Vol. II. Issue. III September 2011 - The Criterion: An International ...

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www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 you’ve dated, even just once, and then magnify that by the world’s population, versus the average amount of times a person gets married (or devoted without marriage), which we’ll say in this day and age is probably around 1.4 times. It can’t be just an average of 1 time anymore, can it? So between the three we have love, lust, and despair, with all the adjectives and adverbs and delightful bullshit that can be adjacent to all three. Love can be a massacre, or it can be brilliant. It’s rarely both. Coming up in 2012 is my first novel, Conscious, a story set against the Italian backdrop of World War II. Does that sound familiar? I hope not. I don’t believe in rehashing or reinventing old stories. 11. What is the best advice you can give to aspiring writers? In addition to reading tirelessly, if for no other reason than to find out what you don’t like to read, and to place yourself in an environment conducive to writing, and to hang out with people who are smarter than you, or those who are at least trying to improve your intelligence, my advice would probably be to work for yourself. I could easily say when I wake up tomorrow that the hot market is teenage vampires and magicians. I don’t know a damn thing about teenage vampires and magicians, or adult ones even. I don’t really want to write about that subject, no matter how much money that market seems to be offering. In fact, I wouldn’t mind writing about flawed vampires and werewolves and their demise just to mess with the laws of fantasy, but in 2012, no one would probably buy the book. Maybe in 2018. I have several children’s stories in the mix, but none that are follow mainstream subject material. That they aren’t mainstream isn’t the reason why I haven’t finished them. I’m not close to finishing them because those books aren’t my main focus at the moment. This is what’s key for me. As I said before, it wasn’t until the start of 2010, when I started rewriting some of my older work, that I found the voice with which I wanted to write. Now I have it, and the voice matches the material of these books and the next several books I have ready to publish. I have several books lined up after that. It’s not a problem of ideas for me, it’s a ratio issue. Writing all day long I still couldn’t keep up with my ideas. I just can’t write as fast as my mind is producing the material. Now in five years, or maybe ten, my voice might change, like mid-life puberty I guess. I might be ready then to take on these children’s books I have halfwritten and finish them into something I’m extremely happy about. But at the moment, my mind isn’t organized for that type of fiction. We have to follow our voice and our strengths, and especially when we feel they’re changing. Our voice is the verbalization of our mind at work, spoken or written. Our strengths serve our voice, so why betray ourselves? We should write what’s comfortable, not to what the market says we should be comfortable with, otherwise we’ll always be staying up late at night thinking that what I really want to be working on is this, yet I’m actually working on this. Isn’t that like most of life? Why like her, when I could love her? My degree was in acting. My parents advised me to at least minor in something else, but at the time I knew 100% I was going to be an actor, and that’s exactly what I did for ten years. I was Vol. II. Issue. III 312 September 2011
www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 fortunate to work on stages all over the country, but I was doing a show in Chicago, a five-week run, and during the third week, sitting backstage at intermission, a wall of bricks and plaster fell on me, and I realized I was done with acting. There just wasn’t any challenge in it for me anymore. I wasn’t the perfect actor by any means, but the thrill of the challenge of acting had somehow been stripped away, and that was the last show I ever did. A couple of times shortly after that I thought about it, but I didn’t feel it strong enough to pursue a return. Instead I learned to fly, and continued to think of character origins rather than how to act characters out. That’s probably how I came to be an author. It was my travel through the world of performance that brought about my real desire to create the story instead. My voice in college gave me the opportunity to act, and then it changed. I had to follow it. Vol. II. Issue. III 313 September 2011
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