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Q&A and Book Giveaway with Author, Yuvi Zalkow

“Even in my real life, I lose track of the plot.”
~ from A Brilliant Novel in the Works

That’s explains it, right, the life of a writer? We search for structure in our stories; we work to uncover the solid theme, running throughout, that will pull all those messy details together. We need to know how it all turns out. We get lost, make mistakes, back up and try again. Sometimes, all that happens on the page; sometimes it’s happening everyday with the people around us. Writing fiction isn’t so different from living life.

A Brilliant Novel in the Works, by Yuvi Zalkow, introduces readers to a man, named Yuvi, who is a writer struggling to find order in his life and in his fiction. Like most writers, he is easily distracted by the story lines of those around him, namely his brother-in-law and his wife.

Yes, the protagonist’s name is Yuvi. No, this isn’t a memoir. Yes, you might wonder what is truth and what is fiction. But, don’t let those questions distract you from the compelling tale of a writer in search of the perfect ending for his novel and a man struggling through the murky middle of his relationships.

I’m thrilled to host Yuvi on the blog today, where he shares a bit about his book, about taking risks, about creative therapy and his secret to success. I’m also excited to give away a copy of his debut novel. It’s so easy to enter: leave your name in the comments. That’s it. Random.org will choose the winner on Tuesday, September 18th at high noon. I love saying that, high noon.

Now, welcome Yuvi Zalkow!

CC: The way your book transitions between the (protagonist) Yuvi’s personal story to the stories he writes for his novel, illustrates so well the mind of a creative: we always turn to our art of choice to explore and examine bits and pieces from real life that confound us. I’m guessing the Yuvi in the book is a panster (when he wears pants, that is). What about you? Do you write with an outline, or do you close your eyes and let the words fall where they may?

YZ: First of all, nice way to work pantslessness into your question!…

I definitely start writing any story by just letting some voice or character explode out of me, without worrying about where it is all heading. For me, the first important thing is a strong voice. But I eventually transition into a writer who needs a rough outline to proceed. Towards the end of the first draft of this book, I began sketching out how I wanted the next draft to go.  Nothing too elaborate, but a list of 10-20 connected steps roughly describing the shape of the story and the arc of the key characters. This book had virtually no plot in draft one. I’m not saying that the published work is a plot-heavy story, but it definitely has far more of a shape than draft one. Drafts 2 to 1,000 (ish) were mostly about shaping the story and taming this loud voice into a decent story. For instance, it took a lot of time to figure out exactly which of (protaganist) Yuvi’s personal stories should go in the novel and where exactly they should appear. I did a lot of shaping and editing and trashing in those later drafts.

CC: Throughout the novel, Yuvi takes risks, most of which leave him in precarious positions or in the middle of conflict. But, finally taking the right risk is what leads him to The End. Much, if not all, of writing takes courage. While writing your novel, was the biggest chance you took?

YZ: Wow. I’m getting nervous to answer this question already 🙂 The scariest thing for me — and I realize this may not be quite what you mean — is that step of giving a trusted friend/writer/mentor/reader my whole manuscript for the first time. I remember there was a point where I was thinking: do I show the public the steaming pile of a manuscript or do I hide it and forget about it? I had already read the individual scenes aloud in a writing group but no one had seen the thing as a whole piece of work. This novel is a very personal one (as you can quickly imagine upon reading it) and I felt very exposed to let others see it. I was terrified that they would say: “You’re crazy. You’ve got nothing comprehensible here. Give it up!” I think it takes a lot of courage/strength/risk/stupidity for a writer to take their work out in the world and say, “Yes, I want to see if I can make my words affect other people.” Particularly if you’re doing something that doesn’t follow some well-known standard. As it turned out, as messy as that draft was, my friend could see the power of what I was *trying* to do, and she helped me get closer in achieving it.

CC: I love the videos you make that spotlight all the different facets of the writing life (like tips for time management or the secret to everything). How does working in two different mediums, print and video, keep your creativity in balance?

YZ: To be honest, right now the two mediums keep me creatively IMBALANCED. It’s really just a lack of time. The videos take loads of time and eat into the writing. Since I have a day job and a family, I’m struggling with doing everything right now. But I love doing them both… it’s so much fun because they both are creative endeavors that use very different parts of the brain. Writing is harder. The videos are therapy in a way. I’m scheming up a few ways to do them both in a more balanced way because I hate to let either go. But I haven’t struck a balance yet. Regardless of the (im)balance, each medium has connected me to fabulous people (some as nuts as I am) and I’m thankful for that.

CC: What are you reading these days?

YZ: Wow. I haven’t been reading a whole lot of published books lately — between preparing for my book release and reading my friends’ manuscripts in various writing groups, I’m pretty underwater. But I read THAISA FRANK’S latest collection of stories ENCHANTMENT. Beautiful stories.. And I listened to the audiobook of the fabulous YA novel THE FAULT IN OUR STARS. And I also listened to the GODFATHER on audiobook because I love the movies (I & II) and I wanted to see (or in this case, hear) how the book was structured. Hmm… I think I’d like Marlon Brando to play the role of Yuvi in the movie version of my book… Though Al Paccino will also do. What do you think? Surely you must have also pictured one of those two as you read my book… 🙂

CC: Since this novel is about a writer struggling to write a novel, I wonder if, maybe during a middle-of-the-night rewrite, your Muse or Genius (or perhaps your wife) revealed some secret to success? In other words, do you have any advice for writers on the rise?

YZ: My secret to success is to be skeptical of any secret to success that is delivered with too much confidence. Thanks so much for chatting with me, Christi. In an online world where there is a lot of writing about writing, you really stand out with great insights into the craft and into the writing life.

CC: Thank you, Yuvi!

For all you readers and writers, don’t forget to leave your name in the comments for a chance to win a copy of his great novel! You can also check out more of Yuvi’s work on his website (where you’ll find his I’m a Failed Writer video series), follow him on Twitter, or subscribe to his page on Facebook. Read two other great interviews with Yuvi, as well, on Laura Stanfill’s blog and at The Surly Muse.

Yuvi Zalkow writes and worries in Portland, Oregon. His stories have been published in Glimmer Train, Narrative Magazine, Carve Magazine, and others. He is working on a second novel (about one Jew obsessed with napkins and another Jew in the Klan). He recently received an MFA from Antioch University, which makes him feel official.

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Interview with Andrew Cotto, Author of Outerborough Blues

“…[M]en were restless souls chased by the past after something that couldn’t be found. He said the key to salvation was in our hearts and not in our feet.”
~ from Outerborough Blues, A Brooklyn Mystery

We are tied to our past, no matter how hard we try to pull away, until we find reconciliation — within ourselves or with others. This is true in life and in fiction. When I was younger, my moves to a new house or apartment often were inspired by an effort to separate myself from some person, place, or event. But memories of what, or who, I left behind resurfaced again and again, refusing to be ignored, until I dug deeper to understand them, and myself.

Andrew Cotto’s novel, Outerborough Blues, A Brooklyn Mystery, tells the story of Caesar Stiles, who is on his own mission to escape his past, albeit a much more complicated one than mine ever was. By setting down roots in Brooklyn, Caesar hopes he will break a family curse. But, a mysterious woman pushes him to search for her missing brother and, in turn, sets Caesar off on a journey of unexpected discoveries that eventually forces him to face what he left behind.

Brooklyn comes alive in Cotto’s novel, in the imagery and details, as Caesar and the story move in and out of neighborhoods, brushing against the lives of characters in the mix.

I’m pleased to host Andrew Cotto today to talk about his novel and about writing. Also, he’s offering an autographed copy of his book to one lucky reader, so be sure to leave your name in the comments; the winner will be chosen on Friday, June 29th.

Now, welcome Andrew!

CC: The prologue in Outerborough Blues introduces readers to Caesar and his family’s dark past. It also hints that this novel, while a mystery, is also a story of self-discovery, one that takes Caesar through the winding complexity of a city at large. What inspired you most to write this novel, your character, Caesar, or the diversity of the place where he lives?

AC: I’m always inspired by how characters have to reconcile their past and subvert their own self-image in order to achieve acceptance or transformation. The character of Caesar Stiles certainly falls into this category, both from his family history and, as a result, his own identity. I was inspired by some of the mythological characters of literature reconfigured into a noir archetype of the outsider. Caesar’s family history and transient existence helped shape a character, when immersed in a mystery, who works within these contexts.

CC: In this article on The Good Men Project, you say how much you love storytelling for “the images and language and devices that make the narrative art form so compelling.” Outerborough Blues, set in Brooklyn, is filled with vivid and intimate images of the urban landscape. Were you born and raised in Brooklyn, or what did you do to familiarize yourself so well with the setting?

AC: I grew up in numerous places around America. I’ve always been inspired by urban settings, and I’ve been particularly inspired by the people, cultures, architecture, and general atmosphere of Brooklyn since moving here in 1997. One of the reasons so much Brooklyn ambiance is on display in the novel is that the imagery, as described by Caesar, is a way to reveal his character. This is not a narrator who favors emotional exposition, so I tried to use his descriptive prowess to reveal his nature and aesthetic. This was also done through his cooking.

CC: You write nonfiction (for the The Good Men Project and for the New York Times) as well as fiction, and common themes, like relationships and a strong sense of place, run through both genres of your work. How is writing fiction similar, or different, for you from writing nonfiction?

AC: In both genres I’m trying to tell a story, and those themes you mention (along with a few others) tend to find their way into my narratives, in both fiction and non-fiction. The biggest difference to me is just the scope of the story, and, of course, the component of imagination in fiction. In both cases, though, I’m always trying to create something insightful and descriptive and reflective of our times.

CC: What are you reading these days?

AC: I just got done teaching a literature class where the novels were all pre-selected by the department chair, which dominated most of my reading time for the past three months, so I’m pretty excited to have the summer to choose my own books. I’ve started with the two widely-acclaimed novels of my fellow writers published this year by Ig Publishing. Both Ghosting by Kirby Gann (reviewed recently by the New York Times Book Review) and Jonah Man by Chris Narozny have met the high expectations. I have a “Beat Generation” class to teach in the fall, so I’ll probably spend the rest of the summer preparing for that by reading On the Road, Howl, and some maybe some lesser known “Beat” titles. I’ll also delve into some James Lee Burke and re-read Mystic River.

CC: What piece of advice do you share often with other writers?

AC: Figure out how to self-promote. Almost every writer these days is obliged, if they want to succeed, to connect with their audience. I know a lot of writers, by their introverted natures, don’t dig this idea, but it’s part of the job description these days for any of us who are not household names. There’s ways to do this that are not as painful and time consuming as they seem, and I strongly suggest getting started sooner as opposed to later with having a routine of social media promotion alongside that routine of writing.

~

Andrew Cotto is a writer and teacher who lives in Brooklyn, NY. He is the author of two novels: The Domino Effect is a coming-of-age story about a kid from Queens with a damaged past and a complicated present at a boarding school in rural New Jersey; Outerborough Blues: A Brooklyn Mystery is an unconventional noir about a drifter seeking a missing person and a remedy to his family’s curse in the dawn of urban gentrification. Andrew’s articles have appeared in many national journals, including the New York Times, Men’s Journal, Salon, the Good Men Project and Teachers & Writers Magazine.

Find out more about Andrew and his writing on his website, follow him on Twitter, or like his page on Facebook. And, don’t forget to leave your name in the comments for a chance to win his book.

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An Interview with Erika Dreifus, Author of Quiet Americans

“Always, there had been so much about him she hadn’t understood. Always, something about her heart had remained unyielding, beyond his comprehension. But that was the point. So much remained beyond his comprehension.”
~ from “For Services Rendered” in Quiet Americans

What is writing if not an exercise in understanding?
Whether we write fiction or non, we are on a journey to make sense of the incomprehensible, to follow the thread of a story until something is revealed, something of meaning to us or the reader or the character in question.

Erika Dreifus has written a collection of stories about characters searching for that meaning, searching to unravel a mixture of complexities in their histories or to reconcile an agony traced to their past. Nelly Freiburg in “Homecoming” grapples with the decision whether or not to return to places of her youth, knowing that everything, including herself, has been permanently altered by war. In “Mishpocha,” David Kaufmann pursues the mysteries behind his identity and uncovers the unexpected. All of the stories in Quiet Americans reveal a deeper understanding of what it means to be Jewish and an American and a survivor.

I’m honored to host Erika today as she answers questions about Quiet Americans and about writing. I am also offering a book giveaway, so, at the end of the interview, be sure to leave your name in the comments. The winning name will be drawn on Tuesday, May 29th.

Now, welcome Erika Dreifus!

CC: One of the short stories in your collection, “The Quiet American, or How to be a Good Guest,” touches not only on the internal conflicts a young Jewish woman faces when returning to Germany but on the larger issue we sometimes all face: speaking up or speaking out. I love this story and the powerful moment at the end. Did this story draw from your own personal experiences in any way?

Photo credit: Lisa Hancock

ED: First, Christi, I want to thank you for hosting me on your wonderful blog. And thank you so much for the kind words about this story. Yes, the story definitely drew from some of my personal experiences (and traits). For example, like the narrator, I did visit Stuttgart in the summer of 2004. I, too, have a terrible sense of direction. And I did, indeed, sign up for a bus tour of the city. But I invented many other elements of the story, and I borrowed (sounds better than “stole”!) one major piece of it, adapting a travel experience in Germany that a dear friend shared with me in a conversation not long after my trip.

This is part of what is so alluring to me about fiction-writing: the opportunity to combine fragments of personal experience, research, what we learn from others, and what we imagine, and create something new and whole in its own right. Sometimes, it’s difficult for me to remember which elements of a story I’ve created entirely and which do, indeed, have roots in my own lived experience. Which is why those stories begin and remain as fiction. I’m pretty meticulous about making sure that anything I label “nonfiction” is, in fact, not fictionalized.

CC: The Jewish Journal calls your book “…a deeply affecting collection of short stories that contemplate how the long shadow of the Holocaust falls across the lives of men and women who come alive in her work.” While the book focuses on the Jewish experience, the stories within appeal to those who appreciate stories of history and culture as well. What do you hope readers take away from Quiet Americans?

ED: What a great question. Well, I suppose I hope that that readers take away a good reading experience, in that they don’t regret having spent their valuable time with the book. I do also hope to capture aspects of history that will soon be *only* history, in that there will no longer be witnesses to share their experiences. And I hope that we all try to think larger, for lack of a better term, that we try to acknowledge nuance and the challenges of moral dilemma and complexity.

CC: On your website, you mention that partial proceeds from your book will go to an organization called The Blue Card. Can you tell us a little more about that organization and whom it serves?

ED: Thank you so much for asking. I think I’ll quote directly from the organization’s website:

“The Blue Card was founded in 1934 in Germany to help Jews fleeing Nazi oppression. The organization got its name from the original blue cards that were issued. Each time a donation was made, a stamp was put on the card to keep a record. Today, when many Jewish community funds support memorials for the Holocaust, education programs, and other causes, The Blue Card has only one mission; that mission, is to get much-needed funds either on an emergency basis or as an ongoing stipend to indigent needy Holocaust survivors. To date, The Blue Card has provided over 20 million dollars to thousands upon thousands of survivors and their families.”

My family has supported The Blue Card for years. And I have indeed explained more about my decision to share some of the profits with The Blue Card on my own site.

CC: Along with being a published author, you are also contributing editor for The Writer magazine and Fiction Writers Review, as well as editor and publisher for the newsletter, The Practicing Writer. What’s your strategy for balancing several writing projects?

ED: I wish I had a real strategy! I have to confess that I’ve begun setting more limits. For instance, I’ve recently had to decline some requests, even from The Writer and Fiction Writers Review, both of which I love.

The newsletter (and my blogs) I see as a way to provide some sustained literary service to the literary community, and that’s important to me. Sticking to a pretty structured publishing structure and schedule seems to help. I’m always so happy when someone lets me know that something from my blogs or newsletters helped them with their writing and/or publishing path. That makes it all worth the effort.

But, like everyone else, I’m always wishing for more time to write (not to mention for all of the reading and ruminating that good writing requires).

CC: What are you reading these days?

ED: One of the great joys of attending the Virginia Festival of the Book in March was the opportunity I had to meet and speak with Thomas Mallon–and to have him sign my copy of his new novel, Watergate. I’m reading Watergate right now. And on the side, I’m savoring the first issue of my new subscription to The Cincinnati Review and the latest issue of Ecotone.

Christi, thank you again for your enthusiasm for Quiet Americans. I am so grateful!

Erika Dreifus is the author of Quiet Americans: Stories, a collection inspired largely by the histories of her paternal grandparents, German Jews who immigrated to the U.S. in the late 1930s. Quiet Americans has been named a 2012 ALA Sophie Brody Medal Honor Title for outstanding Jewish literature; it was also cited as a Jewish Journal “Notable Book” and a Shelf Unbound “Top Small-Press Book” for 2011. Erika writes fiction, essays, poetry, and book reviews from her home base in New York City. Web: www.erikadreifus.com.

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Thank you, Erika. And remember, readers, to leave your name in the comments for a chance to win a copy of Quiet Americans.