Claire Martin–Interview

Describe your creative space. Do you work at home, in public spaces, etc.?

If I’m sitting down to seriously edit and write, I’ve got to be alone in my home. I’m typically a highly social type, so I’ve learned that my best space for productivity is one where I’ve eliminated as many distractions as possible. Otherwise, my mind is quick to wander away from the page.

What kind of materials do you use? Do you write by hand or type? What is your favorite writing utensil?

I like to kick off new stories with just a pen and paper. I know I’m ready to transition to writing on a keyboard when the story in my mind starts coming together faster than I can jot it in a notebook. Starting off by hand has always been a great place for me to play with scene before I really dig in.

What is your routine for writing?

I like to hunker down, especially if I’m writing through the night. I’ll turn off my phone and tidy up the space around whatever desk or table I’m posted at.

How long have you been writing? When did you start writing?

I recognized an excitement for storytelling in myself somewhere around age five, but didn’t actually begin writing creatively until I was fifteen. At nineteen, I finally started taking the work more seriously when I somewhat absentmindedly landed in a fiction writing undergraduate program. From there, it took off.

Who is your intended, or ideal, audience? Who do you write for?

For me! I know I say this at risk of sounding cliché, but my work comes from a place of personal catharsis. I remember receiving positive responses to the first short story I wrote in college and thinking to myself, “wait, other people actually like this too?” During my editing process, I tend to take audience into consideration more than I do while writing. Ultimately, I hope to reach people who like to listen to their intuitions, emotions, and the dreams they have at night.

What inspires you to write? If you are blocked, what do you do?

When I first moved to Chicago, I started taking long walks through the city to better get to know my area. I’ve heard that the French word dérive characterizes setting out on walks without a preset destination, just the intention of drifting. For my writing, the power of the dérive comes when the physical motion ignites my mental motion through actually walking, finding myself in surprising places, and observing others. It’s important to know when to step back from a piece and give it (and yourself) a little air.

What other things do you do besides writing? Do you dance or play golf, etc.?

If I hadn’t found writing when I did, I believe I would’ve gone into photography. I love collecting and restoring old cameras, and certain captured images can be excellent inspiration for story.

What is your favorite part of the creative process?

The actual act of writing can be both freeing and agonizing for me, so the process itself is a bit of a challenge. But when a story takes on a life of its own and I can begin to feel it come together, the process gets euphoric. So when I’ve completed an early draft of something that’s ready to be shared, accept feedback, and evolve, the difficulty of the process that helped me build it feels worthwhile. That’s really the sweet spot for me. A fresh first draft.

What is your advice to aspiring writers?

Trust your voice. If you’ve got a story, only you can tell it to its fullest integrity.

Check out Claire’s work in Volume 4, Issue 2.

Henry Hitz–Interview

Describe your creative space. Do you work at home, in public spaces, etc.?

I have a study, or a man-cave, in my house where I do almost all of my writing, though I also have a piece of land in the Santa Cruz mountains where I go for inspiration.

What kind of materials do you use? Do you write by hand or type? What is your favorite writing utensil?

I’ve been writing using a computer (first WordStar, then WordPerfect, now MSWord) since I bought an Osborne back in 1981.

What is your routine for writing?

I don’t have a rigid routine. Generally I write on weekends, stoke up on caffeine Saturday morning and write away. I make sure I have a piece to read at my weekly writer’s group.

How long have you been writing? When did you start writing?

I wrote my first story when I was 8 years old. It was called “Fate and Pearl Harbor.” I’ve written off and on ever since, but seriously since high school.

Who is your intended, or ideal, audience? Who do you write for?

It varies from piece to piece. My first novel, White Knight, was written for the progressive community of San Francisco. My second novel, Supremacy, was written for both people into politics and into the kink community. The novel I am currently finishing, Squirrels in the Wall, was written for people who care about the planet and humans’ relationship with nature, as well as people interested in the nature of death.

What inspires you to write? If you are blocked, what do you do?

Reading inspires me. The Castle, Catcher in the Rye, The Color Purple are three voices that have influenced my writing. I am primarily motivated by an obsessive need to understand the f-ing universe and explain that understanding to my fellow humans.

What other things do you do besides writing? Do you dance or play golf, etc.?

I’m an activist and political organizer when I’m not writing. I read. I watch the great stuff on TV (Handmaid’s Tale, Chi, Peaky Blinders). I obsess about kinky sex, lol.

What is your favorite part of the creative process?

The process itself when it is flowing. Allowing my all too vivid imagination to run away with me.

What is your advice to aspiring writers?

There’s no such thing as talent. Talent is a myth designed by our oppressive society to exclude the vast majority of voices from our cultural conversation. Everyone has a story to tell that is profound and profoundly different from anyone else’s, and if you just keep trying to tell it, sooner or later it will be told just the way you want it to be, regardless of whether anyone reads it or not. Finding your voice is the same thing as finding yourself. Expressing ourselves is what we are here for in order to connect with others. It’s all about connection. Reality inheres in the connection between us.  Also, join a writer’s group.

 

Check out Henry’s work in Volume 4, Issue 2, and his story “Turtle Bay,” was nominated for the Pushcart.

 

Kevin Haslam

Kevin Haslam is a content writer and communications professional. He was a paint salesman before shifting to writing where he earned an MA in English at Morehead State University. He resides in Cranston, Rhode Island, with his wife and two boys, and he can be found at www.KevinHaslamAuthor.com.

Spitting Distance, Volume 5, Issue 1

Dave Gregory

Dave Gregory used to live and work at sea but now writes in a bay-windowed, book-lined room. Currently a reader for Gigantic Sequins, his work has appeared in many publications such as Literally Stories, Ellipsis, and Bull & Cross. https://courtlandavenue.wordpress.com/ and https://twitter.com/CourtlandAvenue

John’s Oven, Volume 5, Issue 1

Michael Paul Hogan

Born in London, Michael Paul Hogan is a poet, fiction writer, and literary essayist whose work has been featured extensively in the USA, UK, India, and China. He is the author of six volumes of poetry, the most recent of which, Chinese Bolero, with illustrations by the great contemporary painter Li Bin, was published in 2015.

The Fractured Wor[l]ds of Willem Kleist, Volume 5, Issue 1

Don McLellan

Don McLellan has worked as a journalist in Canada, South Korea, and Hong Kong. He has published two story collections, In the Quiet After Slaughter (Libros Libertad), shortlisted for a 2009 ReLit Award, and Brunch with the Jackals (Thistledown Press, 2015).  More at donmclellan.com.

Brides, Volume 5, Issue 1

Donají Olmedo

Donají Olmedo was born in Mexico City, where she still lives today. English translations of her fiction have appeared in various venues, including The Bitter Oleander, Gargoyle Magazine, The McNeese Review, and xo Orpheus: Fifty New Myths. She blogs at Casa de Ateh and edits the chapbook of the same name, where she publishes the work of young Mexican writers.

A Pigeon, Volume 5, Issue 1 (Translated by Toshiya Kamei)