Tag: Writer’s Block

The Kerry Nietz Interview

A conversation with SF author Kerry Nietz 

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Kerry Nietz, author of Amish Vampires in Space, A Star Curiously Singing, and Fraught.

By Jim Denney

With apologies, it’s been a while since I’ve posted to the Writing in Overdrive blog. I promise to be more faithful in posting new content that you can use to be a more productive and creatively inspired writer. I’ve got some exciting content lined up for this site, especially for this special time of year, National Novel Writing Month (aka NaNoWriMo).

I want to kick off this new series of inspiring and motivational posts with an interview with my friend Kerry Nietz, award-winning science fiction author. He has more than a half dozen speculative novels in print, along with a novella, a couple short stories, and a non-fiction book, FoxTales.

I’ve read and I highly recommend Kerry’s novel A Star Curiously Singing, which won the Readers Favorite Gold Medal Award for Christian Science Fiction. It’s a dystopian thriller with a strong cyberpunk flavor. It has more than a hundred five-star reviews on Amazon and is often mentioned on “Best of” lists.

You’ve probably heard of Kerry’s most talked-about novel (which I’ve also read and recommend), the genre-bending Amish Vampires in Space. The title might lead you to assume it’s a campy satire on the vampire and Amish genres, but Kerry wrote a credible, enthralling Amish-themed science-fantasy tale with believable characters and an absorbing plot. Amish Vampires in Space attracted attention on NBC’s Tonight Show and in The Washington Post, Library Journal, and Publishers Weekly. Newsweek called it “a welcome departure from the typical Amish fare.”

Kerry describes himself as “a refugee from the software industry” who “spent more than a decade of his life flipping bits, first as one of the principal developers of the database product FoxPro for the now mythical Fox Software, and then as one of Bill Gates’s minions at Microsoft.” Kerry is a husband, a father, a technophile, and a movie buff.  I wanted to know more about Kerry’s roots as a writer and his creative process. Here’s the interview:

Q: Why do you write, Kerry? Who or what inspired you or influenced you to become a novelist?

Kerry Nietz: The simple answer is: It’s something I always wanted to do. I grew up reading. I was the kid who would badger his parents for “just one more book” when the Scholastic catalog arrived every month. And they often bought all those “more books” for me, despite being a rural family where money always seemed tight. I dabbled in writing back then too. Writing little scraps of stories. Fun ideas that never really turned into anything.

Anyone who knows me knows I communicate in stories. I love a fun anecdote.  Life is a collection of stories to me.

Q: It’s said that there are two kinds of fiction writers — those who outline and those who “write by the seat of their pants.” Accordingly, the non-outliners are often called “pantsers,” but I’ve never liked that term. I prefer the term Ray Bradbury coined when he told writers, “You’ve got to jump off the cliff and build your wings on the way down.” He was urging writers not to outline, but to simply leap off the cliff and into the story and discover the plot and characters as they write their way down through the story. So my preferred term for writing without outline is “cliff-jumping.” Kerry, I know that you’re a cliff-jumper. Does cliff-jumping enable you to be a faster writer? Or does it slow you down?

Kerry Nietz: It probably doesn’t make me faster. I’m sure that, if I were able to outline, the actual writing would be quick. But the outlining might take a long time, and I’m averse to that. Sitting for weeks or even months without putting actual words to the story would kill me.

Q: From page 1 to “The End,” how long does it usually take you to write a novel?

Kerry Nietz: The average time to write a novel, from start to final draft, is around nine months. Depends on the story and the number of viewpoints I need to service. First person stories are quicker.  

Q: Are you meticulous about buffing and polishing your first draft as you go? Or do you write quickly and spontaneously in first draft, never looking back?

Kerry Nietz: There is a level of polishing that occurs as I go, because I like to lightly edit yesterday’s work in preparation for today’s. I usually stop for the day in the middle of scene. That gives me something to read and edit the next day and makes it easy to get into the flow of writing again.

Q: Have you ever written a section, then wondered “Why did I write that?” and later discovered that it became an important subplot or storyline?

Kerry Nietz: Yes, often. Same goes for characters and situations. They sometimes seem, initially, to be superfluous or simply window-dressing to help paint the tone or setting. But later they become pivotal. The “serendipity-ness” of it becomes even more amazing when it occurs over the course of a series. For instance, in one of my series, I had no idea who the final “big bad” was until my protagonist walked into the room with him. Then it became blindingly obvious — and it was someone I’d created two books previous.

Q: How much of the story do you know before you start? Do you know how you want it to end? Does a better ending usually occur to you than the one you originally had in mind?

Kerry Nietz: It has happened both ways. Sometimes I have a concrete idea of the finale and it ends that way. Other times it is vague and becomes clearer as I close in on it. All my Amish science fiction novels have been like that. I have no idea how they end, other than “something big,” but when I get there, the “big” becomes obvious.

Q: Ray Bradbury claimed he almost never experienced writer’s block because he trusted his unconscious mind to supply what he needed when he needed it. Theodore Sturgeon, who also advocated cliff jumping (he called it “the narrative push” approach), was chronically afflicted with writer’s block. Do you ever get stuck or blocked?

Kerry Nietz: I rarely get blocked. I mean, there have been times when I’ve set for a few minutes not knowing what part of the story to tell next, but eventually I just pick a path and start writing. Usually turns out fine.

Habit helps with that too. If you’re used to writing at the same time each day then your mind is ready to write when it’s that time. A writer can’t wait until they are “feeling it.” Some of the best writing was during those times when I felt I was grudgingly pushing through, simply committed to getting my word count in for the day.

Q: Do you see writing fiction as primarily a conscious process or an unconscious process? In your experience, where do ideas and inspiration come from? Is writing related to dreaming, in your view?

Kerry Nietz: Writing is a faith walk for me. I start the journey with the expectation that it will go somewhere. I pray about it. I keep the habits, putting in my daily time, during my usual writing window, committed to at least a couple pages. Before you know it, you’re at dozens of pages, then hundreds. So, I guess it is a mixture of conscious and unconscious. Conscious in the habit. Unconscious to where the ideas are all going to come from. All I need is enough for today, and that’s what I get, thankfully.


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My profound thanks to Kerry Nietz for giving us a behind-the-scenes glimpse into his imaginative and highly productive writing world. Follow or message Kerry on Facebook at http://on.fb.me/1wYR9NU. Follow him on Twitter at http://bit.ly/1DQKzLM. Visit his website at www.KerryNietz.com. Most important of all, read his work:

Fraught (DarkTrench Shadow Number 2) — Paperback

The DarkTrench Saga Complete Collection: A Star Curiously Singing, The Superlative Stream, Freeheads — Kindle Edition:

 

Amish Vampires in Space (Peril in Plain Space Book 1) Paperback

Amish Vampires in Space — Kindle Edition

 


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Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

 

 

Invent Your Confidence

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Excerpted from Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney.

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“I think that all artists, regardless of degree of talent, are a painful, paradoxical combination of certainty and uncertainty, of arrogance and humility, constantly in need of reassurance, and yet with a stubborn streak of faith in their own validity no matter what.”
— Madeleine L’Engle

Edna Staebler was born two blocks from the public library in what is now Kitchener, Ontario. As soon as she could read, she’d go to the library two or three times a week and return with an armload of books. As a teenager, she wrote daily in her diary — though, as she later lamented, “nothing exciting happened to me; Kitchener and my dates seemed very dull.”

Attending college at the University of Toronto, Staebler told all her friends she was going to be a writer. But during the year she spent on the campus newspaper, she only wrote one story — “about girls drinking buttermilk in the Women’s Union.”

After college, Staebler took a job with Kitchener’s daily newspaper. She wanted a job writing news stories, but her boss assigned her to collect money from the newsboys instead. Her poor math skills resulted in swift termination. She desperately wanted to write, but didn’t know how to go about it.

She recalled, “I read hundreds of books: novels, plays, biographies, and books about writing: Virginia Woolf, Mary Webb, Arthur Koestler, T. S. Eliot. Some of them expressed thoughts I’d had and I wondered, Why didn’t I write that? And all the time I felt guilty as hell because I wasn’t trying. …  I just woozled around, not knowing what to write about.”

Staebler married a man who at first seemed talented and fun-loving — but after a few years, his personality underwent a change. He became a moody alcoholic and was diagnosed with mental disorder.

One summer, to escape the unhappy atmosphere at home, she went to visit her sister in Nova Scotia. She’d only planned to stay a few days, but ended up staying for two weeks in the little fishing village of Neil’s Harbour. Each day she told herself, “Tomorrow, I’ll leave.” She went out on the sea with the fishermen, square-danced at the Orange Lodge Hall, and got to know the men, women, and children of the village.

She awoke one morning and said, “That’s it! I’ll write a book about Neil’s Harbour!”

She went back to Kitchener and wrote about everything she could remember — the sound of the ocean, the voices of the people, the colors, the emotions. Her mother came to visit and found her on the sofa, writing in a notebook. “Why waste your time?” said her mom. “You can’t be a writer — you have to have talent.”

Just when Edna had finally begun to write, her mother — her own mother — sabotaged her! Staebler’s confidence wilted. She felt the chilling onset of writer’s block.

A few days later, an author came to town and spoke to the women’s club. Staebler talked to him afterwards and showed him her work. He told her it was good. He left town, but sent her notes of encouragement. “Keep writing,” he’d say. “Believe in yourself.”

She accumulated hundreds of manuscript pages — but never dared submit them to an editor, fearing rejection. During a lucid moment, her husband said, “You’re not a writer until you’ve had something published.” His words stung — but she knew he was right. She selected a story about Neil’s Harbour and submitted it to Maclean’s — her first-ever submission. It sold.

She was in her fifties when she made that first sale — it had taken her that long to summon her confidence. When her alcoholic husband ran off with her best friend, she decided to support herself by writing. She worked regular office hours, producing scores of articles. She sold them to Maclean’s, Chatelaine, Saturday Night, Reader’s Digest, and many other publications.

At age sixty, she published her first book. At age sixty-two, she produced a cookbook — recipes from Canada’s Mennonite region, enriched by Staebler’s personal stories. At sixty-six, she published Cape Breton Harbour, based on her two weeks in a Nova Scotia fishing village.

Edna Staebler died in 2006 at the age of one hundred after a memorable writing career that began at the precise mid-point of her life. The moment she summoned the confidence to do the work she was born to do, she became a writer.

More than talent, more than skill, more than a keyboard to pound on, a writer needs confidence. You have to decide to write, and you must act on that decision even if you don’t feel an ounce of confidence within your soul.

Diane Ackerman (A Natural History of the Senses) said, “The best advice on writing I ever received was: Invent your confidence. When you’re trying something new, insecurity and stage fright come with the territory. …  How could it be otherwise? By its nature, art involves risk.”

American novelist and writing teacher John Gardner empathized with the insecurities of a writer. “In my own experience,” he said, “nothing is harder for the developing writer than overcoming his anxiety that he is fooling himself and cheating or embarrassing his family and friends. To most people, even those who don’t read much, there is something special and vaguely magical about writing, and it is not easy for them to believe that someone they know, someone quite ordinary in many respects, can really do it.”

Romance novelist Jayne Ann Krentz has more than 35 million copies of her novels in print under her own name and six pseudonyms. Her advice: “Believe in yourself and in your own voice, because there will be times in this business when you will be the only one who does. …  An author with a strong voice will often have trouble at the start of his or her career because strong, distinctive voices sometimes make editors nervous. But in the end, only the strong survive. Readers return time and again to the unique, the distinctive storytelling voice. They may love it or they may hate it, but they do not forget it.”

When did Edna Staebler find success? She found it when she stopped listening to her mother, her alcoholic husband, and her self-doubt — and she made the choice to invent her own confidence.

Be yourself and believe in yourself. Tell your stories and live your dreams.

 “The one thing that you have that nobody else has is you. Your voice, your mind, your story, your vision. So write and draw and build and play and dance and live as only you can.”
— Neil Gaiman

Copyright 2015 by Jim Denney. For more writing insight and inspiration, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney.