As Women in Horror Month enters its final week (sniff), here is the final interview in my WIHM interview series. Today, I’m chatting with author Hailey Piper. Read on to get to know this awesome writer!
Sonora: How long have you been writing?
Hailey: I’ve been writing since I was little, telling stories about werewolf weddings and Bigfoot. I don’t think I could ever get away from it, and I wouldn’t want to.
Sonora: Tell us about your novella, The Possession of Natalie Glasgow. What inspired the story?
Hailey: The setup isn’t all that different from The Exorcist in that we have a single mother whose daughter is acting strangely and the doctors seem useless, so she reaches out for spiritual help. The novella starts at that point, where the narrator swerves from the usual, so as not to retread well-explored territory. I wanted to tell a possession story outside the organized religion worldview, where witchcraft isn’t the devil and the evil lies in human hands.
Sonora: Since its initial release, Natalie Glasgow has had a title change and also became available in paperback. Tell us more about the experience of making these updates after the novella was out. What motivated you to do it? Did you notice positive changes afterward? Is there anything you would do differently?
Hailey: I had never planned it to be more than an ebook, and I hadn’t expected anyone to pay much attention to it. I had considered The Exorcism of Natalie Glasgow; Possession hadn’t occurred to me until Steve Stred suggested the title change. Months later, I decided to just do it, at which point Eddie Generous offered new cover art, and then a few cool people (including you, Sonora!) won me over on creating a paperback. Since then, the novella has seen entirely unexpected success, with an explosion of Goodreads ratings/reviews, a featured group review from the Night Worms bloggers, and people sending friendly messages to say they enjoyed it. I think this proves the value of a strong title and cover art, and while I’m happy with the path Natalie Glasgow has taken, I’d definitely try to come out of the gate stronger if I ever self-publish again.
Sonora: Your latest release, Benny Rose: The Cannibal King, is part of Unnerving’s Rewind or Die series. What was it like writing a novella for such a series? Did the idea come to you when you read the call for submissions, or had Benny Rose already introduced himself to you?
Hailey: Benny Rose as a concept has a complicated history. He was a lot of things for me at different times through 2018 as I tried to make his and Desiree’s story work in notes. I had characters, backstory, but there was something wrong. When the call went out for Rewind or Die, everything clicked—the 1980s was the perfect time. I had to cut some elements, but that only made the novella stronger. All the stuff I really cared about stayed.
Sonora: Tell us about Benny Rose. How is it like your previous works? How is it different?
Hailey: Blackwood, Vermont is a small town, its only claim to fame being local folklore ghoul Benny Rose, allegedly based on a serial killer active in the 1950s. On Halloween night, Desiree St. Fleur and her friends decide to play a Benny Rose-themed prank on town newcomer Gabrielle Walker, unaware that they’ll stumble upon the truth behind the legend. As Natalie Glasgow twisted possession tropes, Benny Rose is my stab at slasher tropes, but where Natalie Glasgow focused on family and pride, I hope readers find Benny Rose a harrowing gauntlet of friendship, tragedy, and sacrifice.
Sonora: What have been your experiences in horror as a queer author? As a woman author?
Hailey: Rewarding, if daunting. I had stopped writing for the longest time, and when I bounced back into it, I was unapologetic about letting myself out in the open. I wanted to write queer stories. And I definitely wanted to write feminist stories. I drew back a little at first—I don’t think anyone realized Natalie Glasgow’s protagonist Margaret Willow is gay because I cut almost every reference to that—but I’ve come back from that with a vengeance. I’ve been tremendously fortunate to have the support of publishers and readers alike.
Sonora: Horror is often analyzed as inherently queer. Even stories that don’t explicitly have LGBTQIA+ characters are viewed as queer narratives. What are your thoughts on horror as queer?
Hailey: I think horror is the genre most-suited to telling queer narratives, even without queer characters, but that could be my own queer perspective talking. We’re innocently existing and then someone horrible intrudes. Or, the world doesn’t want us, so we’re monsters to be destroyed.
Sonora: Similarly, horror, like other genres, is often seen as a safe way to present queer narratives to mass audiences, since it’s “disguised” under classic genre tropes. Do you agree with this? Do you think this is still the case, or is explicitly queer horror coming more to the forefront than coded horror stories?
Hailey: I think there’s room for both queer-coded themes and narratives in horror and for queer characters at the forefront to co-exist. A winning story in Pseudopod’s 2019 flash fiction contest that will appear in a future episode presented what felt like a transgender narrative through a speculative lens, and it was brilliant. In the same year, Sarah Fannon’s short story “Consumed” told its horror through a gay woman’s point of view as she searched for companionship, and it was also brilliant. I want both kinds, and lots of them.
Hailey: How can the horror genre be better in its treatment of LGBTQIA+ characters and stories? How can the industry be better?
Hailey: We need more queer creators and decision makers. While there are excellent stories told by allies, there’s only so much that can be understood without firsthand experience. Different perspectives mean different voices which lead to different stories. It’s not enough for allies to tell their stories but with queer characters, wonderful as some of those stories have been. We need to tell them too, share our unique worldview, both lovely and terrifying.
Sonora: Who are some of your favorite authors? What are some of your favorite books?
Hailey: It’s hard to list favorite books when I’m reading so much excellent short fiction that I want to shove in everyone’s faces, but some favorite authors would be Gwendolyn Kiste, Ramsey Campbell, Neil Gaiman, Sara Tantlinger, Caitlin Kiernan, Christa Carmen, and Ray Cluley.
Sonora: What are you working on right now?
Hailey: The dreaded question that outs me as a workaholic! I’m a third into writing a new novella, halfway through a novelette, planning a new novel, revising another, and editing short stories. There’s a lot going on.
About Hailey Piper:
Hailey Piper is the author of horror novellas The Possession of Natalie Glasgow and Benny Rose, the Cannibal King, and her debut dark fantasy/epic horror novel, The Verses of Aeg, will be published by Bronzeville Books in Q4 2020. An active member of the HWA, she enjoys consuming horror, writing it, and sometimes haunting her wife through their apartment. Find her on Twitter via @HaileyPiperSays or at her website www.haileypiper.com.
Today is Neil Gaiman’s 58th birthday, and I hope he has a happy one.
Neil Gaiman is one of my favorite authors. I’ve read many of his books, and I’d have to say my favorite is The Ocean at the End of the Lane. It’s simple and elegant, sparse and yet full of story. I still remember in vivid detail the scene where the narrator falls back into Daisy Hempstock’s ocean.
I also really love The Graveyard Book. It came out when I was 22 years old, but I wish I’d had a book like that when I was in middle school — creepy and yet lovely. I think “creepy and yet lovely” describes most of his work, and explains why I love it so much.
Have you gotten your copy of Quoth the Raven yet? I just finished my own copy — after all, I share space with 29 (!) other authors and poets — and I really enjoyed the collection. I’m honored to appear alongside so many talented writers, including Tiffany Michelle Brown. Tiffany’s short story, “My Love, in Pieces” is a creepy and modern take on “Berenice” by Edgar Allan Poe.
I asked Tiffany if I could interview her, and she agreed. Read on for what inspires her work, some of her favorite whiskeys, and how improv influences her writing.
Bio: Tiffany Michelle Brown is a native of Phoenix, Arizona, who ran away from the desert to live near sunny San Diego beaches. She earned degrees in English and Creative Writing from the University of Arizona, and her work has been featured by Electric Spec, Fabula Argentea, Pen and Kink Publishing, Transmundane Press, and Dark Alley Press. When she isn’t writing, Tiffany can be found on a yoga mat, sipping whisky, creating zany improv scenes, or reading a comic book — sometimes all at once.
Sonora: How long have you been writing?
Tiffany: Gosh, as long as I can remember. I was a super precocious kid who loved stories, so I started writing “novels” on lined notebook paper in grade school. I still have them, and they fall into two camps—mysteries a la the Encyclopedia Brown books—or melodramatic love stories. Like telenovela-level stuff. These early stories are some of my most precious possessions and a great reminder that writing is just … in my bones. Always has been.
Sonora: Someone starts a conversation with you while waiting in line for coffee. They discover you’re a writer, and ask you what you write. The person is next and about to be summoned by the barista. What do you tell them in as quick an answer as you can?
Tiffany: I’m a horror writer at heart, but I also like to dabble in erotica and paranormal romance.
Sonora: Who are some of your favorite authors? What are some of your favorite books?
Tiffany: I am eternally in awe of Neil Gaiman’s work (especially American Gods and The Ocean at the End of the Lane), and I’ve read a ton of Stephen King. The Dark Tower series was like crack for me during college, and I’ve really loved Insomnia, The Shining, Joyland, The Girl Who Loved Tom Gordon, and his short story collections. I’m also a sucker for the stuff I consider the classics, including A Tale of Two Cities by Charles Dickens, We Have Always Lived in the Castle by Shirley Jackson, and basically everything by Edgar Allan Poe and H.P. Lovecraft.
Sonora: For “Quoth the Raven,” you chose to put a contemporary twist on Edgar Allan Poe’s “Berenice.” What made you choose that particular Poe story? What was your favorite part about writing your updated take, “My Love, in Pieces”? Did you face any challenges while writing your story?
Tiffany: “Berenice” is a really visceral story. It’s straight up body horror. And this tale was so shocking that Poe self-censored the piece not long after its original publication to make it more palatable to the general public. I hate censorship, so I loved the idea of building a story around the truly creepy and disturbing elements of this story. I absolutely wanted to keep the startling conclusion of “Berenice” intact (the part that really got under my skin when I read it – no spoilers, in case you haven’t!), so I worked backward, trying to figure out a plausible way to move toward that phantasmagoric twist, while also writing a contemporary story set in present day. The hardest part for me was figuring out the protagonist’s voice, but as soon as that clicked into place, the whole piece was a joy to write.
Sonora: What is your favorite Edgar Allan Poe story? Or, if you can’t choose one, what are a few of your favorites?
Tiffany: It’s a toss-up between “The Tell-tale Heart” and “The Cask of Amontillado.” The voice of the narrator in “Tell-tale Heart” is so fantastic, and his paranoia-turned-madness is completely palpable. (I’m actually querying a dark erotica short based on “Tell-tale Heart” right now!) As far as “Cask” goes, what dark little heart doesn’t love a story about wine, a carnival, and truly horrific revenge?
Sonora: What inspires your work?
Tiffany: I’m definitely inspired by whatever books I’m reading (or listening to) at the moment. Listening to the audiobook of Paula Hawkins’ “Into the Water” influenced the voice of my protagonist in “My Love, In Pieces.” The main character in “My Love” speaks to his wife throughout the story as part of an internal monologue—just as one of Hawkins’ many characters does in “Into the Water”—and the effect is incredibly eerie.
I’m also inspired by news stories (I read an article about robots as babysitters a few weeks ago, and there’s totally a horror story there), strange occurrences that happen in my life (like when I wrote a story about the time a fuck-you-up knife fell out of the pocket of a seemingly straight-laced dude’s pocket at a book signing), or themed anthologies and calls for submissions (like Quoth the Raven!).
Sonora: You are a self-described yogi. Do you find that practicing yoga influences or affects your writing in any way?
Tiffany: I don’t think yoga necessarily influences my writing, but it does wonders for my mental health. Yoga helps me turn off my brain, focus on physicality, sweat out my worries, and remember to breathe. It’s also physically communal, unlike writing. I’m a total extravert, so I enjoy the energy that’s produced in a room full of folks slaying warrior, crow, and corpse poses.
Sonora: You also describe yourself as a whiskey enthusiast. What are some of your favorite whiskeys? Do you have a particular whiskey that you like to sip when writing?
Tiffany: I am obsessed with Japanese whisky, especially Yamazaki 12-Year! It’s incredibly smoky and smooth, and it makes one hell of an old fashioned. I also really like Highland Park, Aberlour, and Glenlivet.
Breaking out the good stuff is a publishing tradition for me. I will generally pour myself a finger or two, neat, in celebration. My friends and family know about this tradition and have helped me steadily build my collection over the years. If you’re ever invited over to my place, you will certainly drink well.
Sonora: You take improv classes. How do the classes influence your writing? Do you see any overlap between the lessons of improv and lessons that writers could apply to their work?
Improv is new for me, and it’s been a transformative experience! Personally, it’s helped me build confidence and consistently step outside my comfort zone. And yes, there are so many concepts in improv that I can apply to writing.
First and foremost, failing is part of the journey and should be celebrated with hearty rounds of applause! On the very first day of my Level 1 improv class at Finest City Improv, our instructor, Gary Ware, established that our classroom was a safe space for experimentation and, contrary to our natural inclinations, we should clap when things went sideways. With this mindset, “mistakes” quickly became “gifts,” things we could use to usher a narrative forward. Can you image if writers were more forgiving of themselves and gave themselves room to fail gracefully and just keep going? I’m really trying to apply that to my craft.
Secondly, successful improv is all about storytelling. Improv scenes can seem extremely bizarre or outlandish, but at their core, they’re about relationships, conflicts, and resolutions – just like the stories we authors put on paper. Without those elements, a scene (or a story) will fall flat.
Lastly, trust in your gut. Make decisions. Stick with them. Let the scenes (or stories) evolve and grow. Play. Do something silly. See if it works. Essentially, improv has given me a ton of freedom and has validated that whatever I’m thinking in a particular moment for a scene (or a story) is completely right.
Sonora: You’ve appeared in many anthologies, and also published your own standalone work. How long have you been publishing? What was your first acceptance? How do you decide between pieces you’ll submit and pieces to publish as standalones?
I finally mustered up the courage to start sending my work out for consideration in 2013, and I published my very first piece, “Invidia,” in Penduline Press’s Seven Deadly Sins issue that year. It’s inspired by Dante’s “Inferno,” more specifically the sewing shut of a trespasser’s eyes when they’ve become envious or coveted that which isn’t theirs. I decided to tell the story from the perspective of the being tasked with the sewing, someone stuck in a very strange kind of limbo. It’s very strange, and I still love that piece.
I submit the majority of my work to publishers now, but when I was first starting out, I was frustrated by rejections and didn’t have a great idea of how to search for markets that complemented my writing style. But I was itching to get my work out there! So, I took matters into my own hands and learned how to publish my own work on Amazon. I self-published SPIN, a novelette about time travel via vinyl records, and Give It Back, a long-ish horror story about a funeral home and a theft that wakes the dead.
There are a few pieces I’ve been querying for a while that don’t fit neatly into a genre or an ideal word count, so those may be next for the self-publishing queue. I’ve also been toying with the idea of self-publishing a collection of horror stories, too. We shall see!
Sonora: Do you have any projects in the works that you’d like to share with us?
Tiffany: I have two projects in the works right this second: a tale in the American Gothic tradition about infidelity, puritanism, and demons; and a paranormal romance novella about a vampire librarian working the night shift on a college campus who meets a cocky student he’s not sure whether he’d like to kiss or kill.
My upcoming publications include a drabble titled “All That Glitters” in Drabbledark II: An Anthology of Dark Drabbles, edited by Eric S. Fomley; a short story called “Unspoken Words” in Christmas Lites VIII, a charity anthology edited by Amy Huntley and benefiting the National Coalition Against Domestic Violence; and an audio reading of my paranormal comedic short, “Bad Vibrations,” on the Toasted Cake podcast.
(It’s weird writing a headline about myself in the third person, but not as weird as writing “A Q&A with Me”)
Last week, I posted a Q&A with my editor, Evelyn Duffy. In addition to answering my questions, she turned the virtual mic around and asked some questions of me. Read on to learn more about what it was like writing my first book, how I navigate through both the writing and publishing parts of the process, and how comic strips and sitcoms influence my literary work.
Evelyn: What is your writing process? How has it varied or stayed the same from your short stories to your novels?
Sonora: It’s a simple step, and yet some days, it’s the hardest one to take: I make myself write something every day. Even if it’s just a sentence, or a note, or a revision, I need to engage with a piece every day to keep the momentum going. I can’t count the number of times I put off actual writing because I thought I had nothing, and then when I made myself do it, I got something — something that often surprised me. The story needs to get out of my head in order to form fully, and I need to write it to get it out of my head.
I work better with set, numeric goals — a specific end date, a number to reach, etc. When writing a novel, I set a goal of 1000 words a day. When writing a short story, I aim for 500 to 1000 words. I often surpass these goals — at its peak, I was writing closer to 2000-3000 words a day for my novel, Please Give — but there are also plenty of days I fall short. This is okay. What’s more important to me than a word count is engagement with my work.
Evelyn: What is your revision process? Who do you share your work with pre-publication, and how do you decide? Can you tell us how you incorporate an editor, beta readers, friends and family, and/or your cover artist?
Sonora: Whether a novel or a short story, I always wait until I have a draft I’m mostly satisfied with before sharing it with others. I do this because I don’t want to give someone something to read that I still have a lot of issues with. I want to send it to others when I’ve reached the point where I can’t do more without hearing from someone else. I often say to people reading it that what the story needs now is another set of eyes. My stories usually reach this point after three or four passes on my own.
Beta readers usually give me general thoughts and some copy-edits. My editor is very thorough, with longer assessments on what is and isn’t working in the story, and what I need to draw out or revise. I highly recommend that self-published authors get both beta readers and an editor. You need that span of feedback to really make your story pop.
Evelyn: Please Give is your first novel, but not your first book. What are some of the differences you’ve found between writing a novel and a collection of short stories? Are there any that took you by surprise?
Sonora: The biggest difference was what each piece started as when I wrote the first words. Even when the story was vastly different, I knew Please Give would be a novel. However, I didn’t write the short stories in The Crow’s Gift and Other Tales with the intention to publish them together. When I decided to publish them together, I was pleasantly surprised by how closely connected they turned out to be. Funny enough, that theme was connection: each of the protagonists in the four stories has a goal of making a connection with someone else, and each get different results.
Evelyn: I understand your knowledge of the nonprofit world of Washington D.C. influenced Please Give. Can you talk a little about that?
Sonora: I’ve worked in the nonprofit sector for almost ten years. I interned for an animal welfare organization while I was in graduate school, and have worked for two foundations and an advocacy organization since entering the workforce full-time.
Some may think that working for a nonprofit means your 9-to-5 is saving puppies, or going to protests, or traveling the globe to help save the world. For some nonprofit workers, that’s the case; but for many of us, it’s going to the office, sitting in meetings, writing drafts, doing busy work, going to more meetings, fielding phone calls, and going to one or two more meetings before you leave for the day. If you think that sounds like any other office, you’re right.
In every nonprofit office I’ve worked in, though, staff have cared deeply about the organization’s mission. There’s also an overall sense of camaraderie — one that isn’t exclusive to nonprofit offices, of course, but one that I think is heightened by the nature of the field. This can be both a good and bad thing. It’s good because you’re part of a team focused on a goal rooted in service, and everyone wants to work together to achieve that. But it can be bad if that common goal is used to try and justify things that wouldn’t be okay in any office, with the excuse that it’s the mission or the greater good that’s more important. This isn’t exclusive to nonprofit offices, but like camaraderie, I think this is heightened in a mission-based office. Why should we complain about things like pressure to work too hard, or frequently missed deadlines, or excessive micromanagement, or lack of promotions or benefits, when The Mission is there and we have so many more important things to think about? But you can care deeply about the greater good and still want better in your office, because it’s still an office and it’s still okay to ask for better in your work environment. I hope that anyone working or thinking of working in the nonprofit sector remembers this.
Evelyn: As I wrote to you when I edited your book, the protagonist of Please Give is refreshing and complex. Beth has a clear, distinct voice. She owns her unique hobbies and interests, and is sexually confident. She has no physical hang-ups and isn’t trying to define herself based on a relationship with a man. At the same time, she’s also one of the most anxious characters I’ve ever encountered in fiction. What went into writing her? Is she the same character now, after multiple drafts and revisions, that she was when she started?
Sonora: When I started Please Give, I was thinking less about Beth and more about where she worked. Her observations on her job — ones that were much snarkier in the initial drafts — were more my own than hers. While I never intended Please Give to be a memoir, a story that was inspired by my own experiences was going to start with a blurred line of where my story ceased and Beth’s began. This line became more defined as I gave Beth her own world. As her story opened up to me, she did too; and I was better able to step back and write about her instead of me.
A lot of what you like about her are things I see in women, yet don’t see enough of in fictional women. For instance, 95% of the books I read have women say something about eating too much and getting fat, no matter their size or their self-esteem. I find myself thinking, can’t I just read one frickin’ book where a woman eats a burger and doesn’t say “Oh no, I’m going to get fat”? Same goes for Beth’s sexual confidence. I wasn’t interested in yet another story where a woman is either super awkward or weird about sex (sure it’s real, but it’s not the only reality of sexual women); sleeps around with the hope that maybe this guy will want to commit (because we can’t have a woman who dates to date — she must be looking for a husband or a long-term boyfriend, and the men must always be the ones who are reluctant to commit); or else sleeps around because she has emotional baggage that drives her libido, giving her a reason other than her own gratification. Beth has sex because she enjoys it, and it’s something she both likes and knows she’s good at. I want to read more about women like that.
At the same time, Beth is very anxious. She fears offending others and polarizing them; and also fears that she’s not actually deserving of the things she wants. This is most apparent in her office, but it seeps into how she interacts with her friends and her dates (outside of sex, at least). This combination of anxiety and confidence creates its own special brand of despair. Beth very much wants more, and wants this because she knows what she’s capable of — and yet, she still wonders if she can actually do what she wants to do. This leads to a battle in her head between what she thinks, what she thinks others think, and what she thinks she should think to make everyone happy.
It’s exhausting to go through these motions — and they’re motions I’m very familiar with. Even though Beth is her own character, I wrote her inner workings with a clear understanding of them because I go through similar thinking almost every day. It’s a train of thought that can make you feel very lonely. I tend to internalize these anxieties because I hold to the times I’ve opened up about them and been told to just get over it or that I was being ridiculous. While such anxieties aren’t fixed overnight, it helps when I hear from others that they know how it is, or feel that way too, or at the very least understand. This applies to books as well as people, characters as well as friends. I started writing Beth and her story so I could tell a good story. But I hope that by including something personal to me — something hard to share, but necessary — that I can do my own part to let others who go through this know that they’re not alone.
Evelyn: As the author, what is your favorite thing about Please Give? As a reader, do you think it would be different?
Sonora: One of the reasons I loved writing Please Give was because it made me happy to inhabit its world and spend time with its characters. I found several of the scenes hilarious, and would laugh to myself as I wrote them or said the dialogue out loud to myself. It seems odd to say that, given it’s about a woman anxiously navigating through her own head to get through her day-to-day. But I’ve found that my own rough day-to-day’s, ones that can be very rough when my anxious thoughts are getting the better of me, are improved when I find something funny about them. I can make them better with a joke, or a snarky observation, or talking to an understanding friend and making light of everything we’re going through. So while the book isn’t a laughfest from beginning to end, it’s also not a pit of despair. Many things happen in the world of the book, things that sometimes feel like nothing but downs after the ups; but all can perhaps still feel okay because of a good joke and some good people to share it all with. I felt that way while engaging with the book and its characters, and I hope that readers will feel the same.
Evelyn: “All the Pieces Coming Together” is a sexy, funny, dangerous short story, and one of the most unique I’ve read in 10 years of editing. How long did it take you to write? What gave you the idea? Who do you hope will read it, and what do you hope they’ll take away from it?
Sonora: “All the Pieces Coming Together” was the first short story I wrote when I got back into writing in 2016. I’d nursed the idea for a year or so beforehand, focused mainly on one of the first lines: “It’s the perfect place to hide a body. The trouble is, there isn’t anybody to hide.” I found the idea of a wannabe serial killer finding a hiding spot so perfect that no one was around to kill to be darkly hilarious. I wrote down a few notes, including the line, his course of action, and the first part of the ending. Everything else fell into place as I wrote it. Once I started writing the story, it took me a little over a month to complete. I hope people with morbid senses of humor read it, or perhaps people who don’t think they’re into horror or dark comedy. It delves into themes of control and making things just so, something I think we’ve all gone through in less morbid ways (well, hopefully less morbid ways).
Evelyn: Both Please Give and The Crow’s Gift have gorgeous cover art. What can you tell us about your cover artist?
Sonora: Both of my books’ covers, the cover for “All the Pieces Coming Together,” and the illustrations in The Crow’s Gift were done by the immensely-talented Doug Puller. He is an illustrator and graphic designer, and I highly recommend him. You can see examples of his work on his website.
I am also collaborating with Doug on a graphic novel. It’s called Wretched Heroes, and will be released as a multi-volume series. We expect Volume 1: The Man in Rags to be released later this year. You can learn more about it on Facebook.
Evelyn: You’ve mentioned that you attend meetups and classes in the D.C. area related to writing and publishing. What about them did you find helped you? You’ve also learned a lot in a relatively short period of time about self-publishing and promoting your work online. What are your suggestions for someone who has a book finished and wants to self-publish but isn’t sure how to get started?
Sonora: I’ve been going to Write2Publish classes, which meet once a month at my local library. An assortment of writers attend the classes, and they are led by Robin Sullivan, whose husband, Michael J. Sullivan, is a popular fantasy author. She is his business manager. The classes are focused on the business end of writing — how to market your book, query-sending strategies, tips for which publishing avenue to pursue, and more. The classes have been extremely helpful in guiding my foray into self-publishing, while also giving me a primer of what to expect if I ever decide to pursue traditional publishing.
Much of what I’ve learned about self-publishing has come from a combination of writing blogs and these classes. When Robin shares her tips, it’s easy to feel overwhelmed, especially if you are handling all of your own marketing. While I have an eye for marketing, I am a writer first and foremost; and everyone will tell you that the author’s job is to write. Thus, it sometimes feels like I’m always going to come up short meeting every recommendation people like Robin make to ensure self-publishing success — and subsequently come up short in getting my books into the hands of readers. However, one of the nice things about books is that they don’t get just one chance to be read. Think about your favorite author. You probably didn’t hear about their first book — you probably heard about them after their third or fourth. Books stick around, and can gain traction over time.
I think it’s important to remember, then, that while doing it all is helpful, so is doing some of it. Your self-publishing prospects aren’t D.O.A. if you don’t have a full website, social media presence, Google Analytics report, multiple reviews, and well-placed promotion on blogs and in newspapers all before launch day. Maybe aim for two of those things, and the two that come most naturally to you. I’ve had a Twitter presence for years, and while I still use it to talk about non-writing things like hockey and beer, I also use it to talk about my writing. I also started a writing blog where I talk about my projects as well as general writing thoughts. That blog eventually became my website. I’d like to do more to market my work, and when I have some more pieces to promote, perhaps I will. But for now, I have a website and a social media presence, which is a great first step to getting my work out there.
Evelyn: Generally speaking, you draw a lot from film and pop culture. You also read voraciously. Who or what are your greatest influences?
Sonora: I really enjoy both humorous and dark stories, such as Augusten Burroughs’ memoirs and essays. I read Running with Scissors in high school and loved every word. Burroughs has a knack for drawing you into such darkness and sadness but with a laugh and a wink throughout; and his sense of humor is incredibly biting. My favorite authors (with my favorite book by each in parentheses) include John Irving (A Widow for One Year), Anita Shreve (Fortune’s Rocks), Rainbow Rowell (Landline), Toni Morrison (The Bluest Eye), and Thomas Hardy (Far From the Madding Crowd). I also read a lot of comic strips growing up, which were very influential on my writing and my humor — in no small part because of the way the dialogue flows. I spent many an afternoon reading Foxtrot and Calvin and Hobbes; and owned many Archie anthologies.
Sitcoms have also had a big influence on my writing. Growing up, my favorite shows were The Golden Girls, The Nanny,That ’70s Show, and Mystery Science Theater 3000. I’m also a big fan of sitcoms without laugh tracks. The speed and naturalness at which the jokes come is just so good in the right hands. They’re an excellent primer on how to write good, convincing, and funny dialogue in stories. Some of my favorites include 30 Rock, Scrubs, and Master of None.
Most of my favorite stories are about generally everyday people going through generally everyday things; or else things out of the ordinary being shared as if they were an everyday occurrence, because to that person, it is their everyday. Even a show like Mystery Science Theater 3000 made it a point to emphasize the averageness of Joel and Mike (and now Jonah) in the face of their circumstances. These stories showed me people I’d know, telling jokes and going through things I could at least see myself going through, even if I didn’t actually go through them. Those are the stories I like writing the most.
I am also a horror fan, in case anyone was wondering how my love of Golden Girls and Archie resulted in a story like “All the Pieces Coming Together” (though Riverdale would lend itself well to that). I’ve been a Tim Burton fan since I was a kid, and of course read Stephen King. I am also a big fan of Neil Gaiman and the way he builds worlds and turns a phrase. He makes the darkest corners of the imagination beautiful, even when they’re deeply unsettling.
Evelyn: What do you know now that you wish you’d known when you started writing?
Sonora: I’ve read so many author interviews where they say the final version of their book was almost nothing like it was when they started. I read an interview or two like these as I was just getting started on Please Give, and thought, “Well, my story isn’t changing. It’s going to stay exactly the same, and I’m going to follow everything I outlined or noted exactly.”
What a joke. It changed drastically, and many times. I kept some things intact — Beth’s job, for instance; and Beth as the protagonist, and most of the main characters. But at one point, I had a speaking cast of thirty. I still remember a character about whom Beth said, “I don’t know why she was there. She had no reason to be.” One of those magic moments where your characters talk to you and you should listen. Beth was also running an advice blog in an early draft, which will make you laugh very hard when you learn more about Beth and how she feels about sharing her opinions.
But Please Give changed a lot — it even changed titles — and changed even more when I got it back from being edited. It changed despite my naive, stubborn self thinking my novel would be the first rough draft that stayed the same into final form beyond copy clean-up. It’s that stubbornness that makes me wish I’d known how much a story can change sooner. While I want to go into my stories with some sense of what will happen, I also don’t want to go in so sure of how it will go that I’ll get stuck and write myself into a corner. I came around on what did and didn’t need to change in Please Give, but there were pieces I definitely hung onto longer than necessary so I could follow a notion I had of what the story was before I even wrote it. It’s better to write and see where it goes — and if you see it going somewhere else, follow it. More often than not, you’ll be lead in the right direction.
Evelyn: I know you have several other irons in the fire. Would you like to tell us about some of your upcoming books and short story collections?
Sonora: While Please Give was out for edits, I wrote several short stories. I’m publishing five of them in a new collection, tentatively titled Wither and Other Tales. Many of them are on the darker side, like the stories in The Crow’s Gift. It’s currently being edited and revised, and I plan to release it in September.
I’m also hard at work on my next novel. Right now, it’s called Without Condition. It follows a woman named Cara, who tempers her mounting fears and frustrations in less-than-savory ways; and her mother Delores, who’s proud of the way she handles herself. It explores the idea of unconditional love, but in a dark and twisted way. It also explores how Cara reconciles with who she really is — a piece she hides from everyone but her mother, because her mother loves her no matter what — and how that reconciliation affects Cara when she meets and falls for a man named Jackson. It’s dark, bemused, and tender — my favorite kind of story.