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#mywritingprocessblogtour.com: Brett riley!

21 Apr

#MyWritingProcess #BlogTour

“My Writing Process” Blog Tour

My friend C.D. Mitchell tagged me as part of the Blog Tour. I always appreciate the opportunity to publicize my work and that of other writers, so for whatever it’s worth, this is my contribution.

What am I working on these days?

I’ve got a lot of irons in the fire. Due to spending several years in graduate school without much time to submit my work, I’ve got a pretty good backlog of text that I’m shopping. My somewhat-experimental novel-in-stories The Subtle Dance of Impulse and Light dropped about this time last year. You can find it on Amazon, Barnes and Noble, and other fine online retailers. I’m spreading the word about it as much as I can.

I’m currently submitting two works to independent publishers. One is Mulvaney House, another somewhat-experimental novel. It traces the (d)evolution of a single house in southeast Arkansas from the late 19th through the early 21st centuries. It is first inhabited by ill-fated Irish immigrants; later, its ownership passes to a disillusioned World War I veteran. Because that situation does not end well either, the house becomes the local “haunted,” “cursed” place that all the smart kids avoid and that all the cool kids want to explore. In the 1960s, it becomes the setting for a star-crossed interracial romance, and in the early 21st century, three teenagers spend the night there just to prove that they can. Serious carnage ensues.

I’m also submitting my second story collection, tentatively titled Bedtime Stories for Insomniacs. Most of the stories therein have been published. In terms of subject matter, it’s a pretty eclectic book. There’s a serial killer story, a couple of tales that make use of mythological creatures, some gritty realism, and some humor.

I’ve gotten some kind words about the projects, but whether they will ever see the light of day is anyone’s guess.

Oh, you thought I was through? Not yet—I’m also shopping The Dead House, a literary ghost story. It’s a novel-length work set in central Texas, though many of the characters are from south Louisiana. The book is a supernatural thriller detective fish-out-of-water story. I’ve gotten a few nibbles from literary agents; I’m hoping to land one soon.

In terms of new work, I’m currently drafting a post-apocalyptic novel set in the South. I’m also three stories into a new cycle that will, I hope, become a book one day.

I recently submitted a screenplay that I adapted from one of my published stories. As I have no contacts in Hollywood, I don’t expect it to go anywhere, but hey, they have to option somebody’s script, right?

How does my work differ from others of its genre? 

I’ve always thought that this kind of question is best answered by critics and scholars, not writers. I just tell stories. Some editors have compared various stories I’ve written to writers as diverse as Jack Kerouac, Gabriel Garcia Marquez, Elmore Leonard, and Ernest Hemingway. (I’m not egotistical enough to say that I agree, but I really appreciated their saying it.) I think a couple of my stories read like they were written by the love child of Stephen King and Cormac McCarthy. What all this means, I think, is that you can get a pretty good read on my basic format and style, but the content and how I employ that style may vary widely from piece to piece. I try not to write the same thing twice, and if I do delve into an area that I’ve visited before, I try to change perspectives, or voices, or tones, or something that will make the work seem a little fresher.

I don’t know what my genre is, other than “literary,” so no matter what similarities and differences a given reader sees between my work and that of any other serious writer, they’re probably on the right track, even if what they say contradicts somebody else.

Why do I write what I do?

Why does anybody write what they do? I never know what to make of this question. I can only tell you this: I believe that real writers do what they do because they are compelled. You don’t do it for fame. Writing literary fiction for money is a mug’s game. You don’t do it for all the groupies because most of us don’t have any (well, maybe Chuck Palahniuk). You do it because you can’t imagine a life where you don’t do it.

When I don’t get my two daily writing sessions in, I feel incomplete and guilty. When I don’t get at least one session, I feel out of sorts, angry with myself, despairing about the time that has passed. When I don’t write at all, I want to punch somebody, often myself. I have stories and people and dramatic situations in my head. Some of them are funny or sad and sick or cool. Others will probably never really go anywhere. But I have to find out what might work, or I go a little nuts.

As for where I get my ideas, my standard answer is, “A warehouse in Poughkeepsie. Don’t tell anybody.”

Seriously, though, they come to me as I live—sometimes from a bit of conversation I overhear, sometimes from an image I see in life or a movie or a magazine, sometimes from that place deep within my imagination where everything begins with “What if…?”

I write down every idea that I can. I’ve got files of them, ideas for stories and novels and essays and screenplays and comic book series and TV shows. I add to the piles fairly regularly. I don’t know if I’ll ever get to all of them. Some of them probably suck. My job is to write as many of them as I can, and to write them to the best of my ability, and hope that some agent, editor, or publisher will believe in me, in my story. After that, you pray that the piece will find its audience, but you can’t really control that, or the publishing side. You can only write and submit and not give up.

How does my Writing Process work?

I look over my list of ideas and see which one speaks to me at that given moment. Sometimes I’ll outline how I imagine the story will go, but even when I do, I allow for organic and spontaneous growth, when the people in the story do something that I didn’t expect. Most of the time, I just write until I complete the narrative arc. I do a full draft without worrying too much about how well it all holds together.

With my book, I revised extensively, several times. With the novel I’m currently shopping, I revised ten times before I ever submitted it. I’ll tinker with any given story for a couple of drafts until it seems to chug along pretty well.

Then I submit.

In this business, you have to expect rejection unless you’re already a household name. To succeed at any level at all, you have to strike the right combination of talent, learned skill, perseverance, and luck—getting the right piece to the right gatekeeper at the right time. Unless you have personal contacts at an agency or publisher, that’s about all you can do.

I’ll generally send out a piece to a half-dozen places. If nobody takes it, I revise again and find other places to submit. I keep doing that until I find the right home for it or I decide that maybe it isn’t as good as I thought it was. I have yet to self-publish anything, but I’m not above it if the industry never accepts what I truly believe is a story worth telling.

Once someone accepts a piece, I am perfectly willing and able to tinker with it if an editor sees areas that need work. Sometimes I insist on leaving something as is if I feel changing it will fundamentally undercut my integrity as a writer and the story I want to tell, but I pick my battles carefully. I have yet to meet an editor with whom I could not work amicably and productively.

As for my day-to-day process, once I’ve chosen a project of any length or type, I try to write at least twice a day for an hour each time. It isn’t always possible, but I do my best. I tend to work on a couple of projects at once—a potential novel chapter and a story, a story and a screenplay, etc. In grad school, I was forced to multi-task, and I have yet to break the habit completely. Right now, for instance, I’m revising a text and working on a new story. I’ll revise for a session and write for a session. I’ve found that setting time limits, rather than specific word counts, works better for me because of my other time constraints.

I’d like to thank C.D. Mitchell for tagging me.In turn, I am tagging two of my writer friends who occasionally blog, Robin Becker and Sean Hoade.

Robin Becker is a graduate school buddy of mine. She has recently accepted a teaching position at Ole Miss. Her zombie novel, Brains, is available in bookstores and online.

Sean Hoade is a fellow Las Vegan. He has been a prolific self-publisher; his latest work, Deadtown Abbey, is hilarious and weird, and I mean that in the best possible sense. He has recently contracted to write a series of undead-themed books for a traditional publisher, so look for them in the near future., coming to bookstores near you.