EXCERPT FROM AN INTERVIEW WITH
AUTHOR PETER JENNINGS
Tell us a little about the overarching theme of your work, and perhaps why you feel compelled to explore it.
Whoa... to begin with, I'm not sure there is an overarching theme in my work. Certainly I didn't start out writing books with a particular viewpoint in mind – you know, to save the world or anything grand. But I suppose, as time's gone by, I find people are telling me they're inspired by my books and how they see them as a resource to a more complete, more fulfilling life. Well! Ain't that jest fine!
The more I think of it, the more I accept that underscoring my work is a desire to help people enjoy their lives more. Whether that's writing about a gruesome shark attack and helping readers understand how rare that was, so don't feel you shouldn't swim in the ocean... or whether it's discovering how a group of people – some well known, some not – sustain happiness in their lives in a world that's facing heightened levels of stress and anxiety... or whether it's defining how you can harness your entrepreneurial spirit and succeed in business... or whether it's encouraging people to see that thinking outside the box can pay big rewards... or... well, you get the idea. So yes, I guess I write the books that I do with a roadmap in mind that can lead to greater satisfaction and joy in life.
Did you have a specific readership in mind when you write your books?
No, not really. I think my stuff is of interest to any reader who likes non-fiction authenticity and who appreciates the ability to survive when life gets you down.
What was your first publication?
I’ve had numerous pieces published over the years, having written copy for ads, websites, media, brochures, etc., along with many magazine and newspaper articles. "Shark Assault: An Amazing Story of Survival" was my first published book.
What inspires you to write the books you do?
Two things. I have to have an abiding interest in the subject matter. I'm not a write-on-demand author. I write about what interests me. And secondly, going back to what we discussed earlier, I hope that my books will help readers enjoy greater joy and satisfaction. That's what stimulates me and motivates me to write my books.
What's the best advice you've ever received as a writer?
Douglas Gibson, former President and Publisher at McClelland & Stewart “the Canadian publishers”, recently offered a great piece of advice when I interviewed him on my TV show “Be My Guest”. Let me share it with you...
“Put your time and energy into writing the best book you can. Everyone seems focused on ‘How do I find a publisher?’ or ‘How do I find an agent?’ or ‘Should I self-publish?’… all good questions, to be sure. But those are premature issues when you haven't first put your efforts into producing the best writing you can. I understand that getting published is your eventual goal, and I know how challenging that can be, but your first duty to yourself is to refine the creativity in your writing and turn that into the most compelling manuscript you can. Once that’s achieved, and you’ve gone over and over and over it to make it the best it can be… then, and only then, should you start worrying about finding the right enablers to turn your writing into a book.”
That's great advice for any aspiring writer, and Doug's surely a guy who knows.
I can only echo that: Write, damn it! It’s like that old joke about the guy in New York City who stops a local resident and asks, “How do you get to Carnegie Hall?” “Practice!” is the response. If you want to be an author, there is nothing that takes the place of actually practicing the art of writing. It keeps you at the top of your game.
I suppose I’m lucky: I've written throughout my life and it happens to be something I get real joy from. Whether it’s a book, an ad, a magazine article, a website or a PR release, I pride myself on putting in the time to take it to a higher level, to make it as good as it can be. After all, certainly in the form of books or magazines, we writers are asking people not just to spend money buying our wares but to devote time to reading it. In my world, that means I owe them the best of my efforts. It’s like singing – I’m a singer in my other life. If someone is prepared to pay to hear me, and if they are ready to give up an evening of their time (time being a precious quantity that is increasingly rare these days), I better be prepared to give them my best effort. That’s why I’m a slave to rehearsing.
Has a review or profile ever changed your perspective on your work?
No. Actually, commentary on my writing has been positive, so I just keep on doing what I do. So far, anyway.
What did you read as a young adult?
Always loved Dickens. In fact, I still re-read "A Tale of Two Cities" every few years.
What are you reading right now? Do you have favourite authors?
Fiction: I enjoy Elizabeth George and her Detective Lynley series. Going back, I’ll still pull out old Hemingway, Lardner, Fitzgerald classics (I re-read “The Great Gatsby” before seeing Baz Luhrmann’s film because I knew he’d take some interesting twists in the interpretation and I wanted to be reminded of the nuances in Fitzgerald’s work). And as I mentioned, I re-read "A Tale of Two Cities" every few years because I still find it fascinating.
As for non-fiction, I love Scott Berg's stuff. His “Editor of Genius” about Max Perkins was brilliant. But maybe that’s because I’m a writer. I met Scott once in Hollywood. Nice guy, unpretentious, normal.
I’m often more interested in the subject matter than the writer. I recently read "The Patriarch: The Remarkable Life and Turbulent Times of Joseph P. Kennedy" by David Nasaw. I don’t know Nasaw at all but I’ve always been fascinated by the old man and felt this would be a rich read. I wasn’t disappointed. Just finished "When Lions Roar" by Thomas Maier, a history of the entwined lives of the Churchills and the Kennedys, detailing what their “special relationship” meant for Great Britain and the U.S. Great book. Being a political junkie, “Game Change: Obama and the Clintons, McCain and Palin, and the Race of a Lifetime” was something I just had to read by political journalists John Heilemann and Mark Halperin. I knew of Halperin because I subscribe to Time but Heilemann, who writes for New York magazine, was a stranger to me. But man, did these guys nail that story. It was an absolutely fascinating look at behind the scenes in U.S. politics: you felt like you were there at every turn!
I typically read 3 or 4 books at a time, varying between fiction and non-fiction.
You write primarily non-fiction but you've indicated you're working on a fiction project. Do you prefer one genre over the other?
I love writing, so whether it’s recounting a true narrative or inventing one, both offer an enjoyable outlet for me. Obviously each demands different types of work but when you like to write, it's all good. I should add that I'm naturally attracted to individuals who have a higher calling, who want to serve, who want to give back, to brighten the world. I think that's an important and valuable part of life because I too get joy from making people's lives better and brighter. So, if I have an opportunity to write about someone who embodies those elements – such as Nicole Moore, whose life I featured in "Shark Assault: An Amazing Story of Survival", or many of the people I showcased in "Being Happy Matters", I defer to the non-fiction world. Now, in answering your question, I’m assuming I’m equally successful at both forms of writing: maybe I’m deluding myself!
Do you have a particular strong point as a writer?
Tough questions, my friend! OK... any writer has to be able to craft together words, sentences and thoughts in a way that keeps the reader engaged. Throughout my career, I’ve been told I do that well. But I’d like to think I’ve also got a good ear for dialogue. In my radio days (I was an on-air DJ for a few years back in the day), I was always doing voices, impersonations, dialects, that kind of thing. Still do when telling jokes! But the point is, I’ve always liked listening to the cadence of people talking, what they say, how they choose words or phrases, that kind of thing. Always fascinates me. So when I’m writing dialogue – fiction or non-fiction – I bring that ear into play. I think it proves compelling for the reader, making what my characters say intriguing as well as revealing little snippets about their personalities.
Where do you get your ideas from?
The butler. Yup, that Jeeves is a great man with an idea.
Yeah, like I have a butler!
I suppose it depends whether you’re talking about fiction or non-fiction. In non-fiction, obviously you aren’t faced with having to create a plot. That work’s been done for you and you’re reporting on it to a certain extent. But there is still lots of room for creativity in the way you handle the narrative. Take "Shark Assault": the challenge there was that if you stripped away the details, I was left with a 4 chapter book. You know, girl goes to Mexico where she’s savagely attacked by a shark; she faces death as medics in a local hospital fight to save her life; she returns to Canada where several more operations occur, including the amputation of her arm; and she moves forward with a positive, optimistic approach to living. 4 chapters, lock, stock and barrel. Trouble is, no one’s going to read a four-chapter book. So that’s where the creativity comes in. I ended up writing a 22-chapter book that, if I can accept the judgment of my readers, is an engrossing, riveting story. What keeps the reader involved is joining Nicole, the heroine of the story, as she recounts being brutally attacked by a bull shark in shallow water in Cancun. But then we hear the same chain of events told by several others who witnessed the attack. Similarly, I interviewed many doctors and nurses who shared their fears about trying to save Nicole’s life. By taking the reader behind the scenes, and getting down into some interesting details, we end up with a real sense of “being there” that holds your interest.
Now, that being said, you have to keep the reader engaged, interested. I go crazy when I'm reading a biography and the writer wants to go back six generations to introduce the main character's great, great grandfather. I don't give a damn!! Keep it relevant!
Fiction is different, of course. You’re looking to come up with a gripping plot right at the get-go. And no question, that demands real creativity. But ideas come from everywhere. For instance, with my first “Dr. T” book, “A Taste For Death” (which I'm about 2/3 of the way through writing), I was chatting with a friend of mine who’s got a Ph.D. in market research. We’ve known each other for years and I’ve never given much thought to the focus groups she runs. But this one time, she talked about a new product coming to market and the fact that it was her job to figure out if consumers could be moved to sample it. When I asked her what the product was, she replied, “Peter, I couldn't begin to tell you that. Or who the client is either. It’s top secret! There are billions of dollars at stake here if this product takes off the way they hope it will. So everything is hush-hush.” And just like that, a little light went off in my head: what if we had a story where a bright market researcher uncovers corporate secrets that she’s not supposed to know about. And this leads to death (not our heroine dying but to someone who works for her client). That was the nub of it. So I grabbed that premise and literally just started writing, letting the ideas flow before I’d even finalized the plot. It's been a fun creative process.
OK, here's one for you: why do you write?
No softball questions, huh?
OK, interesting question. I suppose I write because I have to. No choice in it, really. Writing is my creative outlook, it's who I am, what I do, one of the ways in which I create contentment. It's been that way for as long as I can remember.
The satisfaction of producing quality writing is hugely rewarding for me. I'll admire a finely crafted sentence or a sharply defined descriptor the way some guys might regard the female form: lovingly, respectfully, with admiration. More than that, writing's enjoyable, challenging and fun (if indeed being challenged is your idea of merriment).
Fact is, I can't imagine not writing. It's essential, as natural to my being as my beating heart, as crucial to my existence as breathing, as vital to defining who I am as spending time with my puppies Molly and Macy.
So that's why I write: because I have to.
Writing is often described as the loneliest profession. Do you find it that way?
I suppose I should be gratified to have what I do called a "profession". But lonely? Sure, you you could term it that way, I suppose. I mean, as an author, there's no question you spend hours and hours on your own, focused on pounding words into a manuscript. And if your nature is to be content when you're far from the madding crowd, working in a lonely profession is surely where you'll end up. But I sure don't think of practicing the craft of writing as being isolated. When I'm working on non-fiction, I'm constantly in touch with interviewees who bring my stories alive. That's stimulating and hardly lonely. And when I'm immersed in developing a work of fiction, I'm surrounded by the characters who comprise the plot. Properly deployed, they'll ensure I'm never alone.
I mentioned recently to another interviewer that Allan Fotheringham told me he thinks writing is the loneliest profession: "It's the only job you do entirely on your own." And Dr. Foth's been doing this for longer than most of us so he ought to know. But I also told this lady that I think a writer who finds writing lonely is a lonely writer. And that's that.
How long does it take to write a book?
Whew! How long have you got? Seriously, it’s all over the map. Some writers can dash off books – good books – in a few weeks. I’m envious of that because that’s not me. But I’m not like the famous Thomas Wolfe who drove his editor Max Perkins nuts by taking years to deliver a manuscript. Best way to answer the question is to give you some examples. "Shark Assault" took three years, but that includes a year off that Nicole Moore took to deal with other demands in her life. So, it was 10-12 months for research, another eight months for drafts, then another couple of months for polishing and refinement. I've been working on my fiction book “A Taste For Death” for three years, not because it's taken that long to actually write but because I've been working on other projects in between. It's more of a hobby. My collaboration with Marilyn Brooks on her memoir, “Behind The Seams”, involved five years of work, but again, not constant labouring in the literary salt mines because, both she and I had other things on the go and we contributed to the book when time allowed. "Why Being Happy Matters" unfolded over five years, but again, that was interrupted by writing "Shark Assault" which needed to get to press in a timely manner. "Pushing The Boundaries" has been really efficient: taken about 18 months. So it's all over the map, really.
You say you love writing, but surely it’s a lot of work.
Oh yeah! Look, don’t let me under-sell the anxiety of a deadline looming or an editor yelling for deliverables. It is work, and like any vocation, writing can involve levels of stress and challenge. But there’s nothing so grand as the feeling you get when you nail a piece of dialogue or craft a passage that really makes a difference in telling the story. Let me give you an example. I was struggling with how to open "Shark Assault". I probably wrote 20 different approaches … but it never seemed quite right. Close, but no cigar. Until the notion arose: take the reader to the crux point of the story right off the bat, then work back from there. I wrote it in under an hour and it was as deeply satisfying as anything I’ve ever crafted. But before that euphoria, make no mistake: work, work, work.
Have you always wanted to be a writer?
In the sense that I‘ve written throughout my life, yes. I sucked at math in school but always aced English and history courses because I loved them. And when you are keen about something, you generally do it well. When I worked in radio, corporate communications and marketing, writing was always the part of the job I gravitated to. So yes, it’s always been a passion.
Do you write every day? What’s your schedule?
That really depends on whether I’m involved with a project that has a timetable. In general, yes, I write every day. But that may mean scribbling away at 3am when I can’t sleep because a neat idea has just popped into my head. No time like the present: let’s get it down on paper. Typically though, it’s a 9-5 day where I’m in my office pounding out syntax on my iMac. And truth be told, I’m a lucky guy: I’m not one of those “Oh, I must wait for the muse to visit me” kind of writers. I don't suffer from writer's block. I can sit down and just start typing words, and the ideas seem to flow. Sure, I may have to go back and edit the hell out of the first draft, but once you’ve got that prime version down, you’re away to the races.
How do you go about getting published?
As a marketer, I fall back on the USP: unique selling proposition. What about you or your book idea or your completed manuscript makes it stand out against the myriad competitors? If you can figure that out, then find a way to communicate this in as few words as possible. And when you’ve completed your internet search of literary agents and publishers… and when you’ve read their very specific guidelines for submissions (generally beginning with a query letter), I suggest you select a few and start emailing or snail mailing, depending on their instructions.
I’ve often compared this process to a job interview. You’re there to get hired. What will make you stand out against the other candidates they’re interviewing? If you can find a way to present you, your personality, your previous track record and what you bring to the table in an intriguing light, you may stand a better chance than the next guy. Well, it’s the same with getting a publisher or agent to invest in you (and that’s what they’re doing, by the way, until you start selling books and making them money). Your job is to get them to think you are superior to the other candidates waiting in line to get a book deal.
At the end of the day, put yourself in their shoes. How can your book make their job easier? Isn’t that what we all seek: maximum gain from minimum pain?
All that being said, getting published has become increasingly difficult for a new author. Publishers (and agents) are backing away from newbies in favour of supporting their existing stable of writers. Less risk. I was very fortunate that I had connections at Dundurn (Canada's largest independent publisher) that set me up to talk directly with the company's CEO and get a publishing deal for "Shark Assault" as a result. Don't think I don't regularly acknowledge how luck paved the way!
Hardbacks, paperbacks or ebooks?
Gotta tell ya, I love my Kindle when there's travel involved. I was recently in Europe and rather than lug 8 heavy books in my luggage, that e-reader kept me going big time! By I still love the feel of a real book though, the experience of cracking open a tome and going at it. Sweet!
Thanks for your insights.
Well, if you think what I've had to say is insightful, great. Thanks for the intriguing questions.
AUTHOR PETER JENNINGS
Tell us a little about the overarching theme of your work, and perhaps why you feel compelled to explore it.
Whoa... to begin with, I'm not sure there is an overarching theme in my work. Certainly I didn't start out writing books with a particular viewpoint in mind – you know, to save the world or anything grand. But I suppose, as time's gone by, I find people are telling me they're inspired by my books and how they see them as a resource to a more complete, more fulfilling life. Well! Ain't that jest fine!
The more I think of it, the more I accept that underscoring my work is a desire to help people enjoy their lives more. Whether that's writing about a gruesome shark attack and helping readers understand how rare that was, so don't feel you shouldn't swim in the ocean... or whether it's discovering how a group of people – some well known, some not – sustain happiness in their lives in a world that's facing heightened levels of stress and anxiety... or whether it's defining how you can harness your entrepreneurial spirit and succeed in business... or whether it's encouraging people to see that thinking outside the box can pay big rewards... or... well, you get the idea. So yes, I guess I write the books that I do with a roadmap in mind that can lead to greater satisfaction and joy in life.
Did you have a specific readership in mind when you write your books?
No, not really. I think my stuff is of interest to any reader who likes non-fiction authenticity and who appreciates the ability to survive when life gets you down.
What was your first publication?
I’ve had numerous pieces published over the years, having written copy for ads, websites, media, brochures, etc., along with many magazine and newspaper articles. "Shark Assault: An Amazing Story of Survival" was my first published book.
What inspires you to write the books you do?
Two things. I have to have an abiding interest in the subject matter. I'm not a write-on-demand author. I write about what interests me. And secondly, going back to what we discussed earlier, I hope that my books will help readers enjoy greater joy and satisfaction. That's what stimulates me and motivates me to write my books.
What's the best advice you've ever received as a writer?
Douglas Gibson, former President and Publisher at McClelland & Stewart “the Canadian publishers”, recently offered a great piece of advice when I interviewed him on my TV show “Be My Guest”. Let me share it with you...
“Put your time and energy into writing the best book you can. Everyone seems focused on ‘How do I find a publisher?’ or ‘How do I find an agent?’ or ‘Should I self-publish?’… all good questions, to be sure. But those are premature issues when you haven't first put your efforts into producing the best writing you can. I understand that getting published is your eventual goal, and I know how challenging that can be, but your first duty to yourself is to refine the creativity in your writing and turn that into the most compelling manuscript you can. Once that’s achieved, and you’ve gone over and over and over it to make it the best it can be… then, and only then, should you start worrying about finding the right enablers to turn your writing into a book.”
That's great advice for any aspiring writer, and Doug's surely a guy who knows.
I can only echo that: Write, damn it! It’s like that old joke about the guy in New York City who stops a local resident and asks, “How do you get to Carnegie Hall?” “Practice!” is the response. If you want to be an author, there is nothing that takes the place of actually practicing the art of writing. It keeps you at the top of your game.
I suppose I’m lucky: I've written throughout my life and it happens to be something I get real joy from. Whether it’s a book, an ad, a magazine article, a website or a PR release, I pride myself on putting in the time to take it to a higher level, to make it as good as it can be. After all, certainly in the form of books or magazines, we writers are asking people not just to spend money buying our wares but to devote time to reading it. In my world, that means I owe them the best of my efforts. It’s like singing – I’m a singer in my other life. If someone is prepared to pay to hear me, and if they are ready to give up an evening of their time (time being a precious quantity that is increasingly rare these days), I better be prepared to give them my best effort. That’s why I’m a slave to rehearsing.
Has a review or profile ever changed your perspective on your work?
No. Actually, commentary on my writing has been positive, so I just keep on doing what I do. So far, anyway.
What did you read as a young adult?
Always loved Dickens. In fact, I still re-read "A Tale of Two Cities" every few years.
What are you reading right now? Do you have favourite authors?
Fiction: I enjoy Elizabeth George and her Detective Lynley series. Going back, I’ll still pull out old Hemingway, Lardner, Fitzgerald classics (I re-read “The Great Gatsby” before seeing Baz Luhrmann’s film because I knew he’d take some interesting twists in the interpretation and I wanted to be reminded of the nuances in Fitzgerald’s work). And as I mentioned, I re-read "A Tale of Two Cities" every few years because I still find it fascinating.
As for non-fiction, I love Scott Berg's stuff. His “Editor of Genius” about Max Perkins was brilliant. But maybe that’s because I’m a writer. I met Scott once in Hollywood. Nice guy, unpretentious, normal.
I’m often more interested in the subject matter than the writer. I recently read "The Patriarch: The Remarkable Life and Turbulent Times of Joseph P. Kennedy" by David Nasaw. I don’t know Nasaw at all but I’ve always been fascinated by the old man and felt this would be a rich read. I wasn’t disappointed. Just finished "When Lions Roar" by Thomas Maier, a history of the entwined lives of the Churchills and the Kennedys, detailing what their “special relationship” meant for Great Britain and the U.S. Great book. Being a political junkie, “Game Change: Obama and the Clintons, McCain and Palin, and the Race of a Lifetime” was something I just had to read by political journalists John Heilemann and Mark Halperin. I knew of Halperin because I subscribe to Time but Heilemann, who writes for New York magazine, was a stranger to me. But man, did these guys nail that story. It was an absolutely fascinating look at behind the scenes in U.S. politics: you felt like you were there at every turn!
I typically read 3 or 4 books at a time, varying between fiction and non-fiction.
You write primarily non-fiction but you've indicated you're working on a fiction project. Do you prefer one genre over the other?
I love writing, so whether it’s recounting a true narrative or inventing one, both offer an enjoyable outlet for me. Obviously each demands different types of work but when you like to write, it's all good. I should add that I'm naturally attracted to individuals who have a higher calling, who want to serve, who want to give back, to brighten the world. I think that's an important and valuable part of life because I too get joy from making people's lives better and brighter. So, if I have an opportunity to write about someone who embodies those elements – such as Nicole Moore, whose life I featured in "Shark Assault: An Amazing Story of Survival", or many of the people I showcased in "Being Happy Matters", I defer to the non-fiction world. Now, in answering your question, I’m assuming I’m equally successful at both forms of writing: maybe I’m deluding myself!
Do you have a particular strong point as a writer?
Tough questions, my friend! OK... any writer has to be able to craft together words, sentences and thoughts in a way that keeps the reader engaged. Throughout my career, I’ve been told I do that well. But I’d like to think I’ve also got a good ear for dialogue. In my radio days (I was an on-air DJ for a few years back in the day), I was always doing voices, impersonations, dialects, that kind of thing. Still do when telling jokes! But the point is, I’ve always liked listening to the cadence of people talking, what they say, how they choose words or phrases, that kind of thing. Always fascinates me. So when I’m writing dialogue – fiction or non-fiction – I bring that ear into play. I think it proves compelling for the reader, making what my characters say intriguing as well as revealing little snippets about their personalities.
Where do you get your ideas from?
The butler. Yup, that Jeeves is a great man with an idea.
Yeah, like I have a butler!
I suppose it depends whether you’re talking about fiction or non-fiction. In non-fiction, obviously you aren’t faced with having to create a plot. That work’s been done for you and you’re reporting on it to a certain extent. But there is still lots of room for creativity in the way you handle the narrative. Take "Shark Assault": the challenge there was that if you stripped away the details, I was left with a 4 chapter book. You know, girl goes to Mexico where she’s savagely attacked by a shark; she faces death as medics in a local hospital fight to save her life; she returns to Canada where several more operations occur, including the amputation of her arm; and she moves forward with a positive, optimistic approach to living. 4 chapters, lock, stock and barrel. Trouble is, no one’s going to read a four-chapter book. So that’s where the creativity comes in. I ended up writing a 22-chapter book that, if I can accept the judgment of my readers, is an engrossing, riveting story. What keeps the reader involved is joining Nicole, the heroine of the story, as she recounts being brutally attacked by a bull shark in shallow water in Cancun. But then we hear the same chain of events told by several others who witnessed the attack. Similarly, I interviewed many doctors and nurses who shared their fears about trying to save Nicole’s life. By taking the reader behind the scenes, and getting down into some interesting details, we end up with a real sense of “being there” that holds your interest.
Now, that being said, you have to keep the reader engaged, interested. I go crazy when I'm reading a biography and the writer wants to go back six generations to introduce the main character's great, great grandfather. I don't give a damn!! Keep it relevant!
Fiction is different, of course. You’re looking to come up with a gripping plot right at the get-go. And no question, that demands real creativity. But ideas come from everywhere. For instance, with my first “Dr. T” book, “A Taste For Death” (which I'm about 2/3 of the way through writing), I was chatting with a friend of mine who’s got a Ph.D. in market research. We’ve known each other for years and I’ve never given much thought to the focus groups she runs. But this one time, she talked about a new product coming to market and the fact that it was her job to figure out if consumers could be moved to sample it. When I asked her what the product was, she replied, “Peter, I couldn't begin to tell you that. Or who the client is either. It’s top secret! There are billions of dollars at stake here if this product takes off the way they hope it will. So everything is hush-hush.” And just like that, a little light went off in my head: what if we had a story where a bright market researcher uncovers corporate secrets that she’s not supposed to know about. And this leads to death (not our heroine dying but to someone who works for her client). That was the nub of it. So I grabbed that premise and literally just started writing, letting the ideas flow before I’d even finalized the plot. It's been a fun creative process.
OK, here's one for you: why do you write?
No softball questions, huh?
OK, interesting question. I suppose I write because I have to. No choice in it, really. Writing is my creative outlook, it's who I am, what I do, one of the ways in which I create contentment. It's been that way for as long as I can remember.
The satisfaction of producing quality writing is hugely rewarding for me. I'll admire a finely crafted sentence or a sharply defined descriptor the way some guys might regard the female form: lovingly, respectfully, with admiration. More than that, writing's enjoyable, challenging and fun (if indeed being challenged is your idea of merriment).
Fact is, I can't imagine not writing. It's essential, as natural to my being as my beating heart, as crucial to my existence as breathing, as vital to defining who I am as spending time with my puppies Molly and Macy.
So that's why I write: because I have to.
Writing is often described as the loneliest profession. Do you find it that way?
I suppose I should be gratified to have what I do called a "profession". But lonely? Sure, you you could term it that way, I suppose. I mean, as an author, there's no question you spend hours and hours on your own, focused on pounding words into a manuscript. And if your nature is to be content when you're far from the madding crowd, working in a lonely profession is surely where you'll end up. But I sure don't think of practicing the craft of writing as being isolated. When I'm working on non-fiction, I'm constantly in touch with interviewees who bring my stories alive. That's stimulating and hardly lonely. And when I'm immersed in developing a work of fiction, I'm surrounded by the characters who comprise the plot. Properly deployed, they'll ensure I'm never alone.
I mentioned recently to another interviewer that Allan Fotheringham told me he thinks writing is the loneliest profession: "It's the only job you do entirely on your own." And Dr. Foth's been doing this for longer than most of us so he ought to know. But I also told this lady that I think a writer who finds writing lonely is a lonely writer. And that's that.
How long does it take to write a book?
Whew! How long have you got? Seriously, it’s all over the map. Some writers can dash off books – good books – in a few weeks. I’m envious of that because that’s not me. But I’m not like the famous Thomas Wolfe who drove his editor Max Perkins nuts by taking years to deliver a manuscript. Best way to answer the question is to give you some examples. "Shark Assault" took three years, but that includes a year off that Nicole Moore took to deal with other demands in her life. So, it was 10-12 months for research, another eight months for drafts, then another couple of months for polishing and refinement. I've been working on my fiction book “A Taste For Death” for three years, not because it's taken that long to actually write but because I've been working on other projects in between. It's more of a hobby. My collaboration with Marilyn Brooks on her memoir, “Behind The Seams”, involved five years of work, but again, not constant labouring in the literary salt mines because, both she and I had other things on the go and we contributed to the book when time allowed. "Why Being Happy Matters" unfolded over five years, but again, that was interrupted by writing "Shark Assault" which needed to get to press in a timely manner. "Pushing The Boundaries" has been really efficient: taken about 18 months. So it's all over the map, really.
You say you love writing, but surely it’s a lot of work.
Oh yeah! Look, don’t let me under-sell the anxiety of a deadline looming or an editor yelling for deliverables. It is work, and like any vocation, writing can involve levels of stress and challenge. But there’s nothing so grand as the feeling you get when you nail a piece of dialogue or craft a passage that really makes a difference in telling the story. Let me give you an example. I was struggling with how to open "Shark Assault". I probably wrote 20 different approaches … but it never seemed quite right. Close, but no cigar. Until the notion arose: take the reader to the crux point of the story right off the bat, then work back from there. I wrote it in under an hour and it was as deeply satisfying as anything I’ve ever crafted. But before that euphoria, make no mistake: work, work, work.
Have you always wanted to be a writer?
In the sense that I‘ve written throughout my life, yes. I sucked at math in school but always aced English and history courses because I loved them. And when you are keen about something, you generally do it well. When I worked in radio, corporate communications and marketing, writing was always the part of the job I gravitated to. So yes, it’s always been a passion.
Do you write every day? What’s your schedule?
That really depends on whether I’m involved with a project that has a timetable. In general, yes, I write every day. But that may mean scribbling away at 3am when I can’t sleep because a neat idea has just popped into my head. No time like the present: let’s get it down on paper. Typically though, it’s a 9-5 day where I’m in my office pounding out syntax on my iMac. And truth be told, I’m a lucky guy: I’m not one of those “Oh, I must wait for the muse to visit me” kind of writers. I don't suffer from writer's block. I can sit down and just start typing words, and the ideas seem to flow. Sure, I may have to go back and edit the hell out of the first draft, but once you’ve got that prime version down, you’re away to the races.
How do you go about getting published?
As a marketer, I fall back on the USP: unique selling proposition. What about you or your book idea or your completed manuscript makes it stand out against the myriad competitors? If you can figure that out, then find a way to communicate this in as few words as possible. And when you’ve completed your internet search of literary agents and publishers… and when you’ve read their very specific guidelines for submissions (generally beginning with a query letter), I suggest you select a few and start emailing or snail mailing, depending on their instructions.
I’ve often compared this process to a job interview. You’re there to get hired. What will make you stand out against the other candidates they’re interviewing? If you can find a way to present you, your personality, your previous track record and what you bring to the table in an intriguing light, you may stand a better chance than the next guy. Well, it’s the same with getting a publisher or agent to invest in you (and that’s what they’re doing, by the way, until you start selling books and making them money). Your job is to get them to think you are superior to the other candidates waiting in line to get a book deal.
At the end of the day, put yourself in their shoes. How can your book make their job easier? Isn’t that what we all seek: maximum gain from minimum pain?
All that being said, getting published has become increasingly difficult for a new author. Publishers (and agents) are backing away from newbies in favour of supporting their existing stable of writers. Less risk. I was very fortunate that I had connections at Dundurn (Canada's largest independent publisher) that set me up to talk directly with the company's CEO and get a publishing deal for "Shark Assault" as a result. Don't think I don't regularly acknowledge how luck paved the way!
Hardbacks, paperbacks or ebooks?
Gotta tell ya, I love my Kindle when there's travel involved. I was recently in Europe and rather than lug 8 heavy books in my luggage, that e-reader kept me going big time! By I still love the feel of a real book though, the experience of cracking open a tome and going at it. Sweet!
Thanks for your insights.
Well, if you think what I've had to say is insightful, great. Thanks for the intriguing questions.
