Your novels tend to have unexpected protagonists/settings. Was this a conscious decision or the spark of an idea that evolved? My ideas hit me just as unexpected. It is not like I want to come up with this or that like a contract writer where an idea is developed and catered to a market, I am on the other end of that spectrum. I am not in control of my ideas, and there are plenty, and many I can’t even tackle, most of them I won’t finish in my life time. The once that make it are pressing, have an immediate impact on me and when they linger over weeks I know I have to sit down and deal with them. What brings us to …
Do you plan an outline or free flow write? … this question, and yes I do. For the longest time I had to keep up a job to buy myself time to write (and food and the other trivialities), so I couldn’t just write into the blue and hope the novel turns out well somehow. I had to be sure. I could not waste any time. Early on I developed my outline technique where I work only on 1 letter sized piece of paper, which I could take anywhere (jobs etc.) at all times. Everything is on that 1 page, the entire outline, like “They steal the car”, that’s a beat, at that time I don’t know where they do this for example. Only when I see these beats work and I understand my protagonists, hear them, feel them, know them, and I clearly hear the narrating voice I start the novel. This planning phase takes between 2 and 15 years before I start writing, but then the 1st draft is the novel.
Can you explain how the process of writing with a fellow author works? Is it a chapter each or a combination of thought and writing? I did this more than once, but always we agreed one of us writes a quick first version and the other expands on that. This way the voice of the novel is not flopping back and forth – except there are 2 distinct views or narrators, then this would make sense.
What differences are there from writing a novel to a film script to a song? A song or a poem is the entire opposite to a novel to me. These happen in an instance, a spontaneous outburst in under an hour, unplanned, unmanaged, quasi anarchic in character. A film script (as well as a radio play or a theatre play) is planned like the novel, but the writing is a fraction of it. I love film scripts, I wish more people would read them and they’d become an own literary genre.
Does your music affect your writing or the other way around? All the different media I am working in influence each other, ideas bleed from one form into another (example my song “Joyride Sky” was inspired by my novel “For a Spin”, I invented a band that pops up in a number of my novels, and for the dystopian novel “2112” (working title) I am currently working on I recorded an entire album you can listen to on Bandcamp, the band is called JENNY HAS TRAFFIC. It is fun and adds to the characters.
You have been prolific in the number of publications. Are the ideas still coming as quickly? Do you have a folder of ideas pending? Oh yes, ideas come constantly, I have to dodge them, write them down and put them in the folder. That folder is full with ideas, no way I can write all of them.
What challenges do you face with language? English is my 2nd language. The biggest challenge for me as a writer is not so much the spelling, grammar, vocabulary (you can work on that), but the fact I did not grow up in the English culture, I miss out on most childhood references, sport and political events, etc. I have to live with that, there is no way I can catch up with that.
When you write songs what influences you? My mood. My mood dictates the feeling of a song. Many lyrics come from darker places, I am not a musical comedian although I wrote many funny novels and had the pleasure to experience their impact first hand during my readings in schools between Denmark and Italy.
What propelled you to start you podcast? I was the kid (14 years old) that stayed up late to listen to radio shows at midnight. I always loved the medium, for music and word. I worked for radio in Germany, and as a volunteer I had an own 4 hour show at CJSW at the University of Calgary called PolterZeitGeist where I mixed words and music. Since technology evolved digitally I was able to get the equipment and do it myself.
Can you tell us about your latest project? I received this year the Literary Arts Individual Project Grant by the Alberta Foundation for the Arts to write the dystopian novel “2112”, and I document this process on my homepage in words, photos, audio and video until February 2022.
Is there a message you would like to share with your readers? Don’t judge a book by its cover, please read the first page. Even with my novels, because the narrating voice changes.
Thorsten Nesch is a German author who lives in Lethbridge, Alberta, Canada. 2008 Nesch’s first novel Joyride Ost was nominated for Oldenburger Kinder- und Jugendbuchpreis and the Landshuter Jugendbuchpreis. 2012 the book won the Hans-im-Glück Award
You have experienced a multitude of jobs – have these experiences given you insights for the characters in your stories, within your book Rage and other writing?
Yes and no.
Yes in that I have based characters on past jobs for some of my writing. For example, two stories which appear in Rage are about archaeologists (“Deposition” and “The Edmore Snyders”) and I did work as a salvage archaeologist for about six years. Consequently, both of these stories carry elements which are very much true to life.
However, most of my stories are not based on past employment. To keep looking at the stories in Rage, I’ve never been a mountain climber, a priest, or a teenage girl (and probably never will be). To look at some of my other past jobs, I’ve never published a story about writers, software developers, or graphic designers–in fact, I find most of my past employment doesn’t excite me enough to craft share-worthy fiction from it. It’s the experiences I’ve had (which may or may not have come tangentially from those jobs) which inspire me, shock me, give me joy, disgust me, scare me, or piss me off so much I find myself mining for my fiction.
I’ll wrap this up by saying I am a strong proponent of thorough research and writers getting their facts as correct as possible. If I can use a past job to get my facts right, I’ll do it. If I need to interview people who’ve experienced the things I’m writing about, I’ll talk to them. I find story elements which don’t ring true to life (or at least my experience of it) can bring me out of a story faster than anything else–and I try very hard to never do that to my readers.
Your path into writing was the result of an unusual message, please tell us about it and if now you are convinced or otherwise to the validity of that message?
I’m not sure if the message you’re referring to was actually my path into writing (I’ve been making stuff up for almost as long as I can remember), but that message was most certainly the catalyst which finally got my ass in gear and helped me focus on my dream of becoming an author.
The message was this: you’re on a path for destruction and unless you change your ways, you are going to die. The deliverer of that message was a tarot reader I’d met at a party in New Orleans, and when she told me this, it scared the shit out of me. At the time I was a rather unhappy software developer and I chose to interpret her message to mean I should abandon my career in information technology and give writing a real, honest, both-feet-in effort (I also remember hoping this was not a medical thing).
As a result, I completely refocused my life. I enrolled in some continuing education classes in creative writing and for the first time in a long while felt truly happy (like I was where I was supposed to be). My instructors were encouraging, my classmates were invested, and everyone took the writing thing seriously. I learned a lot. When I got enough decent material together for a portfolio, I applied to Simon Fraser University’s year-long program, The Writer’s Studio. Coincidentally enough, that was the time I got downsized from my software development job, so I was given the luxury of being able to focus on my studies full time. At SFU, I got involved in the local literary community, met many interesting people, and learned even more. Then, I took my biggest leap and applied to the Master of Fine Arts in Creative Writing program at the University of British Columbia. I’ve got to say when I got my acceptance letter from UBC, I did the biggest happy dance of my life. UBC was a fantastic experience for me, where I met even more interesting people, got involved in teaching creative writing, and learned an awful lot more.
In the end, whether or not I’m convinced of the validity of that message doesn’t really matter–I acted on that message, destroyed my old life, and created a new one I’m very happy with.
In teaching creative writing is it an advantage or a disadvantage to your own creativity?
Advantageous in that I get to meet many people with creative ideas so very different from my own. As a writer I don’t get out much, and talking to other writers about stories and other creative things is something I both enjoy and constantly learn from.
The downside for my creativity I experience from teaching is that I let it pull me away from my writing time. When I’m teaching a class, I feel it’s only fair to give my students my full attention, so whether I’m critiquing homework assignments or preparing lesson plans, I find I’m not writing as much of my own material as I’d like (in fact, I find I don’t write at all while I’ve got a course in session).
What writing process is the most comfortable for you – pantser or planner?
I’d like to be able to say I’m a planner, but that’s not entirely the truth. While I outline meticulously (not only do I take comfort in an outline, I’ve also discovered outlining saves me from having to write at least a full draft or two), I almost always deviate from my outline and end up pantsing to some degree as I go along. Now that could mean I’m further refining within the scope of my outline, but it could also mean I’ve got to throw away my current outline when I come up with something better (which happens often). As I’ve discovered my own writing process, I’ve realized my first drafts don’t look very much like my second drafts, and my final drafts are very different from what I first envisioned for my story (that’s not to say I only write three drafts–my current work in progress is on draft 10.7). So, um, yeah, I’m a bit of a hybrid.
How do you find inspiration and time to write?
As for time, I’m very lucky in that aside from the occasional teaching gig, all I do professionally is write (I’m also very lucky to have an extremely patient and generously supportive wife). As for inspiration, that’s been a bit trickier for me these past two years (as I suspect it has for a lot of people). I usually find my inspiration (whether it’s from things which shock me, give me joy, disgust me, scare me, or piss me off) from meeting new people, going to new places, and doing new things. As those stimuli have been somewhat curtailed lately, being inspired has become a bit of a challenge. I’m currently relying on memory and my outlines to carry me through my work.
What determines which genre/style your write in? (Short story, play, or poetry)
I haven’t been writing for the stage lately, and I’m not doing much short fiction or poetry, either. What I’ve been focusing on is longer fiction (the word count of the latest complete draft of my current WIP is about 120,000 words).
That being said, I did take a break from my novel and publish a short story in Speculative North last year. It’s about a werewolf desperately trying to keep her shit together while contending with increasing provocations from sources which have no regard for her as a person whatsoever (by the way, there should be an adult content warning if anyone decides they want to read that story–which anyone can for free by following the Free Downloads link on my website [http://www.johnmavin.com/downloads.html]). I knew that story would be short (it’s only about 7,900 words, admittedly long for a short story) as what I wanted to say wouldn’t have filled a novel.
So I guess that’s my answer–it’s what I want to say about a given idea that determines which genre or style I’ll use. My current WIP is too big and has too much world building to be effective in short formats so I’ve gone long. For my stage plays, it was usually the effect on a live audience I was going for (for example, my one-act play Daguerreotype–also available on my Free Downloads page–is an intentionally uncomfortable experience which is different for each person in the audience, depending on when they figure out what is really going on). For my poetry, if what I’m looking for is the emotional equivalent of a quick punch, that’s the genre I’ll choose.
You offer writing courses – what made you decide to do this?
I like to share and I like to teach. Back when I was taking my MFA, my grad advisor looked at my proposed schedule and called me in for a meeting. She said I’d signed up for too many courses and had to limit my choices–specifically, she asked me to choose between a class on teaching creative writing and a class on journal publication. While I was disappointed I couldn’t take both, making that choice was easy (I chose the teaching class).
Do you have a current WIP? Can you tell us about it?
I’m currently working on (and have been for far too long) a dark fantasy trilogy. I’m not yet at the stage where I can publicly say much about it, but I will say it’s set in a secondary world and deals with belief, deceit, and what happens to the soul after death. Oh, and yeah, the cast is very much filled with morally questionable characters (as with most of my writing, no one is truly good and no one is truly evil–they’re all hybrids, which I find true to life, or at least my experience of it).
How important do you feel creativity is – no matter the medium?
Very, very important. I believe humans have an innate need to create in almost all situations. Whether that creativity is expressed through writing short stories, composing music, painting pictures, solving problems, completing work, or even getting dressed is immaterial–everyone is creative. I realize I’m not expressing this very well, but I do know someone who can: his name is Jim Jackson and he has a podcast called Radio Creative, in which he looks at ways to expand people’s natural creativity and tap into it when they want to in their life, work and art. Full disclosure–Jim had me on as a guest a while back–but he’s also interviewed chefs, business consultants, and lawyers besides editors and writers). I recommend giving Radio Creative a listen. [https://anchor.fm/radiocreative/]
Where can readers find you?
The best place to find me online is my website, http://www.johnmavin.com, where I’ve got links to both my Facebook page [www.facebook.com/author.john.mavin] as well as my Goodreads profile [www.goodreads.com/author/show/16623050.John_Mavin].
Do you have a message for your readers?
Um, you mean beyond “hello, thanks for reading my stuff, please read more of my stuff, and I’d really appreciate it if you gave my stuff an honest review on Goodreads and/or Amazon”?
Okay, for something much less self-serving, how about this…I came across a meme on Facebook the other day which struck me as apropos. It went something like this:
List of Books to Read Before You Die
1. Any book you want.
2. Don’t read books you don’t want to read.
3. That’s it. The meme goes on, but at its core, I really liked its message
A chilling collection of stories unraveling the consequences of longing, broken trust, and deceit.
John Mavin is the author of the dark literary collection Rage who’s taught creative writing at Capilano University, Simon Fraser University, the University of British Columbia, with New Shoots (through the Vancouver School Board), and at the Learning Exchange in Vancouver’s Downtown Eastside. He’s a graduate of SFU’s The Writer’s Studio and also holds an MFA in Creative Writing from UBC. A past nominee for both the Aurora Award and the Journey Prize, his work has been translated, studied, and published internationally. He invites you to visit him online at http://www.johnmavin.com or follow him on Facebook at http://www.facebook.com/author.john.mavin.
Please tell us the story behind your new book, Home.
My new book is the bookend of the Friends and Family series about Fluffy the cat and Levi the mouse. This book in the series was more challenging to write than the others because the series was written for my mom, and she passed away two years ago. My mom was my hero, and my best friend. She always provided me with a sense of security and home. As a family, we shared a love of reading, and my mom made sure, whether I was staying in the hospital or at home, that the routine of reading to me before bed was a constant.
As an adult, my mom’s macular degeneration made reading a challenge so I would read out loud to her. Then as her dementia progressed, she found a renewed passion for children’s literature. This series was based on a childhood pet of my mom’s and has a diverse character, which I wish I had to identify with when I was a child. Despite dementia stealing my mom’s words, the smile on her face and her reaching out to grab and hold Don’t Eat Family communicated her love and appreciation.
Mom would’ve wanted me to finish the series despite the fact that during the writing process and now the launch of Home, she would not be here in person. My illustrator, Katherine Restouiex, who also knew my mom, made the human character a cartoon version of her. While writing this last book in the series, memories mom and I shared and the lessons that she taught me were reminders that she will always be with me.
As the third in the series, does it complete the series?
Yes, Home completes the Friends and Family series.
How did you come up with the idea for the series?
My inspiration for this series came from a childhood cat Mom had and the fact that cats and mice don’t usually get along. This series was an exploration into each character’s ability to make their own decisions based on who they want to be and not who they are told to be by society. I wanted my characters to travel through the world with kindness, respect, and a belief in the goodness of people.
Can you tell us about the characters and how you created them?
The character of Fluffy is based on a grey Persian cat that my mom had as a child. The character Levi is based on some of the strong and independent individuals I have met who experience disability. Maybe even a little part of myself is in the character of Levi.
In Don’t Eat Family what is the message you wanted to convey?
The main messages that I was trying to convey in the book Don’t Eat Family were that, just like Fluffy and her decision to be friends with Levi versus be a mouser as some cats are, you could be who you are and not give in to peer pressure. Also, individuals experiencing a disability may experience challenges but have other abilities and should not be judged by the way they get around in the world.
In Help from Friends do the characters follow on from the first book?
Yes, the characters in Friends and Family continue along the journey to find their way home, a journey that started in the first book.
Did you start out planning a series, or did the story and characters dictate more stories?
No, I didn’t start outlining a series, but the characters and the story dictated more books because their adventures required more pages than I wanted to squeeze into one book.
Tell us about your writing life – what other books/plays have you written?
Maunder – definition: 1. to talk in a rambling, foolish, or meaningless way; 2. to move, go, or act in an aimless, confused manner
As a long time viewer of Dr. Who, I could not miss the 50 year celebrations of this fantastic time traveler show this weekend. I don’t mind admitting that I have watched every single Doctor from Hartnell to Smith. For any show to last such a long time, is in a large par,t because of the excellent writing. To have a character time traveling is one thing but this one can morph into new forms, ensuring the viewer is continually engaged with their personalities. Each reincarnation has his own character traits and some were more rambling in their diction than others. The story lines and monsters are obviously a major part of the show as well and the writers have managed to keep us guessing what they will create next.
Everyone has their favorite Doctor or Doctors. Some are memories of episodes when they were children and others when as adults they can appreciate the complexity of the time traveling hero and his Tardis.
As a writer, I only think it fair to highlight the writers who have made us scream, hide behind the sofa and puzzle over the complexities of each episode. The attention to detail and back story makes each episode so ‘real’ that we are aware of the monster’s motivation and await the Doctor’s solution with avid anticipation.
I salute these writers for their ingenuity and excellent writing. This quote says it all:
Douglas Adams, who was a Doctor Who writer of huge renown, said the show had to be complicated enough for children and simple enough for adults, and that still holds true, I think. The target audience is everybody from 6 to 106,” he continued. “You want it to be exciting and thrilling and have a lot of different takes to it. You want it to be emotional, and have great characters, and you also want it to be self-contained: within 45 minutes, you’re having to land on a planet, or a period of history, meet a whole bunch of people, solve a mystery, have an adventure and get back in the TARDIS — and with jokes, and you can’t afford to do any of it. That’s why it’s one of the hardest shows to write for, but when you even come close to getting it right, it’s the most exciting show in the world to write for.”