Music Made New: A Review of Cover Stories: A Euphictional Anthology (2010, coverstoriesbook.com), By Joey Madia, New Mystics Reviews, December 2, 2010
• A Conversation on Euphiction with N. Pendleton, By Christian A. Dumais, coverstoriesbook.com, July 14, 2010

[Interview] Tony Attwood

Tony Attwood has an honours degree in psychology from the University of Hull, an M.A. in clinical psychology from the University of Surrey, and a Ph.D. from University College London.

He runs a diagnostic and treatment clinic for children and adults with Asperger’s Syndrome, in Brisbane, Australia and is the author of books which include The Complete Guide to Asperger's Syndrome (Jessica Kingsley Publishers, 2008), Asperger's Syndrome: A Guide for Parents and Professionals (Jessica Kingsley Publishers, 1997) and Asperger's and Girls (Jessica Kingsley Publishers, 1997).

In this interview, Dr Tony Attwood talks about his work:

When and why did you first become interested in Asperger's syndrome?

I first became interested in Asperger's syndrome in the early 1990's when we finally had some diagnostic criteria for Asperger's syndrome which I was able to use in my clinical practice. I had been interested in Autism Spectrum Disorders (ASD) since 1971. At that time our knowledge of ASD was primarily in the area of classic autism and the silent aloof child, however, it became very clear that some of the children were certainly not silent or aloof.

What do you like best about your work?

I think that the greatest enjoyment is seeing the progress of individuals that I have known for a number of years, in terms of self-understanding, abilities and circumstances.

I also enjoy the compliments and feedback from people with Asperger's syndrome, their parents and other professionals for the knowledge that I have and the strategies that I have acquired over the years to encourage particular abilities.

Who or what inspires you?

I have the greatest inspiration from those with Asperger's syndrome. I think they are heroes for the way they cope with the challenges they face in their daily life. I am also inspired by those who support the person with Asperger's syndrome from parents and partner to teachers and therapists.

What do you hope for the future for Asperger's syndrome?

I think, in the long term, I would hope that people with Asperger's syndrome have a greater understanding of their qualities and difficulties. I would also hope that there is a change in attitude from seeing Asperger's syndrome as a tragedy to a different way of thinking.

What is your favourite book and film?

I have really enjoyed the Harry Potter books by J. K. Rowling. Although they were originally written for children I think that they are an inspiration for people of all ages. I particularly enjoy the wisdom of various characters especially Dumbledore.

I have also enjoyed the film versions of the Harry Potter books for the special effects and ability to entrance the audience. I do realise that Harry Potter is not everyone's favourite taste but I have read each book twice, which I have not done since I was at school having to read the English literature text for the GCE 'O' Level. One day I would like to meet J. K. Rowling to express my appreciation for her imagination and writing such enthralling books.

(c) Jessica Kingsley Publishers 2011

This article was first published in the Jessica Kingsley Publishers Autism, AS and Related Conditions Newsletter in June 2008

Related books:

,,

Related articles:

• Interview w/ Tony Attwood about autism in women and girls, By Sharon daVanport, Autism Women’s Network, November 2, 2010
• Interview with Dr Tony Attwood, By Adam Feinstein, Looking Up, Volume 3 Number 6
• Asperger's Syndrome: An Interview with Tony Attwood, By Allison Martin, Children's Disabilities Information

[Interview_2] Tendai Huchu

Tendai Huchu's first novel, The Hairdresser of Harare (Weaver Press, 2010) is set during the height of the social, economic and political problems Zimbabwe experienced recently.

In August 2011, The Hairdresser of Harare was longlisted for the Not the Booker Prize. One reviewer said the novel offered "insight into a society in flux, with believable characters grappling with identity and gender issues, with power, privilege, and politics"  while another reviewer described it as "a  compelling story which will tag your emotions every which way; from love, to tragedy, to jealousy, to terror ... all told with a certain humour that makes it bitter sweet."

The novel has also been translated into German where it is available as Der Friseur von Harare (Peter Hammer Verlag Gmbh, 2011).

In an earlier interview, Tendai Huchu spoke about the factors that motivated him to start writing.

He now talks about his second novel, An Untimely Love (Whiskey Creek Press, 2010):

Do you write every day?

I couldn’t write every day, real life also has a claim on me. When I do write I write in intense bursts lasting a couple of weeks or months.

It starts with an idea ... how else could it start? ... but not just any idea and there are a great many of those, but the one that won’t leave my mind but whirls around knocking at the window until I have no choice but to act.

I write in bed, we all know a great many pleasurable things happen in bed and it ends when the idea manifests itself as words on paper which we then call the novel.

How many books have you written so far?

The Hairdresser of Harare published by Weaver Press was my first novel. It follows the story of Vimbayi, awoman who falls in love with a man who turns out to be gay during the height of the socio-economic and political problems in Zimbabwe in the middle part of the last decade.

An Untimely Love then followed and that was published by Whiskey Creek Press. The idea behind An Untimely Love began when I read Victor Hugo’s, The Last Day of A Condemned Man. I wanted to experiment with that narrative structure and so I paid tribute to him by writing a novella, The Last Day of a Suicide Bomber which I put on bibliotastic.com for readers to access free of charge.

The novella tells the story of a young terrorist who falls in love on the day he is supposed to execute him mission and this, of course, throws his world in turmoil. I stayed faithful to Hugo’s original and cut the story off at that indeterminable point where we do not quite know what happens next once he reaches his target, the London Underground.

I received feedback from readers who enjoyed the story but they all demanded to know what happens next and I had to agree with them that even when I finished the story I had a niggling doubt that this was not the end. So, I followed up with two other novellas, An Untimely Love and Love’s Labours which together form the novel An Untimely Love.

The process of writing, redrafting and modifying the final novel took a year, not including the time I spent producing the first novella which adds a couple of months. It was published as in December 2010 as an ebook.

How did you choose a publisher for the book?

I sent out multiple submissions and had offers from four ePublishers, all based in America. I went with Whiskey Creek Press simply because of the feedback I got from another author who is published with them.

Which were the most difficult aspects of the work you put into An Unimely Love?

I think terrorism was at the fore of Western public consciousness for a huge chunk of the last decade, it’s only gradually been overtaken by the economy now so I think my main difficulty was handing the book sensitively.

The story is told from the perspective of Khalid Patel, the young terrorist, and this meant he couldn’t be the cardboard cut-out villain with a big beard shouting “Allahu Akbar” that you see in Hollywood movies. He is all too human ... an idealist with big ideas who hopes to transform the world ... something most of us can relate to from our twenties. As an author, I then had to accept those values and allow him to grow instead of forcing my values onto him.

What did help me a great amount was a bit of information I chanced upon in a discussion on the biological roots of human aggression between Thomas Hayden and Malcolm Potts and they spoke briefly about The Black September group which was behind the Munich Massacre. It turns out one of the reasons the group was effectively neutered was when its members were offered housing and an allowance on condition they got married by the PLO. It seems that as they became family men they lost their appetite for acts of violence which is the same trajectory Khalid Patel goes through once he falls in love.

Which aspects of the work did you enjoy most?

I was working in first person, present tense for the first time on a subject that fascinates me. As an author I moved from playing God into, as it were, becoming the Character for a brief moment and that was quite a high, with a rush of all sort emotions.

What sets An Untimely Love apart from other things you've written?

My body of work is still quite small, two novels and a couple of published short stories. But An Untimely Love stands out because I was writing about people from a culture and religion different to my own which meant a lot of research but, ultimately, what you find is that people aren’t too different from one another and their actions and motivations are comprehensible.

We all wake up in the morning, pee and think about food ... that’s basic ... but in these small universals, you have an infinite amount of variation from group to group and person to person ... I think the way to describe it is as a "literary chaos" theory.

What would you say has been your most significant achievement as a writer?

I think as an author if you look back and start gloating about past accomplishments then you’re finished, you might as well be dead.

You’re always evolving that’s why Jeffery Archer went back and rewrote Kane and Abel a couple of years ago, he’s a better craftsman. Stephen King too talks about thinking about how he can write an even better book and I think that’s all you want to focus on as a writer.

Related articles:

• The Hairdresser of Harare by Tendai Huchu [Book Review], By Amanda ___, On a Book Bender, June 24, 2011
• Interview with Tendai Huchu, By Tricia Wombell, Black Book News, May 15, 2011
• Tendai Huchu [Interview_1], Conversations with Writers, October 25, 2010