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Here is some great advice from Florida based author Dan Allatorre. The thing about Dan is that he is a writer who puts a lot of effort into helping other writers with his contests, his critiques and his anthologies. I’ve been fortunate enough to have been a runner up in one of his contests and to have had stories accepted for two anthologies. And then he posts blogs, like this one, that explain the “nuts and bolts” of our craft.
My ‘date’ this time is Dublin born author Max Power. In his response to my first question he agrees that his Dublin childhood is an important influence, but goes on to say that it is only part of the story.
“The Jesuit maxim of ‘give me a child until he is seven and I will give you the man’ is not something I buy into. It’s never too late to change direction. Perhaps the greatest influence in my writing has been the deaths of my mother, my father and my elder brother who died all too young aged 53. I struggled with grief when my mother passed in particular and I know in hindsight that I was damaged by not dealing fully with the loss at the time.
Love, loss and death are central themes in all of my books, I suspect largely because of how my life has developed. I have been asked for example, why I write across genre. For me there is no line that divides the twisting paranormal tale of Darkly Wood from the book I wrote about a little boy whose name I never reveal. Both are written in my voice and it is a voice that comes directly from my head to tell the reader a story.
I am a simple story teller, no more, no less.
Other writers will understand the huge effort that goes into writing a book, but I like to think that whoever reads my stories is sitting comfortably and hearing the lilt of my voice with each written word. It is certainly what I like to feel when I read a book and I spend a lot of time when editing, focusing on words that hopefully achieve this. I guess therein lies the craft.”
Like so many indie authors, Max’s writing journey began quite late in life although he had always had stories in his head waiting to be unleashed.
“I have always been a writer I guess and I devoured books as a reader for as long as I can remember. I have a vivid recollection of being beaten by a De La Salle Brother for writing the title of my essay at the top of every page, just like I had seen in books. He ignored the fact that while every other boy in the class barely managed to fill one page for their essay, mine was 12 pages long. The shock of being punished for working so hard was unbearable at the time.
I have worked hard all through my life and part of that involved extensive travel, including a full year living and working in Australia. Along the way my children had to be reared and as you say, life gets in the way. I tend to work on multiple projects at once and one such current rewrite dates back to a book I first wrote in 1990. In short I have always tipped away, but I have finally reached a place in life where I have a little more time to dedicate to my writing and therein lies the answer.”
His first three novels were published in 2014. Subsequent books have appeared at longer intervals in what turns out to have been a deliberate marketing strategy.
“One of my primary degrees is in marketing, so I knew I had to get a batch of books to market to have any chance of developing a profile as a writer.
The first book I published was Darkly Wood, a true labour of love for me. I had already written first drafts of the next two books so in the first year I was working to a very specific plan – 3 books. I always work on multiple projects. Right now for example I am finishing Darkly Wood III, rewriting a book I mentioned earlier, a thriller called Apollo Bay set in Australia, there is a story set during the Irish Famine, and one that has a loose connection to Little Big Boy as well as a couple of other projects in development. I like to move from project to project at different stages as I feel it keeps me interested. I never have writers block and I think my methodology has a lot to do with this.”
A recent reduction in published output is undoubtedly the result of what I chose to refer to as “a brush with ill health”. Turns out that was something of an understatement.
“My ‘brush with ill health’ saw me go to hospital for a relatively routine procedure. Unfortunately on the table things went wrong and to put it simply, my heart stopped and I had to be revived.
I had suffered a heart attack and ended up in a critical care unit for two weeks. It was a wrecking ball through my life. I am still relatively young and I went from being a healthy, fit man, to someone who couldn’t walk up the stairs without stopping for a break.
People asked me what was it like and I do have decent recall of what happened, though not a full memory of course. I was conscious up to the point a nurse climbed onto the table and started to squeeze a bag of fluids to which I was attached. I distinctly remember that the mood in the room changed and another nurse took my hand. She calmly told me that everything would be fine – that I would be fine.
I understood in that moment, I’m not sure why, that I was dying.
My life didn’t flash before my eyes but I felt an overwhelming sense of sadness. I’m melancholic by nature although I cover it up for the greater world. I suspect in those moments, as I briefly crossed over, my natural self took over. I just felt sad for those I was leaving behind, my darling Joanna and my wonderful children. When I came around I was changed.
Bizarrely for a man who is a total sceptic and has no time for ghosts, spirits etc, I discovered that I now have a new dark companion who I have blogged about so I won’t go into detail here. I strongly suspect it is a delusional apparition, but there is a very dark and frightening, portentous element to his visits that make me uncomfortable.
In the last year I have had a run of bad luck health wise, mostly relatively minor things, but they have hugely impacted my writing time. As I type, I am struggling with a shoulder injury and to be honest, I have a serious pain in my backside with the recent list of creaky, old man ailments that have hunted me down one after the other. But on the bright side, my trips through the world of medicine are always good food for my blog.”
Max’s often satirical, and always very funny, blog has a large following. He offers this advice to bloggers wishing to emulate his success:
“I approach my blog very differently than most bloggers – or at least I think I do. It is not a commercial enterprise, nor an exercise in narcissism. I love telling stories. Even in the flesh I never shut up. My blog is an extension of that side of me. I sit at my laptop and have a little wander through my thought process. I will tell a story, usually multi-compartmented, and my goal is either to bring a smile or just to share some often very honest truths about myself.
It’s not a confessional but I know from interactions with readers of my blog, that I often connect with others going through similar experiences. It is a sampler if you will, of my writing. It is my penny dreadful in a way, a teaser of me and a good place to practice being concise, which is important for me as a writer.
The advice I would give for whatever value that might be, is to know what you want to write about.
If you have to struggle each time you sit down to write a blog, then you haven’t discovered what it is you are trying to achieve.
My blog is what it is, it does exactly what it says on the tin. I do use imagery and spend more time choosing my images than I do actually writing the blogs as I understand the importance of the visual impact – again my history in the world of marketing coming out.
Like all my writing advice, I go back to the heart of what writing should be.
Be interesting, be relevant and always think of your audience first.
Some writers think too much of themselves and forget that ultimately they need to engage and entertain their readers.”
He does not (yet) have a special place for his writing:
“I write anywhere. Kitchen table, sofa, office at lunch break, hotel rooms when I travel, there is no special place. We moved to our current house three years ago and there is a space I’ve got my eye on, but with one grown lad, Joanna’s 93year old mother and three dogs, I have yet to find the time to confiscate and decorate. I write every day, if only a small amount it doesn’t matter. I alternate from a first draft, to editing different drafts or rewrites, and it is a slow process but I keep at it.”
Although his books are strongly character driven they are mostly worked out in his head before he begins committing them to paper.
“I write every book in my head, start to finish. It can take months for me to develop a story, my mind is a whirlwind of noise, it never stops and that can be a bad thing. But among the clutter there is always my latest planned project. When I am happy with it, I sit down and write it through start to finish without any edits until I get the story down. My books are entirely character driven and perhaps the best example of this is Wormhold in Darkly Wood II. He changed how the book developed and was entirely responsible for me writing book III.
Originally he was supposed to have a far smaller part in the book, but as I inked him to life, I fell madly in love with his twisted horror and I couldn’t help myself and he became central to the story. I couldn’t end the book without curtailing his wild twisted beauty, so I replotted and realized I would need a huge book to get to where I wanted to go. The upshot is a third book in the series that wasn’t originally planned.
In general I allow my characters to take their natural course, but they ultimately stick to the end goal. I’m a far more technical writer than most people would notice. Writing a book in the first person without ever using the character’s name was an enormous challenge and within Little Big Boy for example, there was a need to write about terrible things that the reader had to understand but the narrator, my Little Big Boy didn’t understand and on occasion had to be oblivious to the events in the story.
It may sound simple, but I literally slaved over words, phrases, sentences and paragraphs, to achieve something that reads like it is falling off the little boy’s tongue, all the while revealing the sometimes unrevealable as my main character was too young to see or understand context and circumstance. I loved writing the book because I think I got into the space I needed to get to write it, the head of a seven year old boy. I also hated writing it, because I was very ill during the process so I struggled a lot getting this one finished.
Larry Flynn drove me to distraction. He is such a simple character in theory, but I understood his secret backstory so he diverted me quite a bit. I think both Larry and James Delaney in Bad Blood, had their own meanders but thrillers are easier to keep in line as they have a much more fixed structure if everything is to work out.”
As I imagine we all know, the standard disclaimer “any resemblance to real people is purely coincidental” is only half true and Max is not afraid to admit it.
“Little Big Boy has my face on the cover. I wanted a little boy on the cover and there were no copyright issues with my own photo. I stole many bits and pieces from people I knew in my childhood, but it was very much a case of taking all the fragments and creating something new.
In Darkly Wood some of the characters despite the strangeness of the tales, have origins in people I have met, but again they are only shadows of real people falling on my invention.
I did use one real name that might surprise people when they hear it. My daughter’s boyfriend has a friend called Zachary Westhelle Hartfiel. He is as Irish as they come despite his name and when I met him I told him that I simply had to steal his wonderful name for my book. I turned him into a swashbuckling chap in the vain of Black Adder’s version of Sir Walter Raleigh. He came to a dark end though. I would say that in general my main characters are pure inventions of my own, created in my mind as I plan my story.”
As you might imagine, Max includes a number of classics among his favourite writers.
“I love Charles Dickens, Henry James, George, Elliot, for example but I have a broad taste beyond the classics. Stephen King’s The girl who loved Tom Gordon is one of my favourite books but most people miss this short little gem in his catalogue of more famous books. Heart of Darkness by Joseph Conrad is a cracker and I enjoy Flan O Brien.
Perhaps my favourite book, is still The Little Prince for its simplicity and for Alexander du Saint Expurés interesting life, I think I’d have to have him to dinner or a pint. As always with people I meet, I want to learn about them primarily. New people fascinate me and I think we have most to learn by simply listening.”
I always like to end my ‘dates’ by asking the subject to reveal something surprising abut themselves.
“There are things that if I put on paper people literally wouldn’t believe and tempted as I am, I’ll keep the strangest ones to myself. I can tell you that I have an empathic ability to feel the physical pain of others by touch. I can touch someone and from that touch I can literally pinpoint a point of pain on their body. I keep that to my self – until now – only Joanna can back that assertion up. There’s that and the fact that I have no tickles, never had. I used to tell my kids that they all fell out as I snapped back up from the bottom of a bungee jump – a little embellishment I know, but I simply can’t help myself I’m afraid.”
I thanked Max for some fascinating insights into his life and his writing. Do please check out his books, if you have not already done so. Probably the best place is on his website where every blog is ended with a set of links to your local Amazon store. He is also on Facebook.
As authors outside of the ‘mainstream’, we all face the difficulty of getting knowledge of the very existence of our work out to the people we are doing it for – readers.
Fellow author Stevie Turner has captured the dilemma precisely in her blog:
That’s what makes a great writer, according to Rebecca Bryn and she should know, being one of the greatest. Her work deserves much wider recognition. “For Their Country’s Good” would make a TV series to rival “Poldark” and “The Dandelion Clock”, which I had the privilege of reading pre-publication, has echoes of Michael Morpurgo’s “War Horse”.
Writing that comes from the heart, with deep emotional overtones and well developed characters, will always captivate me as a reader. Ms. Bryn does that brilliantly.
I’m not sure diversity is, or ought to be, such a minefield. We are mostly all the same under the skin with the same basic needs and desires. Sometimes our cultural background makes it hard to accept some of those needs and desires within ourselves, repressing some and giving undue stress to others. It is those conflicts that are the meat and drink of good story telling. As the writer of the first comment says, the degree of acceptance or repression depends on the time and place in which the story is set. How the characters develop and respond to the circumstance in which they find themselves has much more to do with their humanity than their race, gender or sexual orientation.
Anyway, here are Alison Maruska’s suggestions for dealing with characters from diverse backgrounds.
If you are planning to enter Dan Alletorre’s Word Weaver Contest or any other writing competition – or want to know how to write stories that magazine and anthology editors will pay good money for, then here are some great tips for you.