What was your childhood like? Tell us your fondest memory.
I had a wonderful childhood because I had two truly wonderful parents. But I learned how relatively rare that is soon after starting school. Sadly, most of my peers didn’t like to hear about my domestic good fortune because they weren’t blessed that way themselves. My fondest childhood memory? Well, it would take a long time for me to sort through them all, only to find I couldn’t place one above the rest.
What inspired your first original story? Did you share the tale with anyone?
My love of literature inspired my first original story, written when I was around ten years old. Knowing I was only a novice writer, and aware as I was of the quality of the writing in the books I was reading, I was loath to share it with anyone else. The experience of writing it, however – choosing a story line, coming up with characters, descriptions, and dialogue – I found thrilling, and I was hooked.
Do you remember the first book you read?
I can honestly say I don’t remember the first book I read, probably because it is lost in memories of the many books that immediately followed.
How do you see the future of writing evolving in the next decade?
It is very hard to speculate about the future of writing, for the next decade and beyond. We are seeing socio-political divisions deepening globally; truth itself is under assault from all sides, whether it be people’s wilful ignorance or the many tech phenomena (deepfakes, AI, etc.). All forms of art and creative expression must suffer in such a world, and I’m afraid we will be suffering right along with it if we can’t slow down this disturbing trend and change our direction.
As a visual artist, how do you balance the technical aspects of creating art with the emotional and creative aspects?
The relationship between the technical versus the emotional and creative aspects in my visual art is determined purely by the creative impetus. All my pieces originate from a creative idea comprised of what I wish to say, and how I wish to say it. All technical considerations flow from and are governed by this original idea, and the artistic chips fall where they may.
What is your songwriting process like?
My songwriting process is similar to my approach to visual art, but it might not necessarily start with a specific idea. Many times an idea for an original melody or just a riff on the guitar will kick it off; many more times an original lyric or lyric fragment will inspire me and suggest an accompanying melody; and sometimes I am trying to find a melody for a fully formed poem. Still, a loosely formed idea of the final product eventually takes over and the song is finished accordingly. On only two occasions did I experience the words and music coming to me together, which was kind of spooky, but the songs turned out fine.
Do you ever worry about how your work may be received by readers who might find the content too controversial?
I cannot worry about how readers will receive controversial content in my books. I am only concerned with how well-written it is or how well the writing achieves what I intend. My approach to writing books is straightforward – find a major topic that needs a light shone on it, thoroughly research that subject, then write a fictional story that conveys what readers need to know about it, especially what they may not know about it. And in the foreword, or in a reader advisory as with “The Dying Party”, I will give my readers a heads-up so that they can be prepared for what they are about to read, or maybe even decide not to read it. After that, I’m concerned with the writing alone. In any case, it makes no sense for me to seek out the most crucial subject to which I need to bring awareness (which is usually controversial by nature), only to pull punches or shrink from the task in any way.
How do you approach character development in your novels, especially when it comes to creating complex and flawed characters?
It really depends on the story I am writing. For example, with my first novel “Grace Ungiven”, which is about shining a light on the clerical child sexual abuse scandal in the Roman Catholic Church and the plight of these children, my research included interviews with 100+ Catholics from all walks of life. From these I gleaned a wide range of personal observations, experiences, and perspectives which I used to extrapolate and fill out the existential thoughts and realities of my characters. This was crucial to accurately portraying what is going on in the church (not just the abuse), and how it is impacting everyday Catholics. My research strongly indicated that it is the many patriarchal ways that church leaders exercise so much power and control over the faithful that made the ongoing abuse scandal not only possible but inevitable, and I needed to create a set of characters that could get all this across to my readers. Creating and defining characters is one of the most enjoyable tasks when I’m writing a book of fiction.
How do you know when a story is truly finished and ready to be released into the world?
A story I have written is finished and ready to be released when I am satisfied that a) it is written as well as my talents will allow, and b) it has been edited by a trusted professional or two; and c) it has succeeded in translating my research into an entertaining and informative story.
Are there any particular authors or books that have influenced your writing style in the suspense genre?
I’m not sure if there are any particular authors that have influenced my writing style in terms of suspense, but I will say that my approach and style of writing generally has been greatly influenced by the great writers I have enjoyed over the years, and none more than Robertson Davies and Leon Uris. I have read every word these two literary giants ever published and, taken together, their works have given me more inspiration and have influenced me more than any other authors’ works.
Do you typically plan out your stories ahead of time or do you let the plot develop organically as you write?
I always have a rough but complete outline of the plot of the story from beginning to end before I start writing, as well as vague outlines of the characters. The organic development comes in the writing, in the filling out of the characters, and in the connectivity, consistency, and flow of the plot. This is when I revel in my imagination and writing abilities and have the most fun.
How do you balance the need to keep readers on edge with the need to provide resolution and closure in your stories?
As a writer, I do not see the need to balance keeping my readers on edge with the provision of resolution and closure in my stories. First, it is with the slow and progressive release of plot and character details that I keep my readers on edge and looking forward for more, and by making the end of each chapter a bit of a cliff-hanger. Second, the resolution of and closure in my stories may or may not even be important. In “The Dying Party”, for instance, it is precisely the lack of resolution and closure for humanity in the face of unstoppable climate change that is the essence of the story.
What are you currently working on? When can we expect a new book?
Currently I am working on a non-fiction audiobook book of my best essays, editorials, and aphoristic observations, which I intend to give voice to myself. This will take some time, as the essays will have to be chosen, then edited, and then compiled in an ordered way; then there is the process of recording my reading of them. Given that, in the end, it will be a collection that has captured my personal reactions to a wide variety of important events and topics, it will be titled “If It Happens Out There, It Happens In Here”.
What do you like the most about AllAuthor? Do you have any suggestions for the website?
I like AllAuthor mostly because it truly feels like a community for writers and readers alike, and there are a lot of great features on the site for both. And do I have any suggestions for the website? Yes, just one. Keep up the great work!
