Author Archives: thedarkphantom

The Writing Life with Joseph Davida, author of ‘Traveling High and Tripping Hard’

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After a near death experience at age fifteen, Joseph Davida left his parents’ home and moved into Manhattan. Too young to get a “real” job, he started up what became one of the biggest weed delivery services in New York to support himself while he pursued his career as a musician and songwriter. For years he worked with some of the best musicians in the world, until a nervous breakdown brought his time in the music industry to an end. During this time he traveled the world before finally settling in Nashville, where he had two beautiful daughters and started a successful chain of retail stores. He now concentrates on being a good father, and actively plans for the coming revolution…while also working to get his many stories onto the page.

Check out his travel memoir, Traveling High and Tripping Hard.

INTERVIEW:

What got you into writing?

I’ve always been writing something. Whether it be music, lyrics, or poetry, I can’t remember a time when I wasn’t writing. Maybe it’s something in my blood. My father was a writer, my grandfather was a writer… I’m even related to Stephen Crane. A bit of misery seems to be the common thread.

What do you like best about being an author?

Not much. Unless you are doing it for purely cathartic reasons, it’s a pretty terrible thing to try and pursue.

When do you hate it?

During the editing process. There are just a million ways to write the same sentence, and being a little obsessive, I usually try to explore them all. (Even though I usually just wind up back where I started anyway.) But sometimes, hating what you write pushes you to keep writing, and to try and write something even better.

THTH_final_4What is a regular writing day like for you?

It depends. If it’s creative writing, they are not really regular, and usually contingent upon what substances I have ingested. If it’s an editing day, I’ll generally try to stay sharp. No matter what day it is, I usually like to start it with a bagel. With lots of butter. If my heart feels like it won’t give out, then I might even have some bacon. If the writing is going really bad, I deep fry the bagels in the bacon grease, and hope I have a heart attack to put me out of my misery so I won’t have to write anymore.


Do you think authors have big egos?

Of course. To think anyone should care about what you have to say, is about the most egotistical thing someone can do. But the truth is all writers are fragile beings, who just want to be loved. If your mother gave you attention as a child, it is doubtful you would want to bother with the whole writing thing in the first place.

How do you handle negative reviews?

I haven’t really had any yet, but I’ll probably be getting some soon. When it happens I’m sure I’ll pretend like it doesn’t bother me, and then will obsess over them until I question every aspect of my life and every decision I’ve ever made. My handlers have been instructed to remove all sharp objects from my vicinity once the book is released.

How do you handle positive reviews?

Haven’t had many of those either, but I’m sure I will receive them with suspicion. My doctor says I am a glutton for self-punishment.

What is the usual response when you tell a new acquaintance that you’re an author?

I don’t bother. I assume if they don’t know that on their own, there is probably a good reason for it. Where I live in Nashville, every person you meet is a writer or a musician. The only thing people generally care about is if you can get them a discount at the restaurant or store you work at.

What do you do on those days you don’t feel like writing? Do you force it or take a break?

It depends where the vodka takes me. If I find a good Neil DeGrasse Tyson podcast on Youtube, you can assume I will not be doing any more writing that day.

Any writing quirks?

Em dashes—and ellipses…

What would you do if people around you didn’t take your writing seriously or see it as a hobby?

I’d sic my dog on them, and then ask if they feel like taking me more seriously now… Sadly, he’d probably just wind up licking their face, so it is unlikely they’d wind up taking me very seriously anyway.

Some authors seem to have a love-hate relationship to writing. Can you relate?

Sure. You can’t be passionate about anything unless you love and hate it. Most people don’t write because it makes them feel good. They write until the demons in their heads get so exhausted, they can only taunt you with whispers.

What’s on the horizon for you?  

Hopefully lots of free drugs, adoration, and writing groupies.

Leave us with some words of wisdom about the writing process or about being a writer.


I’m not sure if I’m very wise, or a good writer…but if there is anything that matters to me, it is honest writing. I’d always rather read something true and from the heart, then something technically perfect, flowery, or full of shit.

 

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Excerpt reveal: Watch Me, by Jody Gehrman

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Watch Me CoverTitle:  WATCH ME

Genre:  Thriller/Psychological Suspense/Women’s Fiction

Author: Jody Gehrman

Website:  www.jodygehrman.com

Publisher: St. Martin’s Griffin

Find out more on Amazon

A gripping psychological thriller about one college student’s dark obsession with his professor, Watch Me plunges readers into a tense, twisty, and terrifying tale about how far obsession can go…

Kate Youngblood is disappearing. Muddling through her late 30s as a creative writing professor at Blackwood college, she’s dangerously close to never being noticed again. The follow-up novel to her successful debut tanked. Her husband left her for a woman ten years younger. She’s always been bright, beautiful, independent and a little wild, but now her glow is starting to vanish. She’s heading into an age where her eyes are less blue, her charm worn out, and soon no one will ever truly look at her, want to know her, again.

Except…

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Talking Craft with Author M. J. Joseph

The Dark Phantom Review

View More: http://aislinnkate.pass.us/joejoseph-miniBorn and raised in Florida, M.J. Joseph maintains membership in the English Goethe Society, the Siegfried Sassoon Society and other literary associations. He is a supporter-member of the Society for the Study of Southern Literature, as well as an Associate of Lincoln Cathedral. Prior to retiring, Joseph enjoyed a lengthy and rewarding career with an industrial firm where he served as CEO and managed the company’s merger with a larger international corporation. He divides his time between Europe and his home on Florida’s northern coast. M.J. Joseph and his wife Ann have two children and reside in Florida.

Q: Congratulations on the release of your latest book, The Lübecker. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?   

A: Thank you for allowing me the opportunity to spend time with the Phantom! First, The…

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Interview: Gabriel Valjan, Author of ‘The Good Man’

Gabriel Valjan is the author of the Roma Series and The Company Files  from Winter Goose Publishing as well as numerous short stories. He lives in Boston, Massachusetts, where he enjoys the local restaurants, and his two cats, Squeak and Squawk, keep him honest to the story on the screen. You can visit him at his website. He’s here today to talk about his new suspense series.
Thanks for this interview, Gabriel. Tell us about yourself.
I hide my love of dogs from my cats. English was not my first language, and I read fiction in more than one language. I was a sponsored triathlete. Cancer survivor. I weighed one pound at birth. Hearing-impaired. Ambidextrous. I went to school with Peter Dinklage.
Have you always been creative? When did you start writing fiction?
As a writer, no. I drew and painted at a young age. I read voraciously as a child, but when I did take an interest in creative writing, it was poetry. My first publication was a poem in 1989.
In this your new series, The Company Files, you move from the present Rome of your Roma Series to historical post-war Vienna. Why did you choose this particular time period?
I should state up front that I wrote The Good Man before I wrote Roma, Underground. To answer your question…History interests me. For those who don’t know, Vienna was divided into four zones, the American, the British, the French, and the Russians after World War II. Vienna would become, for a brief time, a Wild West.
It’s not the first time a city or country had been divided after a conflict. Vienna, however, bears a crucial distinction in that it became the crucible for the Cold War and the birthplace for the post-war intelligence community. Modern nation states in Europe then were designated as either friendly to US-led Western Bloc or to Soviet-led Eastern Bloc countries. There is, of course, the fun of researching the social mores of the era. Leslie in The Good Man and Bianca in The Roma Series are a half-century apart, and yet confront similar issues of survival in a man’s world.
The book is described as historical noir. For readers who aren’t familiar with this genre, can you tell us about it?
First, noir is a cinematic term. Film noir is, in my opinion, a visual display of Existentialist philosophy. The prevailing undercurrent to film noir and the crime fiction it inspired is that the Average Joe is doomed no matter what he does. He’ll make one bad decision after another, whether it’s planning a heist that goes wrong, keeping found money and unwittingly inviting the bad guys into his life, or lusting after the wrong woman. His life is a blues song. If he didn’t have bad luck, he’d have no luck at all.

Historical noir, as I use the phrase to describe The Good Man, is when characters make decisions within a certain context. The world is still morally compromised and fatalistic. The historical circumstances offer both flavour and plot device. The reader has the advantage of hindsight. November 22, 1963, for example, has only one inevitable conclusion. Genre sets the expectation, and I leave it to the reader to decide whether I abide by or violate those rules. Is there justice in the end? Does the guy get the girl?

Like in your Roma Series, you pay particular attention to team work among your characters. What draws you to this quality?
The Good Man is the result of my love for what I call the middle period of noir fiction, the 1940s. I’m not hard-boiled as Hammett’s Continental Op and Sam Spade from the 1920s, nor as violent as Mickey Spillane’s Mike Hammer in the 1950s. I envisioned a softer cynicism found in Raymond Chandler’s Marlowe.
In reading contemporary crime fiction, which I think harkens back to hard-boiled, I can appreciate the antihero and the protagonist who can’t catch a break, but I find most of it too nihilistic. While I don’t believe that Good always triumphs in real life, I found myself asking: Are we so cynical as to find value in the bleak and ultra-violent stories? Does it take visiting the darkest depths to feel better about our own lives?
Don’t get me wrong about violence and profanity. Mexican cartels are violent, but the Average Joe criminal is not that sadistic. My complaint is that there’s no glimmer of hope in a lot of contemporary crime fiction, unless it’s the razor blade on the sidewalk. Algren, Bukowski, and Fante wrote to show how the other half lived, but so did Upton Sinclair and Steinbeck. What is the point, if there’s nothing positive in the universe?
Writers have to compete with movies, with visual media, so why not work the vein of human relationships in close quarters? I’m not saying people can’t be flawed. The series Breaking Bad is a perfect example. People pushed to extremes are forced to work and trust each other, to some degree. In The Good Man, there is a triangle of characters who entrust their lives to each other. Jack, Walker, and Whittaker have a foundation – their shared war experiences – for trusting each other. Another triangle in the story is Leslie, Sheldon, and Tania: they have to prove themselves. There is history, camaraderie and debts, recognized and repaid.
Tell us about your protagonists and what makes them stand out.
Jack Marshall is the leader, principled but agile. Walker is the romantic, the fellow caught up in history’s current and unsure of his abilities. Whittaker is the doer, which doesn’t always require brains. Each man makes questionable decisions. Leslie is a woman with skills in an unappreciative world and she’s acutely aware of it. Sheldon is savvy, almost suicidal. Tania is precocious, another survivor, and a damaged soul.
Jack and Walker fought in the war together, depended on each other and owed each other something. In a life and death situation, would they choose friendship over duty?
Jack and Walker have a moment in The Good Man where they question Whittaker’s loyalty, but they extend the benefit of the doubt. Political pressure is hammering both men. Friendship and duty coexist and are in conflict with each other. The question is how long can they hold out. Jack and Walker choose Loyalty because of what they’ve experienced together. Few would understand it.
I found Walker and Leslie’s relationship sad. Does love have a place in their dangerous professions?
Their story continues in the sequels, The Naming Game and Diminished Fifth. My take on their relationship is that Leslie realizes times are changing and she is trying to hold onto her independence. The social mores of the day were especially hard on women. Women during the war years experienced a few years of financial freedom before the country asked them to return to the kitchen and home.
Leslie knows she has the credibility for a career in intelligence, but how much of that can she keep or maintain if she is perceived as ‘attached’ or ‘compromised’? I also believe Leslie is better grounded than Walker. He is trying to find his place in the world. I’m not sure Leslie can wait for him, or sacrifice what she has accomplished on her own. Their profession adds the complication that their lives are shrouded in secrecy and they must be ciphers to most people around them.
There are a number of intriguing secondary characters, like Sheldon and Tania. Were they difficult to write about? What challenges did you face getting into the mind of a vigilante and a 13-year-old Lolita-type character?
They weren’t difficult since I didn’t have to venture far to create them. As I mention in the Afterword, there were Jewish concentration camp survivors who were incensed that known war criminals were evading justice, so they became ‘vigilantes’ and hunted them down. Sheldon is a complex character and his “activities” are ambiguous, depending on your moral compass. The late Simon Wiesenthal hunted down former Nazis to have them arrested or exposed because so many escaped the courtrooms.
My opinion is that justice was selective and in the hands of the dominant player after World War II, the United States. There were businessmen and companies who benefitted from Nazi labor camps. Have a look at the I.G. Farben Trials, and note that none of the defendants was American, though Ford Motor Company, General Motors and IBM benefitted from their dark alliances with Hitler’s Third Reich.

The plot for The Good Man revolves around Operation Paperclip, where the U.S. collaborated with allies to shield former Nazis. The physicist Wernher von Braun is a notorious example. His work accelerated the U.S.’s space program. Reinhard Gehlen, another example, traded in his Nazi Army shoulder boards to become a Communist hunter. Eichmann’s whereabouts were not a complete mystery to U.S. intelligence, but it took the Israeli Mossad to defy both the U.S. and international laws to kidnap him from his apartment in Buenos Aires in order to bring him to Jerusalem to stand trial.

Tania was a wonderful creation. She’s flirtatious and, like most victims of sexual abuse, she acts precocious and manipulative. Her pedigree as a victim, however, runs deeper. As a Slav, she had dodged the Nazis, who would’ve worked her to death in the camps; had she presented herself as a refugee seeking asylum in Vienna, the Americans would’ve seen her as a Communist. There is also her ideological heritage: her father was a casualty of a Stalinist purge. She is a young girl without a country.
Were you thinking of Sheldon when you came up with the title?
Yes, but I think the question, “Are you a good man?” can be put to Jack, Walker, and Whittaker, too.
Post-war Vienna came alive for me in the story. Tell us about the importance of settings.
Context and circumstances are everything. I tried to develop the noirish aspect of time and place. I mentioned earlier that Vienna was a unique historical situation. Vienna was a playground for intrigues and for the Cold War, the silent world war. Whereas Berlin had a literal wall to divide antagonistic ideologies, hotels and landmarks designated the governing powers in Vienna.
With the War over, the Americans and British were now uneasy allies. Russia, an ally for the Americans, was now the new enemy. The bad guys, the Nazis with special insider information, became tentative allies. That the entire drama plays out in a German-speaking Austria was not lost on me. Austria, Hitler’s birthplace, while German speaking, is not Teutonic in the sense that it’s Protestant and its division into Bundesländer, or city-states, came after the dissolution of the Austrian-Hungarian monarchy.
In the café scenes, I tried to capture this sense of a world that had fallen away from what Stefan Zweig called The World of Yesterday. Walker is out of his depth in not knowing the German language and Austrian culture well, and both he and Jack are also caught up in the clashes of American and European, and West with East, when they encounter Sheldon and Tania. 
What appeals to you about European settings? Have you been in the places that appear in your books?
Differences in perception and outlook. Travel and living abroad have educated me. My use of settings is more than just ‘colour’ in my novels. While I have not been to Vienna, I’ve visited Austria. I’ve travelled around Great Britain (attended graduate school there), been to France, Germany, Italy, and the former Yugoslavia. I try to illustrate and incorporate cultural differences; how people interact with each other and relate to authority. In the Roma Series, I explore the unresolved North and South divide in Italy, among other sensitive issues.
I witnessed a balance between Work and Life in Europe that does not exist in America, whether it was Ferragosto in Italy, or strikes in France by all workers to protest raising student fees in France. Americans work longer and harder and our health suffers for it. If American education and healthcare were run according to the business model of rewarding performance, then there would be true reform.
I find it morally reprehensible that, for a country of such wealth and resources, the U.S. has the worst rate for maternal deaths in the Developed World, with 26 deaths per 100,000 live births. Sense of perspective: The World Health Organization tracks 180 countries and the US ranks 137 on that list for maternal deaths. Other findings are sobering and irrefutable. Will McAvoy, a character on Aaron Sorkin’s The News Room, summarized it in his answer to the question, “Can you say why America is the greatest country in the world?” You can find the clip on youtube.com
Experiencing Europe, I realized that Americans and European society are socially engineered around a different definition of ‘citizen.’ I’m not naïve: Europe is a tiered society and mobility is limited, but I think it’s disingenuous to think America doesn’t have a class society. I’m not blind to disconcerting parallels between the U.S. and Europe, such as the uncanny similarities between Berlusconi and Trump.
Americans, however, have drunk the ideological Kool-Aid and I’m afraid we are losing our standing in the world. I cited ‘citizen’ as an example, so let me provide an example of distorted logic. There were protests against Obamacare. The idea of national healthcare is still derided as ‘Socialism’ and ‘Communism.’ Protestors claimed that in other systems, a patient died waiting for care.
There is no such evidence. President Obama himself said he watched his mother worry not about the ovarian cancer that would claim her life, but rather how she would pay for healthcare. I’ll set aside the obvious ignorance that Socialism and Communism are apples and oranges, but nobody has considered the European view that healthcare is a citizen’s right, and that healthy citizens are an investment in Society.
For this book, how much and what type of research did you have to do?
With any topic that is not native to your experience, research is required; it’s a matter of ethics. I had to read history books and memoirs about the period covered in The Good Man. I cited some of them in my Afterword. With respect to people who lived during that time, those I knew are dead now. I am aware that with people I knew, the material is anecdotal and subjective, the lens of history made hazy.
The Good Man tries to show decent people in terrible situations. Mistakes were made, people fooled, and terrible compromises made. There was also a consolidation of extraordinary power in individuals such as the Dulles brothers at the CIA, and J. Edgar Hoover at the FBI. The United States would see a similar nexus of power again with the Kennedy brothers.
I do believe that the CIA was founded on the noble (and necessary) premise of national security, but the nature of spy craft and politics is such that it’s a losing proposition. When governments resort to secret agencies or programs, or leverage the methods of their former enemies Hermann Göring’s propaganda and Stasi surveillance methods are alive and well then what do we have? Enemies yesterday, friends today; and friends today, enemies tomorrow. Case in point: President Reagan continued Operation Cyclone to counter the Soviet presence in Afghanistan, funding mujahedeen leaders who would later become the founding members of the extremist al-Qaeda.
In general, what do you struggle with as an author?
Visibility. It’s a struggle because there are so many books out each month.
What is a regular day like for you? Do you set yourself a minimum amount of words or hours on a daily or weekly basis?
I write in the mornings. I find that my mind is clearer and focused then. While I understand setting goals as a form of discipline, Word Counts mean nothing to me. I don’t lack discipline. The way my imagination works is that I envision a scene and I write until it is done, whether that takes one day or several days. I see writers posting daily Word Counts, and I don’t know what to make of it. Quantity over Quality? A form of humblebrag? Jack Torrance sat every day at his typewriter and typed, “All work and no play makes Jack a dull boy …” and look how that turned out for him.
How do you set yourself challenges and grow as an author with each new book? For example, what lessons did you learn with your first series that you now implement in this new series?  What are you discovering about yourself as a writer while writing these new series?
I challenge myself by writing in different genres. Horror. Crime fiction. Cozy mystery. Genre gets bashed as low-brow, and not as “Literary Fiction,” which I think is nonsense. Genre is like poetry. You have to know the rules, the meter, and the expectation. Break the rules after you’ve mastered them, but learn them first and appreciate their inherent challenges. The same approach applies to reading in and out of your comfort zones. I mentioned earlier that I read foreign literature. Translators have made other writers available. Read a French ‘polar’ and ‘policier’ and observe the space dedicated to describing violence and exposition. As with any foreign culture, note workplace hierarchy and formalities.
What can readers look forward to in the sequel? When is the next book coming out?
The Naming Game delivers more of the Walker and Leslie relationship. Readers will become acquainted with the turf war between the nascent CIA and J. Edgar Hoover’s FBI during the Red Scare in Los Angeles.
What do you look forward to as an author in 2018?  
I look forward to reading more of Andrea Camilleri’s Inspector Montalbano. I hope to meet readers at conferences such as Malice Domestic, and New England Crimebake. I have not made a decision about attending Bouchercon in Florida.
What else would you like to tell readers?
If you are at a conference and know that I am there, please stop me and say hello.

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REVIEW: The Company Files: A Good Man, by Gabriel Valjan

the-good-man-by-gabriel-valjan_1Title: The Company Files: The Good Man

Author: Gabriel Valjan

Publisher: Winter Goose Publishing

Release date: December 2017

Pages: 251

Genre: suspense/espionage

Find out more on Amazon

It’s 1948, post-war Vienna. In this tale of international espionage, friends and ex-army buddies Jack Marshall and Walker are trying to gather intelligence for the Company in a time when Americans are ruthlessly trying to keep ahead of the Russians. To do so, they must sort Nazis out and question them. But a vigilante with a vendetta against former Nazis is getting to them first. Can Jack and Walker trust a vigilante killer to help them, and if yes, at what price? Add to the mix a beautiful Company analyst as well as a young Russian refugee girl who happens to be under the care of the vigilante. And at the core of it all, a rare priceless coin. As tension escalates one of them must become bait in order to unmask the traitor amongst them.

In a world of intelligence and counter-intelligence where an ally can turn into an enemy—and vice versa—at the flip of a coin, who can you trust? The Americans, the Russians, the British? Who is working for whom in this ruthless race for power?

I thoroughly enjoyed this historical noire. Valjan’s skillful and often witty prose flows elegantly through the pages. The setting is excellent and post-war Vienna comes to life during winter, especially the refugee areas with their gritty bleak streets, run-down cafes and dark cold rooms. There’s an array of interesting and well-crafted characters and the mystery accelerates at a steady pace until the very satisfying ending. In sum, I recommend this read for lovers of spy and international intrigue novels a la James Bond.

 

The Company Files: A Good Man is book one in Valjan’s new Company Files series. He also has another series of international suspense set in the present titled The Roma series. Check his Amazon author page to learn more.

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Meet AA Freda, Author of ‘A Police Action’

AA Freda is an award-winning author. He’s written several novels with a third to be released in the first half of 2018. His first novel, Goodbye Rudy Kazoody, an award winner, is a coming of age work about a group of teenagers growing up in a New York City neighborhood during the early 1960’s was acclaimed by the critics. His second piece and just released, A Police Action is another coming of age story about two confused young adults caught up during the free love and Vietnam era of the late 1960’s. The inspiration for his books are always his lifelong experiences and people he’s met along the way.

angelo-photo_2Freda was born in Italy but grew up in New York City and now resides in Easton, CT, a suburb of New York City that offers him a tranquil environment that allows him to keep his finger on the pulse of the city he loves so much. A graduate of Bernard Baruch College at the City University in New York, he has served as an adjunct professor at the Fashion Institute of Technology in NYC. Freda also served in Vietnam the subject matter of A Police Action. In addition to writing, in his spare time, Freda enjoys fishing, hiking, climbing and shooting pool.

Q: Congratulations on the release of your latest book, A Police Action. To begin with, can you give us a brief summary of what the story is about and what compelled you to write it?   

A: My book is about two young people starting out and trying to make sense of their lives. Complicating the process is a small war going on in Southeast Asia involving some two million soldiers. A war that our country, for political reasons, refused to even call a war. A Police Action is what our government called this illegal war.

The story details the conflict that these two young adults faced with the war and societies conventions. Sex, living alone, abortions, death and love are all brought out in this story. Can these two-people overcome these life and death situations and manage to hold on to each other? Can they find the love and fulfillment in their lives that they are seeking?

Q: What do you think makes a good Coming of Age/Historical? Could you narrow it down to the three most important elements? Is it even possible to narrow it down?

A: There are several elements important in my genre. The first and foremost are the characters. As young adults, you need to capture the complexity of the thinking in a young mind. I need to get the reader to think as a young person would. The historical part of my genre has a twofold importance. The first is to be absolutely accurate of the facts. The second is to make sure you take the reader to that time and place. Have them see clearly the era that the story is trying to convey.

A Police Action Cover jpegQ: How did you go about plotting your story? Or did you discover it as you worked on the book?

A: The story is almost semi-biographical so the plotting came easy. Making sure I did not get caught up in the history was the hard part. I wanted to be certain that the character’s personalities were brought out in the book.

Q: Tell us something interesting about your protagonist and how you developed him or her. Did you do any character interviews or sketches prior to the actual writing?

A: This took a little doing and several rewrites. Since the protagonist is a smart, talented individual, but for all intent in purpose was a loser wandering around life aimlessly. I wanted to make sure I gave the reader the right blend of that contrast.

Q: In the same light, how did you create your antagonist or villain? What steps did you take to make him or her realistic?

A: The villain in the form of a Sergeant represents a metaphor. A symbol of the deception that authority, government and military was inflicting on common folks.

Q: How did you keep your narrative exciting throughout the novel? Could you offer some practical, specific tips?

A: To keep all my stories exciting and have the reader engaged, I always narrow my chapters to mini-sub plots and stories. Similar to a television serial. Never forgetting, however that each chapter has a job to lead the reader to a main plot or story line.

Q: Setting is also quite important and in many cases, it becomes like a character itself. What tools of the trade did you use in your writing to bring the setting to life?

A: In this particular instance, it was easy for me to write about the setting. Having fought in the Vietnam war it was simply reaching back into my memory bank and putting it into writing.

Q: Did you know the theme(s) of your novel from the start or is this something you discovered after completing the first draft? Is this theme(s) recurrent in your other work?

A: No, I knew from the start the theme of A Police Action. The foolishness of the war and the effect it had on unsuspecting young people of usually poor back ground. Ordinary people who had values and ideals that may no longer exist.

Q: Where does craft end and art begin? Do you think editing can destroy the initial creative thrust of an author?

A: The craft and art separate with the editing in my opinion. The editor wants to make sure the story moves at a certain pace. The writer on the other hand would like to paint the reader a picture. Editing, while a key component in publishing, can certainly the creativity of the writer.

Q: What three things, in your opinion, make a successful novelist?

A: First would be honesty. Don’t try to fool the reader. Paint the picture correctly.

Second is to be a story teller. Make sure the story you write about is interesting and engaging.

The third is to never forget that writing is not about the author, it is about the reader. The book will be around long after the author is gone.

Q: A famous writer once wrote that being an author is like having to do homework for the rest of your life. What do you think about that?

A: There is truth to that. But it’s nice homework. Not toiling gruesome assignments or subject matters.

Q: Are there any resources, books, workshops or sites about craft that you’ve found helpful during your writing career?

A: No workshops but I can cite at least three teachers that encouraged me to write. These teachers provided me with positive attitude to continue to write. An attitude that I still maintain today.

Q:  Is there anything else you’d like to share with my readers about the craft of writing?

A: First, whatever you do, keep writing. Don’t ever get discouraged. If your work doesn’t come out right, go back and fix the errors but don’t give up. Be honest with yourself and your writing. We all can improve our craft. Athletes practice non-stop to get better. Writers should do the same.

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Book Spotlight: Mamá Graciela’s Secret by Mayra Calvani

redpillows

Mamá Graciela’s Secret

Publication date: October 10, 2017

Written by Mayra Calvani

Illustrated by Sheila Fein

MacLaren-Cochrane Publishing

http://www.maclaren-cochranepublishing.com

36 pages, 3-7 year olds

Reading guide at: www.MayrasSecretBookcase.com

Description:

Mamá Graciela’s TENDER, CRUNCHY, SPICY bacalaítos fritos are the best in town…

Local customers (including stray cats!) come from all over the island to enjoy her secret recipe. But when the Inspector discovers that Mamá secretly caters to so many cats and he threatens to close her tiny restaurant, Mamá must come up with a plan to save it—and all of the animals she loves.

About the author:

Mayra Calvani writes fiction and nonfiction for children and adults and has authored over a dozen books, some of which have won awards. Her children’s picture book, Frederico the Mouse Violinist was a finalist in the 2011 International Book Awards; her anthology Latina Authors and Their Muses was a First Place…

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