Author Interview on The Reading List

Claire Fullerton is an author who was born in Wayzata, Minnesota and transplanted at the age of ten to Memphis, Tennessee. Although Claire Fullerton now lives in Malibu, California, she says that she’ll always consider herself a Southerner. Claire first found her niche in music radio as a member of the on-air staff of five different stations, during a nine-year career. Music radio led Claire to the music business, and the music business led her to Los Angeles, where she worked for three years as an artist’s representative, securing record deals for bands. Claire Fullerton would go on to write a creative, weekly column for The Malibu Surfside News, and submitted to writing contests and magazines as she focused on developing her craft. Claire Fullerton then wrote a paranormal mystery about a woman who suspects she has lived before, and titled it A Portal in Time. Vinspire Publishing published the book, so she decided to show them the manuscript of a novel she had written in previous years, which they also published under the title Dancing to an Irish Reel the following year. Her third novel is titled, Mourning Dove. It’s a sins-of-the-father, Southern Family Saga, set in 1970’s and 1980’s Memphis, and it will be released in June of 2018. Please enjoy my interview with Claire Fullerton.

How do you describe your occupation?
I am a full-time writer.
What is something about you that people might find surprising?
On the side, to keep myself engaged in humanity (because writers spend much time in isolation,) I teach ballet and Pilates. I’ve been doing this for years.
What are you reading at the moment and what made you want to read it?
I have a friendship with the most artistically, off-beat woman I’ve ever had the good fortune to come across. She is fifteen years my elder, from New York City, and erudite at an impressive pitch. Out of nowhere, she brought me Nutshell by Ian McEwan. Since I’m a Southerner from Memphis, now living in Southern California, I’ve been on a Southern writer kick for a long time now. Southern writers write in a language I’m comfortable with, but I was starting to feel myopic. When I read the Washington Post’s blurb on Nutshell (“No one now writing in the English language surpasses Ian McEwan) I dove right in and was enthralled by this author’s genius.
What was your favourite book as a child and why?
Goodnight Moon by Margaret Wise Brown as read to me by my father. I can still hear his voice reading this classic. The book gave me a sense of connection to everything around me and taught me about the importance of interacting in the world from a premise of awe-struck wonder.
Can you remember the first story you ever wrote?
I wrote a first-person story for my college English class based on personal experience. It was about two young girls on a beach in California, suffering the unwanted attention of a strange man. Unbeknownst to the girls, a local surfer watched from the water. He rose like Poseidon from the waves and placed his surfboard between the man and the girls as a blockade. The moral of the story was chivalry isn’t dead. The teacher read my story aloud in class and gave me an A.

What was the last book you purchased, and why did you buy it?
I bought An American Marriage by Tayari Jones because of the hype. It deserves every bit of praise it’s been given.
For someone starting out in your career, which three books would you make required reading and why?
A Separate Peace by John Knowles for its character-driven, coming of age elements, which plummet the very heart of human, baser instincts, such as jealousy and feelings of inferiority. Rebecca by Daphne du Maurier, for its narrative, atmospheric suspense, and The Ron Rash Reader by Ron Rash, because this book has short stories, novel excerpts, and poetry by the man many call the most gifted and accomplished poet and storyteller of our time, or any time.
What book have you found most inspiring, what effect did it have on you?
The Prince of Tides by Pat Conroy. Conroy was a master story-teller who made a forty-year career out of his own personal narrative. In writing The Prince of Tides, Conroy gave all writers the keys to the kingdom. He showed us how to take pain and turn it into art. What I learned from this book is that there is great beauty in the scars of the most dysfunctional family. In reading this book, it occurred to me that a writer need not look further than their own life for inspiration.
What’s the most obscure book you own; how did you discover it?
The Dead House by Billy O’Callaghan. I have an author crush on this forty-something-year-old man, who lives in the wilds outside of Cork, Ireland. Talk about a unique voice and uncanny turn of phrase. I think this author is the best writer to come out of Ireland since Clare Keegan. He floors me, and my suspicion is this book is only obscure for now, as it was recently licensed in America. I came across O’Callaghan accidently on LinkedIn. It was the incongruous look of this quintessential looking, rural Irishman packed into a tuxedo at an awards ceremony that caught my eye. I once lived in the west of Ireland, so I didn’t miss the irony. Upon looking into O’Callaghan, I discovered he had three short story collections published. I bought each one and ordered The Dead House straight from the press.
What’s the best book you’ve read in the last 6 months?
Before We Were Yours by Lisa Wingate.
What is your proudest achievement?
That I’ve stayed the course of a creative life. I believe there are many incarnations in an artist’s life. My path has seen me, in one form or another, in the communicative arts. I worked on-air in Memphis radio for nine years and loved every minute of it. I was an artist and repertoire representative in the Los Angeles music business, which basically meant I discovered bands and took them to record companies. Ballet is a communicative art. All the while, I’ve engaged in writing because it comes to me as second nature. And the thing with an artistic life is there is no “there” to get to. There is only the process of living it.
Can you talk us through your writing process, from the first spark of an idea, to having your first completed draft?
Thus far, I’ve written the stories I had to tell, as opposed to manufacturing something out of thin air for the sake of writing something/anything. Always, there is a point I want to make. I have a reason for wanting to tell the story, usually, it is to make some comment on this business of living as I experience and interpret it. I write to compare notes, so to speak. I always know the beginning, middle, and end of a novel, and I typically make an outline after I’ve started. Because I know the ending, I ask myself where my novel should go next as I’m writing. I’m mindful of what will be a case in point along the way to the bigger point. It helps that I write in scenes. I can “see” the story as if it were on screen. When I think I’ve told the story, I walk away for a week, then revisit. I read it all and look to see if it’s balanced, then re-read to look at dialogue and continuity. When I believe I’ve finished, I send the manuscript to my editor.
If you were trying to impress a visitor, which book that you own would you leave on the coffee table?
I have this on my coffee table now: Huger Foote, My Friend from Memphis. Huger (pronounced yoo-gee; soft G) is the son of author and Civil War historian, Shelby Foote, whom all of us who come from Memphis revere. Huger’s nickname is Huggie, and he is now a world-renowned photographer of the most creative, beautiful shots of what many would consider common objects. His photographs are sheer poetry.
What two pieces of advice would you give a young aspiring writer?
Never compare yourself with another writer and resist the temptation to look over your own shoulder as you write.
If an alien landed in your garden; which three books would you gift them to showcase humanity in the best possible way?
Peachtree Road by Anne Rivers Siddons, The Prince of Tides by Pat Conroy, and The Mermaids Singing by Lisa Carey. I wouldn’t say they showcase humanity in the best possible way, only that they, indeed, showcase humanity!

Are there any books you haven’t mentioned that you feel would make your reading list?
I am satisfied that I’ve mentioned the books that stand out for me, and I did mention Shelby Foote, but I’m going to go deeper with him. I recently read Foote’s book, Follow Me Down and I startled to realize what an incredible fiction writer he was. I, like many, equated Shelby Foote with his three volumes on the Civil War and had yet to read his fiction. Follow Me Down is a Southern classic about the murder trial of a white man in 1960’s Mississippi, who has already confessed to the crime. The book’s language thrilled me!
Which book sat on your shelf are you most excited about reading next and why?
I am looking forward to reading A Gentleman in Moscow by Amor Towles. I loved his novel, The Rules of Civility.
If you’d like to learn more, you can find Claire Fullerton on her website, Facebook and Twitter.

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Southern Writers on Writing

The easiest way to portray how much I loved Southern Writers on Writing is to tell the truth as it happened: After reading each moving essay, I sighed and thought, “This one is my favorite.” Apart from the fact that I’m a lover of the first-person narrative, these confessional essays held me at every turn. What they all have in common is an honesty not easily revealed unless the recipient has earned complete trust. These essays are more than Southern writers pontificating on their “process.” These essays are personal—sometimes painfully so. As an assembly, they are variations of a truth that seeks to put into words the profound impact of what it means to be part and parcel of a storied land, more than the sum of its disharmonious parts. A sense of nostalgia runs through Southern Writers on Writing, and what strikes me most is its unified theme. Task a Southern writer with writing about craft, and invariably, all roads lead back home. Southern Writers on Writing is a treasure for both readers and writers. Each essay contains the intrigue of a gripping short story, and each compelling voice allures the reader’s undivided attention. Thank you, Susan Cushman, for gifting us with this book. And to each author who contributed to this gem, thank you for sharing your story.

The Inspiration For Mourning Dove

I’m taking the opportunity to share why I wrote Mourning Dove. Plain and simply, I grew up in Memphis, in an era that I think was run by the last of the great Southern belles. Most of them are gone from the South, now, as am I, for I now live in Malibu, California. I have a conflicted relationship with the South. It’s a strange mixture of gratitude for having outgrown it and weepy nostalgia for the place in which I came of age. I can’t say if I’m nostalgic for the actual place or if it’s nostalgia for the innocence and endless possibilities that one carries in youth, but emotionally, I think they’re tied together. It’s the people of Memphis I miss the most, and when I think of Memphis, I think of its women. Never was there a cast of more glittering woman than those who populated my youth. They were fun, dynamic, refined, and rarely serious. They walked like queens and spoke in lyrical tones so compelling that I’m offended by other accents to this day. I set Mourning Dove in 1970’s and 1980’s Memphis because, back then, the particular Southern, social milieu was rife with nuance and tradition anchored by southern matriarchs who ran the social strata. I did not write about the side of the South where people drive pick-up trucks down dirt roads to the family farm while dodging a coon dog or two, I wanted to write about that side of the South that was coiffed and manicured; where people had an innate elegance that mattered. There is much to be drawn in a setting such as this, and what fascinated me most growing up was the cultural way of denial. In the Memphis I knew, they kept things light and airy. If something was unpleasant or unseemly, it simply wasn’t discussed. But what of two siblings born up north who come to the Deep South as outsiders? And how can they share the same history yet come to disparate ends? What unhinging happens in the delicate wiring of one but somehow misses the other? Is it nature or nurture, and how are we to ever know? In the end, all one is left with is the story. This was my aim in writing Mourning Dove. Always and forever, it will all come down to the story.

Roundabout way to Publication: Gratitude to Chris, The Story Reading Ape for this!

Like a sailboat tacking obliquely through opaque mists with little to guide the course beyond hope and blind faith, my third novel,Mourning Dove, will be released at the end of June. It has been unequivocally the most roundabout way to publication I’ve ever heard of, and therefore I want to share my story. Let this […]

via Mourning Dove – Guest Post by Claire Fullerton… — Chris The Story Reading Ape’s Blog

Interview with author Billy O’Callaghan

When one writer encounters another that blindsides them with staggering awe, the inclination is to rush out and spread the joy with those who love the written word. I feel this way about Billy O’Callaghan. I’ve been an avid fan of his work since discovering him last year, and recently had the pleasure of interviewing him for the online Irish community, The Wild Geese.Irish.  It is my great joy to share the interview here.

First, a little background on Billy O’Callaghan:

Billy O’Callaghan was born in Cork in 1974, and is the author of three short story collections: In Exile, In Too Deep, and The Things We Loose, The Things we Leave Behind, which was honored with a Bord Gais Energy Irish Book Award. Almost a hundred of his stories have appeared in literary journals and magazines around the world, including Absinthe, The Kenyon Review, and the Los Angeles Review. His short piece, A Death in the Family is a current Ploughshares Solo, and his debut novel, The Dead House was published in the UK by Brandon Books in May, 2017, with a scheduled US release by Arcade, an imprint of Skyhorse Publishing, in April, 2018.

Questions for Billy O’Callaghan:

When you hear yourself described as an Irish writer, from your perspective, what does this imply?

The world needs boxes, I think, in order to make sense of things, and I don’t really give much thought to how I am perceived or described. I write, I suppose, to get to grips with the stuff going on in my life and in my head, and to gain some understanding of my own place in the world. Most of the time, life just confuses me, and I long ago turned to writing as a way of ordering my thoughts and to help me function.
If people want to describe me as an Irish writer then I am happy about that, because it’s what I am. And I am grateful that somebody has noticed!

 

Do you think being Irish flavors your way of seeing the world? If so, how?

I think so, yes. Even when I have written about other places, it is almost always through Irish eyes. We can’t change who and what we are, and everything I really know (however little that might amount to) has been shaped by my homeplace and my upbringing. The landscape, with its proximity to the sea, feels like a part of me at this point in my life. My natural state is probably one of stillness. As I get older, I find that I am most comfortable in solitude, and feeling small within my surround. It’s hard to explain, but it gives me a sense of eternity. And in rural places, especially, down around West Cork, history feels immense and very close to the surface. I can almost taste the stories of such places.

 

Who are the Irish authors, living and dead, that you admire?

Oh, there are many, and they are the ones everyone talks about, the touchstones. But the Irish writers I hold most dear, the ones I suppose that I’ve best been able to connect with in my life, are the likes of John McGahern, William Trevor, Liam O’Flaherty. And since childhood, I’ve had a fondness for John B. Keane’s books. The poetry of Patrick Kavanagh and Seamus Heaney, too. I like writing that sets a scene in stone and dirt, so that I can feel and taste what’s going on. These are the writers that do it for me. And as regards living writers, John Banville is the one whose work I hold in the very highest esteem. When I write a sentence, he’s the benchmark, and I think we’re all in his shadow. He has left a deep enough mark that I think people will be reading him a hundred or two hundred years from now.

 

In your stories, is it ever your aim to offer statements or claims on being Irish, or perhaps on the Irish experience, as it were?

No. To do that would probably be to imply that Irishness could be so distilled. My stories do probably attempt to depict authentic Irish experiences, but that happens organically.
When I sit down to write a story, I am thinking about nothing beyond the characters and their situation. That’s what matters. I always try to imbed truth within the fiction, because I am usually writing them in an attempt to explain or make sense of something to myself, and my only agenda in writing the stories is that they will seem real on the page. That’s my goal.
I’ve been writing stories a long time now, and I still work to the notion that nobody will ever read what I am putting down. It’s an insecurity, of course, a fear that I really don’t know what I’m doing. We can’t change who we are, and I think that, at this stage, the self-doubt is probably a good thing because it helps keep me from being too easily accepting of what I write. Anyway, it is an approach that has served me well enough, and can be immensely freeing because with no expectation of an audience there is no temptation towards self-censorship.
I usually carry the stories around with me for quite a while before writing them. They usually take the form of themes at first, in the vaguest way possible, and emerge and shape themselves very slowly. My novel, The Dead House, was one I had in my head for probably twenty years before I got to work on it. The missing piece was the setting, the Beara Peninsula in West Cork, which I realized while touring there with a friend in 2011. Once I had that, I knew that I could write the book. And another long short story, A Death in the Family, which has recently been published as a Ploughshares Solo (and which will appear in my next short story collection, due for publication in 2020), was one I’ve lived with since I was about four years old, a story told to me by my grandmother about an incident in her own young life.

 

What about Ireland inspires you?

The landscape, the countryside, the people I’ve known and seen, the stories I’ve been told. Stories were my education. They’re the first thing I remember. I was gifted a love of stories from my grandmother, who I lived with, up to the age of six or seven. For most of that time I was the only child in the house, and she was ailing, a frail creature, at sixty-two already ancient as the hills. We were company for one another, I suppose, and on many a wet winter’s morning she’d keep me home from school, under the pretext of some cough or cold, and we’d pass those long, slow hours together beside the fire on stories plucked from her own childhood, of fairy forts, the Black and Tans and the banshee. It was listening to her, and dreaming about the worlds she forged, that first lit the fire within me, the curiosity and the passion.
Music is important to me, and poetry, and I strive to suggest both within my sentences. And I love the lonesome quality of the sea on a winter’s day, and old places. Isolated spots, famine-era ruins or the ancient standing stones that so beautifully litter the countryside. Standing in these places at a quiet hour, it’s hard not to feel the weight of the past all around you, and the sense of mystery.

 

Do you think that being Irish has inculcated you with a love of language influenced by those around you?

This is not something I think too much about, but if pressed I’d say that music and poetry are my big influences when it comes to crafting sentences. Books. Banville, I mentioned. Heaney, and Kavanagh. But Yeats, Joyce, Beckett and hordes of writers who aren’t Irish at all. Gabriel Garcia Marquez, V.S. Naipaul, John Updike, Ray Bradbury. Bob Dylan. Hemingway, for revealing to me, in stories such as ‘Hills Like White Elephants’, the value of things unsaid. The Japanese writer, Kawabata, for this, too. Endless others.
The spoken language I hear all around me has a rich and vibrant music to it, and I suppose I must have absorbed some lessons from that because I listen hard for rhythms in my own sentences. I write entirely by feel, working by instinct, and can usually hear when a sentence is wrong.

 

The American author, Ron Rash, has often said, “Land is destiny.” How can you apply this statement to your story settings in Ireland?

Ron Rash has it right, I think. I once had a long conversation with the late great Canadian writer, Alistair MacLeod. His short stories set in his native Cape Breton, are truly remarkable, and he said that if you are not writing with a strong sense of place then you are missing a trick.
Quite a bit of my writing deals with exile, isolation and disconnection, people who have either been torn from or who have abandoned the place in which they properly belong. I strongly believe that our surroundings shape us, especially if we are generations’ attached to a place. I try, as much as possible, to have my characters reflect their homeplace, so that when their anchor has slipped they seem thoroughly lost in the world.

 

Can you tell us something about your writing habits/schedule and a little something about your favorite writing space?

For years, I have kept to a rock solid routine of at least five hours writing every day. Up at six, writing by seven, through until noon or so. In the evenings I’d usually spend an hour or two going back over the morning’s work.
This year, because of a lot of distractions (the publication of The Dead House meant quite a few readings around Ireland, as well as requests for articles and interviews from newspapers), and my routine was shaken a bit. But I have started work on a new novel now, so I’ve had to get serious again. Without a strict routine, nothing gets done.
I live in a nice one-bedroom apartment in a quiet housing estate about twenty minutes’ walk from Douglas village, a suburb of Cork city. Douglas is where I grew up, and where I feel that I most belong. I have traveled a lot in my life, and that’s one of my great joys, but I wouldn’t want to live anywhere other than Douglas. My people have lived here for generations, and even though it’s changed significantly from the way it was when I was a boy, it’s still the place I feel most comfortable.
My workspace is a small corner of my living room, a desktop computer tucked into a narrow space beside my balcony. My balcony is full of flowers and hanging baskets, and birds come every day – sparrows, wrens, robins and the occasional bullfinch. My most regular visitors are two beautiful magpies. I’ve grown very attached to them. So I write, with all of that filling the corner of my eye.

 

Can you tell us what you’re working on now?

Things are hectic at the moment. As I mentioned, I recently had a long short story (or novella), A Death in the Family, published by Ploughshares as a stand-alone Kindle release, and my novel, The Dead House, will be published in the U.S. in May 2018, by Arcade, an imprint of Skyhorse Publishing, which is very exciting. And I have two more books coming out in the UK and the United States in 2019 and 2020: a novel, entitled: Goodbye, My Coney Island Baby, and a short story collection called Even On Our Longest Days.
These books are done, apart from some minor editing, so now I am onto a new novel. I don’t want to say too much about it because it’s a long way from being in any kind of shape yet, but it will be a novel set in Douglas village across a span of probably 150 years, a book about memory, identity and blood connections. Writing A Death in the Family opened a door for me, and while the structure is probably the most complex and challenging that I have yet attempted, I am excited about what lies ahead with it.

 

You’ve published three short story collections, your debut novel, The Dead House, is well received, you’ve won impressive awards, and I’m curious about what your friends think of your success? Do they treat you differently, or will you forever be treated as one of the lads?

Such things don’t matter. I am as ordinary a person as you will ever meet. I come from an ordinary background, I left school when I was seventeen and never went to university. So, no, nobody treats me any differently. Writing is just something I do, but it doesn’t make me in any way remarkable. And it’s such an intensely personal thing that the process, at least, isn’t something which can be shared. Most people don’t get to see how the sausage is made, and wouldn’t want to. I shut myself away and write, keeping to my routine, because the stories are what matter, and by the time one is done (and even short stories can take months to get right) then there’s always another brimming the surface.
I could talk all day about books, but writing isn’t really something to talk about. Sometimes people will read some mention of me in the newspaper, or might hear something about an award or a new book, and
if I meet them they’ll say something. But, really, everyone is caught up with their own lives. Which is as it should be. Anyway, success is relative. I am doing okay now, but I can get by largely because I live such a simple existence. The joy, for me, is in being about to do what I want to do. Which is fortunate because I’m not really much good at anything else.

Women on Writing Author Interview

 

Meet Fall Flash Fiction Contest Runner Up Claire Fullerton, Author of “Metal Gray”

Claire Fullerton is a runner up in the WOW! Women on Writing Fall Flash Fiction Contest with the very beautiful story Metal Gray. She is the author of contemporary fiction, Dancing to an Irish Reel, set on the west coast of Ireland, and paranormal mystery, in two time frames, A Portal in Time, set in Carmel-by-the-Sea, California. Both books published by Vinspire Publishing. Claire’s third novel, Mourning Dove, is a Southern Family saga, set in Memphis, Tennessee, where Claire grew up. It will be published in June of 2018 by Firefly Southern Fiction. Claire has been published in multiple magazines, including Celtic Life International, Southern Writers Magazine, and The Dead Mule School of Southern Literature. Her essays have appeared in five of the Chicken Soup for the Soul books. Currently, Claire is writing her fourth novel. She lives in Malibu, California with her husband, two German shepherds, and one black cat.

Find out more about Claire by visiting her website www.clairefullerton.com, her blog, Writing Notes, and connect with her on Facebook and Twitter @cfullerton3.

Interview by Crystal J. Casavant-Otto

WOW!: Thank you so much for taking time out of your busy schedule for today’s interview. Congratulations again on your many accomplishments but most recently as a runner up in the WOW! Fall Flash Fiction Contest! So now down to business: where did you get the idea for the character of Ella in Metal Gray? You describe her so well it seems she must be part of your personal story as well? Please tell us more.

CLAIRE: I would love to tell you about Ella, thank you for asking. Ella is a significant character in my forthcoming novel, Mourning Dove, which is a southern family saga, set in Memphis, where I grew up. The book will be published by Firefly Southern Fiction in June of 2018. The background of Ella and this book is that I entered a 3,000 word piece in The 2013, San Francisco Writer’s Conferences’ contest, in the narrative nonfiction category. The piece came in as the runner up, and I will tell you now that when I entered the piece, it occurred to me that should anything in the slightest happen, I’d turn the piece into a novel, which I did. To clarify the obvious, a novel, of course, is fiction, yet I knew with my nonfiction piece that there was an entire world already there to work with, as long as I changed names, created scenes and other characters that contributed to the momentum of the story. I can report that Mourning Dove is fiction, but that the character of Ella as she appears in the book as well as in the flash-fiction piece I sent to WOW! is a composite of many women who populated my life while growing up in Memphis. Ella represents the voice of brass tacks reason, wherever she appears, in that she sees all, knows all, and keeps her lips tight. Ella is in it, but not of it, which provides fabulous objectivity. What I did when I entered WOW!’s flash fiction contest was give the description of Ella, then made up the ending to fit the 750 word guidelines, which means it needed to be unique, self-contained, and brief!

WOW!: So clearly, you are no stranger to Ella and no stranger to writing contests. What role do flash fiction pieces play in your writing life? Do you have advice for other authors as far as contests and flash fiction pieces are concerned?

CLAIRE: Yes, I love entering flash fiction contests, for it is a way of fine-tuning one’s craft. The art of brevity should be in each writer’s tool-kit, and I was thrilled when I discovered WOW!’s contest. To answer your question about advice I’d give to any author, I’d say getting in the traffic and staying in the traffic is very important. I’ll give you a personal example: Vinspire Publishing honored me and basically started my career by publishing my first two books back-to-back. My third novel, Mourning Dove, will not be out until 2018, so I have a gap, with regard to staying engaged with my readership. By entering contests, and hopefully placing somewhere, it gives me the opportunity to share my work as it is published. This, along with staying engaged with social media is the life-force of an author’s career. It also gives authors the opportunity to meet nice people like Crystal with WOW!

WOW!: Now I’m blushing – thank you so much! It certainly is sound advice about staying in the traffic. Wally Lamb is one of my favorite authors and I didn’t realize he had released a new book because he had such a gap and even though I’m an avid reader, he really fell off my map. I hope other authors take your advice and stay in the traffic (not to be confused with playing in traffic…giggle).

You recently wrote “I tend to be a stream of consciousness writer, in that I write whatever it is I’m thinking.”

Can you give us an example of when that wasn’t such a great idea or when it served you well?

CLAIRE: I think it has always served me well, and I’ll tell you why by answering this generally: I prefer writing in the first person. I think it lends immediate intimacy, and gives the reader the complete idea of who it is they’re listening to. I say I am a stream of consciousness writer because writing comes to me easily. I write the story from the voice within me, and very rarely labor. I think if a writer decides who the narrator is, with whatever nuances or backstory they may have, then they can assume the narrator’s voice, and write from there. Before I begin a novel, I know the story I want to tell. I know the beginning, middle and end, and let the rest create itself, though I do take notes along the way, when something comes to me that I think I should include, in order to drive the story forward by illustrating a point, or perhaps it is something wittily said that will lend flavor and help the reader better understand the narrator or other characters. Summarily, I think that, when writing, it is best to trust one’s own thoughts. I’d rather risk writing from an authentic place and having it misunderstood, than constructing something inauthentic only to realize it sounded contrived.

WOW!: I’m going to repeat what you just said because it’s worth repeating: “I’d rather risk writing from an authentic place and having it misunderstood, than constructing something inauthentic only to realize it sounded contrived.”

This is a quote to remember fellow writers. Thank you Claire for sharing this insight and truth.

Dancing to an Irish Reel will now be available in all the South Dublin Libraries and I’m curious
what part you played in making that happen? What advice can you give to other authors as far as getting their books into more libraries (in the states or outside the states)?

CLAIRE: I give full credit to the unlimited creativity and enthusiasm of Dancing to an Irish Reel’s publisher, Dawn Carrington of Vinspire Publishing. Dawn was well aware that I once lived in Ireland, and that Dancing to an Irish Reel is set on Ireland’s west coast. She wrote to many Irish library’s and simply introduced the book: it’s blurb, its cover, and much about me as its author. She embraced this book and got it out in the world, as she educated me on exactly how to be involved in the promotional process. I have learned that the promotional process is unending, and to me, it is actually fun. The process starts out in a small arena, by aligning with the obvious social media outlets ( FB, LinkedIn, Twitter, Instagram, Goodreads, etc.) but the thing is, once you’re aligned, it gets bigger! You end up meeting other authors through social media and by watching where they are and what they do, it triggers unending possibilities. I can tell you that after two novels that have been out in the world for a while, I am still discovering new places to promote because it is essentially a domino effect. But yes, library’s are a great avenue to explore, so I recommend that authors start locally, then get creative on the locations of libraries that may embrace the book, due to the book’s setting or subject matter.

WOW!: It’s nice to meet up with others who enjoy social media networking and all the endless possibilities!

I love your position of staying out of politics on social media (I too would rather talk about what unites us instead of what divides us). Have you ever approached a friend or colleague suggesting they tone down their political posts? How can we help spread the social media mentality of “See no evil…Hear no evil…Speak no evil” like Confucius

CLAIRE: Great question. I assume you saw the Word Press blog post I delicately wrote and hesitantly posted on this subject! I was torn over whether to post the piece or not! The impetus behind this came from too many months of vitriolic posts on Facebook during America’s recent presidential election. So many friends I’d been aligned with for years used Facebook as a forum to post their political views, and many of these friends are authors. I spoke to one author friend who was dismayed because one of her readers had taken her to task on something she posted concerning the election, and had declared she would unfollow her. I have pledged to never comment politically because I think it is polarizing. This isn’t to say that there is anything wrong with someone who chooses to do so, it’s just that many are so heated over the issues that a difference of political opinion can have unintended consequences for an author. I adore meeting readers and other authors via social media, but am clear why it is that they’re my friends, and what it is that brought us together. My overarching respect for books, authors, and readers makes it easy for me to leave politics alone.

WOW: That’s a good way to look at it – it’s out of respect! I love that!

Thanks so much for chatting with us today, Claire! Congratulations again on Metal Gray and best wishes to you all your future projects!

The Here and Now

It took me years to call myself a writer. For a long time, I thought in order to call myself a writer, I’d have to be making a living at writing; that many people had to know I exist. This is nowhere near the current case for me, and who’s to say if it ever will be? What’s on my mind in this moment is that twice, in the last month, I’ve read posts tap-dancing around the question of “When does a writer quit?” Quit because of what? I asked myself. The question sounded to me like a temper tantrum, like a challenge to the Gods to take our toys and go home should we not receive the gifts we expected in our timeframe. Who are writers trying to appeal to, and further, why? I think writers should ask themselves these questions so they don’t get frustrated, should it come down to the meager fruits of their labor. I use these questions as a reality check every so often, because I recall years ago thinking all I wanted was to be in the game; have a book available in the world; that it would be enough. And in this moment of blog post confession, I can honestly say having two books out in the world is enough, and what happens from here is not my business. Except that it is a business. I have to acknowledge that, having chosen the traditionally published route, with contracted books is responsibility. I have to do my part in joining the grid of how the game is played by engaging in social media, looking for public appearance opportunities and basically being creative in shouting from the rooftops that my books are out in the competitive field. These things are a given when a writer aligns with people who have a vested interest, and for me it comes down to upholding my end of the bargain. But recently, I’ve had an epiphany: enlightenment descended with the awareness that I truly love the writing lifestyle, even though by many people’s standards, I’m experiencing downtime. My second novel was released two years ago, and my third won’t be out for more than a year. There’s a good reason for this, which I’ll get to in another post, but I’ve asked myself a few times if I shot myself in the foot, with regard to momentum. I’ve seen a few authors I admire disappear for years then emerge apologetically for creating the gap. But the thing is I’m not a prominent enough writer for anyone to miss me, and I’m thinking my recent epiphany answers the question some writers ask of when to quit. My personal answer is never, and here’s why:  I love the writer’s lifestyle, and the proof is I’m spending my alleged downtime writing another book. Plainly and simply, writing is what I love to do. I’m also having a blast sharing what I’ve learned over the past few years with other writers. It’s a pay-it-forward- labor- of -love for me to help new authors in any way I can. And I’m just as enthusiastic over books my fellow authors are getting out in the world as I ever was for my own work. I love to watch some of the friends I’ve made through writing prosper, and it is my honor to share their work on all the social media outlets I established for my own books. Frankly, the writing lifestyle is my idea of fun, and I love everything about the arena. There are fascinating, talented authors out there generating the kind of work that inspires me. There are also authors now long deceased who set the bar for the rest of us, and the luxury of reading their work gives me something to aim for as I study what and how they write.

So it is the lifestyle that writing affords that is the gift to me. Many times on this blog I’ve written that the thing about writing is there is no there to get to. I’d like to go deeper with the message and offer another consideration: the “there” to get to with writing is the here and now. It is enough to love it, and if this is case, then why ever quit?

Claire Fullerton is the author of Contemporary Fiction Dancing to an Irish Reel, and paranormal mystery, A Portal in Time. http://www.clairefullerton.com