Neda Aria's Blog, page 10

Writer vs. Writer: Kristin Garth

In this interview, Kristin, a published writer, shares her journey as a writer and how she first started publishing her work. She talks about her experience of being a survivor of child sexual abuse and how it influenced her writing and creative process. Kristin also shares how being a part of an anthology, where her work was published for the first time, gave her the belief in herself to pursue publishing. She received a partial scholarship to a creative writing master's program, and she discusses how this experience shaped her writing and what she learned from it.

Hi there Kristin. Glad to have you here. I’ve followed you on instagram through a connection with Outcast press and I found your profile alluring. Can you tell us about your journey as a writer, and how you first started publishing your work?

Hi Neda, thank you so much for your kind words about my Instagram. I really try to curate it to reflect my womanchildish self with lots of socks and story snippets and sonnets. My hope is that people see how key my womanchildishness and my writing are to my identity.

I feel very privileged to be a publishing writer because my journey to becoming that was arduous and long. Wrote all my life, but spent many years afraid to let people see my poems and sonnets because they were very dark sexual and raw. When I lived at home in an abusive situation, writing truths about that abuse was outright dangerous. That experience taught me to hide my truths for a while out of necessity.

When I was out of that house, I spent a lot of time creating my own safe space. That also felt a lot more important than, at times, writing and definitely any need to be read.

It took me decades after college to decide it was time to pursue publishing if I was going to do that. Even then it didn’t happen without some intervention from the universe. An old friend of mine was dying and called me to tell me that and thank me for our time together. He hadn’t talked to me for years since I used to frequent his little writing commune in Pensacola and sit in the back scribbling in my notebook. He was someone who knew me as a writer — even if I was a shy one. When he asked me if I was still writing (and at this point I had to admit I wasn’t), he used some of his last words to encourage me to pursue mine. I told him I would, and I am so proud of how I have kept that sacred promise.

This is a sensitive questions and feel free to not answering it. As a transgressive writer myself, I know how personal experiences of abuse can impact the way you see the world and writing. Could you share how did being a survivor of child sexual abuse influence you’re writing and creative process?

I think being an abused child has always been an intrinsic part of my writing process. Writing was the only therapy I had as a child. The house I grew up in was puritanical and dishonest, and the brutal honesty and darkness I embraced in my writing is rooted in a need to always be the opposite of my parents — hedonistic and honest.

As a transgressive and horror writer, I feel like I get to exorcise dark demons that linger from my childhood. I have a substack publication called ,Womanchildishnesss where a lot of writing lives and recently I wrote a story called The Plan about a girl whose daddy issues lead her down an ill-advised path to a sad destination. My own daddy issues have led me to make terrible choices and while this story was invented, it allowed me to create a character whose father wants her for the wrong reasons. And that is something I very much understand and need to discuss. Sometimes fiction allows us to talk about intimate feelings in the safety of a story. That’s a huge motivation for me.

Your Shakespearean sonnet, "Homecoming" was published in the BDSM collection of poems ,"The Meadow." How did you feel about having your work included in an anthology, and how did it impact your writing?

Before The Meadow, my memoir in poetry of my experiences as a young woman in the world of BDSM, was published, my poem “Homecoming” was my first publication. It’s a poem about an intense bdsm scene involving ddlg / age play and also masochism. It was published in an anthology called No Other Tribute: Erotic Tales of Women In Submission.

It was my only publication for years because I wasn’t submitting work at this time. The man I wrote it for, my dom, also a writer, knew about the anthology and submitted it for me. When it was accepted, because I still lived at home, I was both joyous in that my writing was somewhere in the world but also afraid for my safety. It was published under the pseudonym Scarlet which was my scene name.

Years later, in my publishing phase of life, I would write a fictional novel version of The Meadow. It follows Scarlet’s story more intimately, and it was truly a 180 moment of life when I finally felt completely free to talk about my life and publish under my own name.

Being a part of that first anthology, though, gave me the belief in myself I would need as a writer. It’s the moment I thought first oh people think what I have to say is fresh and important. I think belief in yourself and having something important to say are beyond critical to your longevity as a publishing writer.

You received a partial scholarship to a creative writing master's program. How did this experience shape your writing, and what did you learn from it?

After being in the anthology, though I was still not brave enough to publish, I did have the essential belief that I belonged in a writing community. I had thrived in creative writing classes in undergrad with my Shakespearean sonnets and was granted a partial scholarship to grad school.

The head of creative writing Dr. Laurie O’Brien really believed in my brutal poems in their traditional formal cages. The scholarship wasn’t sufficient to cover my living expenses and I

was still living in a horrific situation. Getting out of that became the most important to me, and after I completed all the creative writing courses, I dropped out of college to become a topless dancer and acquire independence. But again that feeling of being believed in as a writer stayed with me through my five years of stripping in braids and Catholic school girl uniforms.

You mention that writing was a sanctuary for your hedonistic, atheistic, womanchildish soul. Can you expand on what you mean by that, and how it influences your writing?

The house I grew up in was not only abusive but severely religious. I had always had a curvy body that was hard to hide in puritanical clothes but my parents did their best. Repression ruled in all things and though I already knew that I was kinky and bisexual, those things could never be safely expressed or any sexuality at all.

In writing though, I expressed all these desires. I could be myself. On the page, I have always been honest, and that has kept me sane.

Being a topless dancer need guts, it’s a career in which you have to be brave enough. I wonder how it impacted your writing?

It certainly is. It also allowed me to “play a character” in public — the naughty schoolgirl that was essentially the sexual part of myself. It felt liberating to be wanted and desired for specifically what I was. It taught me that if you risk the rejection of putting the realest version of yourself out there, you may be rewarded by being accepted for exactly who you are. Nothing feels better than that.

When I started writing, I continued this kind of emotional striptease and reaped the same kind of awards. It’s vulnerable and scary and dangerous but it is also life-changing if you dare it. Stripping was the most daring thing I ever did before publishing and I think it gave me the courage to do the latter. I write a lot about the stripping in my books ,Candy Cigarette Womanchild Noir and ,Lollygagger.

Your experiences with poisonous power dynamics and abuse have inspired you to write books on atrocities committed against others in the world. Can you tell us about these books and what you hope to achieve with them?

My book ,The Stakes that was published last year is about the use of fire against women as a disproportionate punishment and a tool of misogyny. After the burning deaths of two young women on different sides of the world, Jessica Chambers and Nusrat Rafi, both 19, I became obsessed with this atrocity being committed against women still in a modern world.

One of the poems I wrote about Jessica Chambers, ,Addiction, references her last meal at Taco Bell and was published in Taco Bell Quarterly and was a finalist selection for Best Of The Net. I feel very honored when I can use my voice to make people think about injustices and what can be done about them. We all suffer when any human suffers from an abuse of power. The only remedy is to own up to our failings as a society and change.

You have written memoirs on your childhood, including "Dewy Decimals and Puritan U." Can you tell us more about what inspired you to write these memoirs, and what you hope readers will take away from them?

Both ,Dewy Decimals and ,Puritan U address the power of religious oppression against the individual. I was raised in a very strict Mormon home. There were other problems too but the culture of the Mormon church, the secrecy and misogyny, they played a role at what happened in me at home and at Brigham Young University where I was sexually assaulted and the school actively covered it up.

What I hope people take away from these books is two-fold: One, please have the courage to examine the systems to which you submit. Don’t just ask yourselves how that organization is treating you (though that is important too), but how are they treating others? Do you have power in this group because another group does not? The second aspect is if you do notice abuses, whether they happen to you or someone else, please have the courage to speak up. Honesty is the enemy of abuse. Use your voice.

Another important lesson from Dewy Decimals, as Floridian , a state where book banning is becoming more prevalent especially in schools, is that libraries are lifelines for abused and oppressed children. That book is about the solace I found in the openess of the library. My parents didn’t read a lot and didn’t see the library as the influence that it was on me or they would have certainly limited access. I strong believe in libraries and the right to all people to engage their brain in philosophies and volumes antithetical to what they are presented at home. It saves lives and shapes the imagination.

9. You mention that you sometimes like to make things up, tantalize or scare people. Can you tell us more about your mystery novel "The Avalon Hayes Mysteries" and other literary endeavors in this vein?

,Avalon Hayes was born both from my crazy overactive imagination and my love of Nancy Drew. Avalon Hayes is a high school girl in a small southern town who realizes that all the adults in her life are lying to her. The man who says he is her father is not and she can count on no one in her life to tell her the truth. She had to become a detective of her own life. Sadly, the lies her parents tell her, ostensibly to protect her, put her in great danger.

This book definitely reflects my own experience with being lied to in childhood. But it also reflects my wacky imagination and the dark rabbit holes it can take me down — and subsequently my readers. Perhaps the wackiest element in the story comes from a real life ufo hoax that took place in my town Gulf Breeze. It was even referenced in the X-Files episode Fallen Angel. In my story, I give the hoax a romantic motivation, but I think real life is full of material for stories if we are keen observers and critical thinkers.

Your upcoming short story collection, "Daddy," is set to be released this fall. Can you give us a preview of what readers can expect from this collection, and what inspired you to write it?

Daddy is a dark collection of fictionalized daddy issues. It’s in the editing stage now and reading it, the power of this particular dynamic gone wrong can clearly lead to some atrocities. I definitely wrote it to face down my own daddy issues; though these are all very heightened, they all contain something in them to which I can relate. Pondering these horrors has made me feel less alone.

I know that is how writing makes me feel in general — a part of a community, seen and understood by people I will never meet. It’s an incredible feeling I always hoped for and it’s keeps me writing.

To know more about Kristin please visit here website below:

kristingarth.com

5 Essential SEO Tips for Writers: Keyword Research, On-Page Optimization, and Link Building

As a writer, your ultimate goal is to have your work read and appreciated by as many people as possible. In a world where clicks and likes reign supreme, the wordsmiths who wield the power of online presence will reign triumphant. Yeah! Twit that... I'm a genious... here's a link. When I said twit it I wasn't joking!

Anyway, what I mean is that having an online presence is crucial to achieving selling your books and getting more visibilities as a writer. However, simply having a website or blog is not enough. You need to ensure that your content is easily discoverable by search engines so that it can reach a wider audience. This is where Search Engine Optimization (SEO) comes into play. In this article, you will learn about 5 essential SEO tips for writers that will help you boost your online visibility. What you will learn will be basics of:

Keyword Research

On-Page Optimization

Link Building

Before we begin, if you would like a comprehensive book on how to write stories and publish them and more specifically how to writing and publishing transgressive fiction, you can download my free book here. This 118 pages free e-book includes multiple practical writing exercises, free templates, book recommendations, beautiful design and more. Don't miss out.

Now let's get back to 5 Essential SEO Tips for Writers

Keyword Research

Keyword research is the foundation of any successful SEO strategy. It involves identifying the keywords and phrases that your target audience is using to search for information related to your writing niche. Once you have identified these keywords, you can incorporate them into your content, meta tags, and URL structure to improve your website's visibility in search engine results pages (SERPs). Tools like Google Keyword Planner and Ahrefs can help you conduct keyword research and identify the most popular and relevant keywords for your content.

6 tips to help you conduct effective keyword research:

1. Identify your target audience: Understanding your target audience is crucial when it comes to conducting keyword research. You need to know the keywords and phrases that they are using to search for information related to your writing niche.

Let's say you're a romance author and want to identify popular keywords related to your writing niche. Using a tool like Google Keyword Planner, you can enter keywords like "romance novels," "romantic fiction," or "love stories" and see how many searches each keyword gets per month. You may find that "romantic suspense novels" is a popular keyword with a high search volume, so you could incorporate that into your content to attract more readers interested in that subgenre.

2. Brainstorm relevant topics: Once you have identified your target audience, start by brainstorming a list of relevant topics related to your writing niche. These topics will help you to identify the keywords that your audience is searching for.

Long-tail keywords are more specific and targeted than broad keywords. For example, instead of using the broad keyword "romance novels," you may want to target a more specific long-tail keyword like "contemporary romance novels set in New York City." Using a tool like Ahrefs, you can identify long-tail keywords related to your writing niche and use them in your content to attract a more targeted audience.

3. Use keyword research tools: There are many keyword research tools available, such as Google Keyword Planner and Ahrefs. These tools can help you to identify the most popular and relevant keywords for your content.

Once you have identified your target keywords, you can optimize your meta tags to improve your website's visibility in search engine results pages. For example, you can include your target keyword in the title tag, meta description, and header tags on your web pages to signal to search engines what your content is about. This can help increase your chances of appearing in relevant search results and attracting more organic traffic to your website.

4. Consider search volume and competition: When choosing keywords, consider the search volume and competition. You want to choose keywords that have a high search volume and low competition.

Another way to signal to search engines what your content is about is to use your target keywords in your website's URL structure. For example, if you're targeting the keyword "romantic suspense novels," you could use a URL like "https://www.yourwebsite.com/romantic-..." for a page dedicated to that topic. This can help improve your website's relevance and authority for that keyword and improve your visibility in search results.

5. Focus on long-tail keywords: Long-tail keywords are longer, more specific phrases that people use when they are looking for something specific. They are less competitive and easier to rank for than broad keywords.

It's important to regularly analyze how your target keywords are performing in search results and make adjustments as needed. Tools like Google Analytics and Ahrefs can help you track keyword performance and identify opportunities for improvement. For example, if a particular keyword isn't performing well, you may need to adjust your content strategy or target a different keyword to improve your visibility and attract more organic traffic to your website.Optimize On-Page Elements

On-page optimization refers to the various elements that you can control on your website to improve its search engine visibility.

5 most important on-page optimization factors include:

1. Title Tags: Your title tag is the HTML element that describes the content of your page. Make sure to include your primary keyword in the title tag.

Good Example: "5 Essential SEO Tips for Writers: Boost Your Online Visibility" Bad Example: "Blog Post 1"

2. Meta Description: The meta description is a brief summary of your page's content that appears in the SERPs. Include your primary keyword in the meta description to improve visibility.

Good Example: "Learn how to improve your online visibility as a writer with these 5 essential SEO tips. Boost your website's ranking and reach a wider audience." Bad Example: "This post talks about SEO for writers."

3. Header Tags: Use header tags (H1, H2, H3) to structure your content and make it easier for readers and search engines to understand.

Good Example: "Tip 1: Conduct Keyword Research" Bad Example: "Tip 1"

4. URL Structure: Use a descriptive and concise URL structure that includes your primary keyword.

Good Example: "www.yourwebsite.com/seo-tips-for-writers" Bad Example: "www.yourwebsite.com/post123"

5. Image Alt Text: Use descriptive alt text for images to help search engines understand the content of your page.

Good Example: "SEO tips for writers: Conduct keyword research to improve your online visibility" Bad Example: "Image123"Create Quality Content

At the heart of any successful SEO strategy is high-quality content. Your content should be well-written, informative, and engaging. It should provide value to your target audience and be relevant to their interests. By creating quality content, you not only attract more readers but also increase the chances of other websites linking to your content, which is an important factor in search engine rankings.

5 tips to help you create content that meets the standards of a successful SEO strategy:

1. Research your audience: To create content that is engaging and valuable to your audience, you need to understand their needs, interests, and pain points. Conducting audience research can help you identify what your target audience is searching for and the questions they need answers to.

Example: If you are a writer in the health and fitness niche, you can conduct research on health and fitness forums or social media groups to see what people are asking about and what topics are trending.

2. Use keywords strategically: Incorporating keywords into your content is important for improving your website's visibility in search engine results pages. However, it's essential to use them strategically and avoid keyword stuffing, which can negatively impact your rankings.

Example: If your target keyword is "best running shoes for beginners," you can include it in your article's title tag, meta description, header tags, and throughout the body of your content, but only where it makes sense and flows naturally.

3. Provide valuable information: Your content should provide value to your audience by answering their questions, providing solutions to their problems, or offering unique insights into a particular topic. By providing valuable information, you establish yourself as an authority in your niche and build trust with your readers.

Example: If you are writing an article on "10 Tips for Losing Weight," make sure your tips are practical, evidence-based, and offer value to your readers.

4. Incorporate multimedia: Using images, videos, and other multimedia elements in your content can help make it more engaging and shareable. It also helps break up large blocks of text, making it easier for readers to consume your content.

Example: If you are writing an article on "The Benefits of Yoga," you can include images of yoga poses or videos of yoga instructors demonstrating different poses to make your content more engaging.

5. Edit and proofread: Finally, it's essential to edit and proofread your content before publishing it. Typos, grammatical errors, and other mistakes can make your content look unprofessional and hurt your credibility with readers and search engines.

Example: Use online tools like Grammarly or Hemingway to check your content for spelling and grammar errors, and have someone else read your content to get a fresh perspective and catch any mistakes you might have missed.Build Quality Backlinks

Link building is the process of acquiring links from other websites to your own. In the eyes of search engines, the number and quality of links pointing to your website are an indicator of its authority and relevance.

3 most effective link building strategies include:

1. Guest Blogging: Write high-quality articles for other websites in your niche and include a link back to your own website.

2. Broken Link Building: Find broken links on other websites and reach out to the website owner to suggest a replacement link to your own content.

3. Social Media: Share your content on social media platforms to increase its visibility and attract backlinks.

Stay Up-to-Date with Best Practices

SEO is constantly evolving, and it is important to stay up-to-date with the latest best practices. Search engines like Google regularly update their algorithms, and what worked in the past may not work today. By staying up-to-date with the latest SEO best practices, you can ensure that your website remains relevant and discoverable in search engine results pages.

Conclusion

SEO is an essential tool for writers who want to improve the visibility of their content online. By conducting keyword research, optimizing on-page elements, and building quality backlinks, writers can increase traffic to their website and reach a wider audience. Remember to stay up-to-date with the latest SEO best practices to ensure your content remains relevant and discoverable in search engine results pages.

Download for Free: Free ebook guide to writing and publishing transgressive fiction

Writer vs. Writer Interview: Ricardo S. Amorim

In this interview, Ricardo, a writer and music journalist with a fascination for the darker side of literature and music, shares his insights with us. Ricardo talks about his childhood, growing up with an interest in horror and heavy metal, and how this interest inspired him to pursue a career in writing. He shares his literary and musical influences, from Stephen King and Clive Barker to Black Sabbath and Nine Inch Nails. He also discusses his latest book, Culto Eléctrico, a collection of essays that explore the connections between music and literature. Throughout the interview, Ricardo provides an intriguing glimpse into his world and what drives him to write about the darker side of life.

Good day, Ricardo. Thank you for joining us. It's great to have you here. To start, could you tell us a bit about yourself and how you first became interested in writing about the darker side of literature and music?

Hello Neda, it’s a pleasure, thank you for having me. I was born in Lisbon, Portugal, in 1980, and developed from an early age a passion and curiosity for the darker side of things. I became an avid reader ever since I learned how to, and transitioned from children’s books to comics and, when I was 8 years old, I saw The Exorcist on TV and had many nights filled with nightmares. Instead of avoiding it, I developed a strange fascination and nurtured it, not only by movies but also by books, in particular by Stephen King.

Around the same time, and by influence of older friends from my neighborhood, I also started to listen to heavy metal and, as I begun understanding English, I realized that not only the artworks were inspired by horror and sci-fi but also the lyrical content. Music became my guide to discovering new books to read instead of school. Stephen King, Clive Barker and the Marquis de Sade were way more fascinating for me than whatever author was being taught in classes – and of course that had a direct reflection on my school grades.

What inspired you to pursue a career in writing, and how did you get started in the industry?

“A career in writing” is kind of an overstatement for my situation, and I hardly believe I will ever have something like that. I really like having food on the table and a roof above my head, and somewhere to keep my books and records. The image of the starving writer is not one with much appeal to me. That being said, writing is not what I do as a career but something that I do as pleasure. I started writing about live music because a friend of mine was a photographer and didn’t have a reporter to write about the gigs she took photographs in, so I kind of tagged along with her. Suddenly I was writing record reviews and interviewing bands in fanzines and then professional music magazines. So I felt I needed to improve my skills and started studying the subject matter, reading everything I could about rock n’roll. Throughout my teenage years and young adult life, I broadened my horizons, but one thing remained constant: I always preferred the dark side of things, but now I found reality much darker than fantasy. Authors like Charles Bukowski, Hubert Selby Jr. or William Burroughs were so influential to so many records I listened to, that led me to read them and remaining some of my favorites to this day.

What drew you to the darker side of literature and music, and how did you develop your fascination for it?

I could say that it’s because “I was born past midnight 'neath the gloom of the darkest moon. My mother was a burning witch and my father was a preacher”, but I just wanted to quote the Swedish band Witchcraft to give you a cool answer. But that’s not really it and it’s a really hard question to answer because I don’t have a very straight answer for it and never really gave it much thought. I don’t remember a time when it wasn’t like that, since it’s so natural for me. My guess is that the most accurate answer would be: fear. It was many things, like the fear that the movie The Exorcist instilled in me, Skeletor being so much frightening (and cooler) than He-Man, the image of Eddie rising from the grave on the «Live After Death» album that I held in my hands as a kid. But the fear didn’t repel me, because I understood that if a movie tried to scare me, it was because someone probably liked to be scared so I faced that fear and became obsessed by it.

Who are your biggest literary and musical influences, and how have they impacted your writing?

I have many influences and try to absorb as much as I can from everything I read. I would risk saying that my biggest literary influence is Hunter S. Thompson, since I’ve only writen nonfiction, and I really appreciate his style. I really admire Hemingway’s prose too, the way he says so much in so few words. Not so much what he writes but how he writes, stripping the sentences to it’s bare bones. Although I also admire writers like José Saramago, they influence me in other ways and I can’t say they have a great impact on my writing. I’m very influenced by Hubert Selby Jr. too, that kind of stream of consciousness style is something I really admire, much more in Selby Jr. than in other writers like Jack Kerouac. And there’s also Charles Bukowski, of course, who has been an influence for many years, but I don’t think that shows in my writing.

Regarding music, that would be a big answer so I will just namedrop some bands and artists that have had a big impact in me. From the classics Black Sabbath, Led Zeppelin, The Doors, Pink Floyd, The Stooges and Iron Maiden, to Killing Joke, Swans, Melvins, Neurosis, Godflesh or Nine Inch Nails. Just to name a few.

Could you tell us about your latest book, Culto Eléctrico, and what inspired you to write it?

Culto Eléctrico (only in Portuguese for now) is a collection of essays in which I explore some of the connections between music and literature. Topics like how David Bowie always had such a strong literary influence on his creations, in particular from sci-fi, and the impact an author like JG Ballard had on so many artists from the post-punk era, in particular to Joy Division. And how William Burroughs became such an iconic figure for rock n’ roll, worthy of praise from musicians like David Bowie, Patti Smith, Lou Reed, Keith Richards or Kurt Cobain.

I became so obsessed with music at an early age that I started buying all the music magazines I could, and reading the interviews gave me new insights from the creation process and the lyrical influences. Many times those lyrical influences were drawn from books, so I would search and read those books, and music quickly became my reading guide. But then I also found out that it happened the other way around, and that some books were very much inspired by music I liked. For example, the masterpiece that is Denis Johnson’s Jesus’ Son has it’s title taken from The Velvet Underground’s song «Heroin»: “When I’m rushing on my run, and I feel just like Jesus’ Son”. So, in short, Culto Eléctrico explores some of these music/literature connections, and for each chapter there’s a great illustration by my friend Pedro Sousa e Silva, which gives the book a great visual impact.

Your first book, Wolves Who Were Men, is a biography of Portugal's most famous metal band. What was it like researching and writing about the band's history, and what challenges did you face?

I started writing about music in fanzines and magazines in 2001 and, throughout the years, I became acquainted with most of the musicians in the Portuguese metal scene. And this work I did in magazines led me to be invited by Moonspell to write their official biography. It was a big challenge, since I’ve never written anything in a long form, as in a book opposed to a magazine article, which are entirely different things in terms. I did multiple interviews with all the band members (past and present) and also friends and business associates, hearing all the different sides to every story. These were all pieces of a giant puzzle that I had to assemble in a narrative form, but that was something I had a thrill doing, although very demanding. The biggest challenge is the research, to know when to dig deeper or when to let it go, to understand when it’s something relevant to a career history or just a minor episode with no real impact. Or when to insert one of those minor episodes to give the narrative more dynamic or just for a comic relief moment. I would like to believe that such a book can almost be read as a novel, with a narrative arc, and not just a chronological description of facts. The book came out in 2018 and since then it has been published in UK, Mexico, US, France, Brazil and Russia.

How do you approach the process of writing, and what methods do you find most effective?

I only write by candlelight and I drink absinthe to get my blood pumping. No, not really, I just sit with my laptop and press the keyboard and I don’t know nothing about different approaches to writing or methods. The only thing I can say is that I make a constant use of the copy/paste functions in my word processor, since I write paragraphs and then move the order in which they are written, and sometimes I cut sentences out and paste them to other existing paragraphs and delete the original paragraph. Can I say that it’s a modern way of the cutup technique of William Burroughs to look cool? Maybe I should invest more time in studying methods and techniques, but maybe those just don’t work for me. My approach is to get the job done before deadline, basically.

What advice would you give to aspiring writers who are just starting out in the industry?

My advice is to not listen to advices, especially from someone like me. But if, at gunpoint, I would have to give an advice to someone is to write a lot, read even more, and find your voice. It takes time but, if you have it in you, it will eventually come out. Writing is not inspiration, it’s muscle work and you have to lift those damn weights. Publishing is a whole other thing and you’ll face rejection many times (just got a rejection email myself a few minutes ago), but if no one is interested in publishing your work, you can always go DIY – do it yourself.

What are your plans for the future, and what can readers expect from you in the coming years?

I’m working on a new book that I plan to have ready by mid 2024. I can’t really say anything about it at the moment, but it feels good to being involved in a project again and I’m looking forward to see what comes out. I have a vision but it always gets morphed into something different as it develops, and always better than the original idea.

Finally, if you could collaborate with any author or musician, who would it be and why?

In completely unrealistic terms, I would answer that I really admire Trent Reznor, but the holy grail would definitely be Tom Waits. He’s a such a great and unique artist, I would love that one day he authorizes someone to write his biography, with his full cooperation and insights. Obviously it wouldn’t be me, but if someday that book is written by someone I will be waiting in line at the bookstore, all black-Friday-raging my way in to get that book in my hands.

If you'd like to know more about Ricardo you can visit:

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Writer vs, Writer Interview: Manny Torres

Manny Torres is back everyone with another amazing book "Cabrones Perros". We had previously chatted over his previous book that you can read here. Manny is an author, filmmaker, photographer, and painter originally hailing from Brooklyn, New York, and currently based in Atlanta, Georgia. He has published two works of road-noir, Dead Dogs and Father Was a Rat King, and has written and directed a variety of documentaries and music videos, including The Trespasser, Unendangered Species, and The Abby Go-Go Christmas Special. Torres spent 15 years as a programmer and co-conspirator on the WMNF 88.5FM radio show Step Outside: The Strange and Beautiful Music program in Florida. Currently, he is working on a series of crime novels, adding to his impressive portfolio of artistic endeavors.

Welcome back Manny,

1. You hooked me with Kika's character and her journey of vengeance. Tell me more about your inspiration behind your latest release, Cabrones Perros ? Can’t wait to read it.

I wanted to write a homage to Elmore Leonard’s Florida crime novels. I wanted something less dark than Perras Malas, and I wanted it to be funny and even nostalgic. It pays homage to my own Hispanic heritage and the melting pot of ethnicities in Florida. Cabrones Perros came out of the ashes of a novel I started when I moved to Atlanta in 2014. Having gone through the unpleasantness that comes with all things personal, moving to a new city, going into a sabbatical/semi-retirement, experiencing all sorts of miserable shit, I started to write a very personal book that was not about crime at all. And because that book sucked, I changed it up, carried over characters from my first book, Dead Dogs, added humor and characters based on people I grew up around. Now it’s this book about heartache, redemption, fentanyl, and crimes in Central Florida. But I’m selling it as a comedy.

2. Your novella, Perras Malas, made it to the LGBTQ+ crime bestseller's list. How important is it for you to incorporate diversity and representation in your writing?

I come from a diverse family. I’m originally from Brooklyn, New York which is truly the melting pot of the world. When you’re from there, you’re part of all those diverse groups by default. Being around people of color, people who speak multiple languages, non-binary folks, and LGBTQ+ should be normalized because that’s our world. I come from a minority group. I know what disenfranchisement is. We live in a diverse society and some people choose to live under a rock. You don’t have to like everybody, but we share space on this rock, so better to get along and enjoy the diversity of neighbors we have. My characters come from all walks of life, because that’s how I view this world. There are plenty of books out there that aren’t inclusive, so I wanted to bring that to the conversation. America isn’t black and white, or straight. I want to remind people of that.

3. After a little bit of stalking, I realized you love strong female characters in books. Can you elaborate on what draws you to writing about these types of characters?

You could have just asked, not stalked. Ha ha. I think it was mostly by accident, not design, that I wrote these strong female characters in a few of my books. Seems that my female characters usually come to save the day at the end. I grew up around strong women, raised by a single mom, and have always admired the strength and resilience of all women. I love the idea that the hero doesn’t have to be an alpha male. The women I write about are women I’ve known. Women close to me, women I admire and respect. Sometimes they’ve been battered and burned, have had to fight against male oppressors, so they retaliate. It is a female instinct to create and to nurture, but I believe the full line goes, “Heaven has no rage like love to hatred turned, nor hell a fury like a woman scorned” (William Congreve). Well-written, strong female leads are hard to find these days in books and movies, although we’ve always had female heroes in all cultures and tribes, throughout history. We tend to forget they are there and are as powerful as any man.

4. As someone who has lived in various cities, how has your environment influenced your writing? Tell me about your novella "Dead Dogs" is inspired by your time living in East Atlanta Village. Can you tell us about the craziest experience you had while living there?

I want to one day write about the time I lived in North Shaolin, nee Staten Island, New York. There are plenty of stories there. When I turned 41, I moved to Atlanta, in particular East Atlanta Village where I had family and friends. Before gentrification killed this neighborhood, the Village had a diverse collective of eccentric artists and musicians. I met some wonderful individuals while living and working there. Characters whom I wound up putting in my books and stories. Working at a coffee shop there I met the people who went on to populate Dead Dogs. My friend Derek told me stories about living on the streets, time in jail, busking, living like a hobo. He was proud of that. I’ve met some wonderful, fulfilling people there as well. I’ve seen people come and go, die from drugs or accidents, or move away. The neighborhood is always being used in films, so I’ve come across has-been TV actors. You can randomly run into members of OutKast or Mastodon on any given day. I think I once made coffee for an actress from Game of Thrones.

My weirdest experience there was being treated like shit by supposed liberal, white, “woke” folks who don’t know how to tip or respect local artists. They moved in because it was where the cool kids (and drug dealers) lived. Rents went up, and these folks were less supportive of the things that were happening. There was a gross overtaking of culture and some white folks assimilated black culture so they could show the world that they’re not racist. That was weird because as a brown person myself, I encountered this weird kind of racism I’d never seen before. Like, they didn’t even acknowledge me as a minority, so any would-be altruism they perpetuated was strictly performative.

That was weird because it seemed unreal. Also, all the random drug use and drug dealing in the street. When I worked at the coffee shop, I watched an OTP person (a person who lives outside of Atlanta perimeter—outside the perimeter) just slumming it and lighting up her crack pipe right there in front of the shop, while sitting on the sidewalk. A lot of the scenes of East Atlanta I wrote about in Dead Dogs are real.

Also, there was an afterhours bottle club that would open on Sunday nights because the liquor laws in Atlanta close the bars at midnight on Sundays. I’d never seen people lined up for the bathroom just to inhale rails of cocaine. I christened that hellhole “Club Cocaine”. It’s boarded up now but I’m sure the culture is still prevalent.

5. You've been a photographer for over 30 years, how has that artistic medium influenced your writing process?

My writing is very visual. I want to put into words what I want the reader to see. I had to learn what words and phrases to use to establish images. I don’t know if I can write a scene that is like a black and white photo, but I will try. I’m fascinated by landscapes, and they are also an important character in the story. I suppose all my characters travel through a wasteland of sorts, whether internal or external. Panoramas that I write about are about recreating visuals I absorb as a photographer.

6. Seems you’re a real artist as I found out that you enjoy abstract painting inspired by Mark Rothko and Jackson Pollock. If you could collaborate with any artist, dead or alive, who would it be and what would you create together?

Writers are grumpy drunks, musicians are big crybabies, and painters are perverts. The only collaboration I could see myself doing is sitting with any of my favorite artists and having afternoon tea or beers or getting day drunk with them. I’ve collaborated with a lot of musicians. I am a musician myself, but I’ve filmed videos and documentaries for artists like Sara Rachelle, Spirits and the Melchizedek Children, Little Rituals, A Drug Called Tradition, Love Letter, and W8ing4UFOs. I’ve done photography, artwork, flyers, videos, etc. for them. I’d love to film more documentaries and videos for bands. As a painter, I’d probably collaborate with R.Land, Atlanta’s resident artist, inventor of Loss Cat and the Pray for Atl. logo. He’s been a mentor to me, and we’ve stayed in touch on and off over the years. A collab with him would be tops.

7. Can you discuss your experiences co-conspiring on the WMNF 88.5FM radio program and how that experience has influenced your writing?

This was a very important part of my life. I was a fan of an earlier incarnation of a radio show called Sonic Irritations before it became Step Outside. In contrast to easy listening, this show in its infancy was about difficult listening. Challenging music. I befriended the great and wonderful hosts Rayzilla and Peter Tush, who were the hosts of Step Outside. Ray was a Tampa stalwart of the local music and radio scene and was the leader of several world music fusion bands. Peter is a curator at the Salvador Dali Museum in St. Petersburg, Florida. I was invited to join and became the third leg of the bunch. Our radio show presented experimental music and music from the outside, from all over the world. We featured everyone from Captain Beefheart to King Crimson, Fred Frith, Amy Denio, Music in Opposition, Miles Davis, Frank Zappa, Diamanda Galas, Zeuhl, prog rock, Indian raga, ethnic fusion, compositional music, noise, musique concrete, etc. The show has been around close to 30 years now. It’s still going, Sunday nights from 10pm-12am on 88.5FM in Tampa, Florida. We had guests ranging from members of Frank Zappa’s band, collaborators of Albert Aysler, and composer Maurice Jarre, most famous for composing the score for Dr. Zhivago.

The years I spent programming the show were a learning experience I could never have gotten elsewhere. Our Halloween and Xmas specials were things of legend. Those two gentlemen were mentors to me, and I got to share all the music that I love with the world. If anything, programming the show taught me clarity and how to present a program and give lectures on classical music and composers. It gave me a voice. Forced me to be succinct and precise.

8. Your novella, Father Was a Rat King, was based on your experiences growing up in pre-gentrification New York City. How did your upbringing shape your perspective on the world, and how does that translate into your writing?

Well, I guess trauma shapes our narrative. I saw some shit, lived through some shit, and I survived to talk about it. I started out writing sci-fi and horror as a teenager; the sci-fi was because I could escape into a fake utopian world of my creation. Horror, because I was revealing the horrors of the world, horror for things I’d seen in the world. Horrible people, horrible situations. They often translated into monsters in my early works. I’m not cynical, but I don’t trust a lot of things. Disenfranchisement showed me that not everything had a silver lining. And I grew up around an awful lot of drug dealers, petty thieves, and crackheads, so those types of characters tend to populate my books.

9. I’m curious. If your life was turned into a movie, who would you want to play you and why?

For the last ten years I’ve joked that a movie has already been made about my life called Bill, starring Mickey Rooney, from the early 80’s. Bill is an intellectually disabled man who learns to live on his own (thus the sequel, Bill: On His Own). I say that because for the first time in a long time I had to do a lot of things on my own, and I definitely felt an intellectual deficit.

But in all seriousness, Oscar Isaac is better looking so he could play me, but then perhaps he already has in the film Inside Llewellyn Davis, which paralleled what my life was like ten years ago. Any other actors I would pick are either dead or too debonair so they would outclass me any day.

10. Lastly, the most important question from a cat mom like me. You mentioned looking after several cats. Can you tell cat owner authors how to deal with distraction these furry friends cause?

I have three outside cats, and two of their offspring plus one kitten living inside. My advice is to keep lots of comfortable seats and cushions around you. They like to be in the room near you, wherever you are in your home. They’re going to climb on your desk and all, but if you keep comfy chairs around, they’re more likely to nap regularly while keeping you company.

If you wanna know more about Manny check out his amazon page here

5 Ways to Overcome Writer's Block Caused by Guilt

As a writer, I dealt with a great amount of guild. Why? Well it's when I'm not writing due to procrastination, a lack of inspiration, or simply not dedicating enough time to my craft. I found that such feelings of guilt can be pervasive and damaging to creative process and even result in writer's block. So, in this article, we'll dive into the psychology behind feeling guilty for not writing and explore practical strategies for overcoming these feelings. By practicing self-compassion, setting realistic goals, connecting with other writers, and taking breaks, you can move past the guilt and become a more productive and fulfilled writer.

What's the reason behind guilt when you're not writing?

Guilt and writer's block

What can writers do to overcome these feelings of guilt and get back to creating?

Image source: ,https://www.pinterest.com/pin/421579215097853740/

What's the reason behind guilt when you're not writing?

You may ask yourself why do you feel guilty when you don't create or write? Well, there are many potential psychological reasons behind this guilt. However, they can be complex, and can vary depending on individual circumstances and experiences. Studies suggest that feelings of guilt related to writing can have negative consequences for creativity, productivity, and well-being. However, they also point to strategies that can help writers overcome these feelings and achieve greater success and fulfillment in their work. By practicing self-compassion, setting realistic goals, and connecting with others, writers can reduce feelings of guilt and improve their creative output.

One potential reason for feeling guilty is a sense of obligation or responsibility to one's craft. Many writers view writing as a central part of their identity or purpose, and may feel a sense of duty to create or produce on a regular basis. When this expectation is not met, it can lead to feelings of disappointment or guilt.

Another reason for feeling guilty may be related to self-esteem or self-worth. Writers and creative people often place a high value on their work and its reception by others. When they are not creating or writing, they may worry that they are not living up to their own or others' expectations, or that they are not contributing value to the world.

Additionally, feeling guilty about not creating or writing can be a form of self-sabotage or avoidance. Writers may use guilt as a way to motivate themselves to work harder, or to avoid confronting other issues or challenges in their lives. For example, if a writer is struggling with self-doubt or creative blocks, they may feel guilty about not writing as a way to avoid facing these deeper issues.

Guilt and writer's block

Guilt and writer's block are two interconnected concepts that often affect writers. Writer's block is a creative obstacle that writers experience when they are unable to produce new written work or experience a significant slowdown in their productivity. Guilt is an emotional response to an individual's perception of not meeting their expectations or falling short of their goals. The feeling of guilt can arise due to various reasons, such as procrastination, not dedicating enough time to writing, or not being productive as per the expectations.

When writers experience writer's block, it can often lead to feelings of guilt, which further exacerbates the creative block. Writers may feel guilty for not being productive or not dedicating enough time to their craft, which can lead to a vicious cycle of procrastination and self-doubt. This can also lead to anxiety and depression, which can further contribute to the writer's block. In some cases, writers may also feel guilty for not producing work that meets their own standards or the expectations of their audience or editors. This can lead to self-criticism and a fear of failure, which can further contribute to the writer's block.

Many famous writers have expressed feelings of guilt or self-doubt related to their writing. For example, Sylvia Plath famously struggled with feelings of inadequacy and self-doubt throughout her writing career. In her journals and letters, she frequently expressed guilt over not writing enough or not writing "well" enough. Similarly, Ernest Hemingway was known for his perfectionism and self-criticism, and he often suffered from writer's block and feelings of guilt when he was unable to produce the kind of writing he desired.

Other writers who have expressed feelings of guilt or self-doubt related to their writing include Virginia Woolf, John Steinbeck, F. Scott Fitzgerald, and many more. These feelings can be common among writers of all levels and backgrounds, and can often be a result of the high expectations and pressure that writers place on themselves to produce meaningful and successful work.

What can writers do to overcome these feelings of guilt and get back to creating?

So, what can you do to overcome these feelings? Here are my strategies I'm sharing with you in hope it helps:

Recognize that guilt is a normal emotion, but that it doesn't have to control you. It's okay to take breaks or prioritize other aspects of your life, and to recognize that productivity and creativity are not the only measures of your worth or value as a person. Practice self-compassion. Be kind to yourself, and avoid negative self-talk or self-judgment. Remember that creating or writing is a process, and that setbacks or obstacles are a natural part of that process. Address underlying issues or challenges. If you are experiencing self-doubt, creative blocks, or other obstacles, seek out support from others or consider working with a therapist or coach to address these issues directly. Set realistic goals and expectations. Instead of striving for perfection or an unattainable standard, set achievable goals that align with your values and priorities. This can help you stay motivated and focused, without feeling overwhelmed or guilty.

So, keep in mind that feeling guilty for not writing is a common experience among writers, and can be a barrier to productivity and fulfillment in the creative process. What's important for writers in such cases is to practice self-compassion, set realistic goals, connect with other writers, and take breaks to avoid burnout and overcome feelings of guilt. I created a Facebook group to gather us writers of transgressive fiction together to help each other. You can join it here: https://www.facebook.com/groups/transgressivewriters

Writer vs. Writre: Nathan Castellanos

We had Nathan Castellanos as guest in another post, and now we delve deeper into the themes of gentrification and cultural appropriation with Nathan that are central to his novels. Nathan approaches these issues not only from a base level conscious reaction method but also from a holistic approach to the analysis of social phenomena. Nathan discusses how supplemental themes such as Jungian psychology, pop-culture, and even the occult relate to the issues of gentrification and cultural appropriation in her novels. He also talks about the challenges he has faced in getting his work out into society at large, such as when placing his titles in bookstores or showcasing his work at public events. Let's dig in and learn more about Nathan.

1. I realize that the primary themes in your novels are gentrification and cultural appropriation, as we had discussed this in the previous interview. That said, what are some of the supplemental themes and/or ideas utilized in your series, and how do you feel that they relate to the issues of gentrification and cultural appropriation?

I have too many hobbies! That is probably the best way to start on that subject……….hahahaha………one of them being the study of the theories of a writer named Arthur Koestler who believed in an inter-discipline holistic approach to the analysis of social phenomena. That said, I approach gentrification and cultural appropriation not only from a base level conscious reaction method, AKA getting mad as fuck during confrontation with gentrifiers and cultural entryists, but also by taking a look at what’s going on via themes as various as Jungian psychology, pop-culture, and even the occult. That said, I’m not just aimlessly grafting these interests into my narrative for the sole purpose of displaying my passions; I utilize them because I feel they are highly relevant to my story. Identity crisis and craving social relevance, for example; I’ve noticed time and time again that gentry love to pretend to be “one of the people”, because they either instinctively understand that their privilege is a stigma, and they want to gain exemption from this by association with the very people who would scrutinize them, or, in worst case scenarios, they have been acting out the role of the downtrodden working class bohemian revolutionary for so long that they actually believe their own bullshit. My point, and the connection to my supplemental themes becomes apparent when you see how gentry initiate their entryism and/or persona graft. The ways they do this include, but are not limited to, joining anti-gentrification grassroots movements, and/or feigning an interest in pop culture movements, political activism and specialized interests (tenants unions, punk rock culture, otaku culture, public protests, gamer culture, politically charged art, the occult, etc) as a means to boost their social relevance in public, and their “influencer value” in social media. Los Angeles, for example, is littered with thematic eateries like punk rock pizzerias, metal head burger joints, and anime art galleries, most of which are run by entrepreneurs with no real interest in any of these cultures, who hire marketing consultants that teach them how to utilize culture as a theme to infiltrate the wallets and trust of those who genuinely are a part of these cultures. As far as the political side of their infiltration tactics goes, I’ve seen numerous gentry nationwide who pretend to be low income and in need of legal protection from their landlord. Or worse than this, I’ve seen those who own up to their economic privilege approach grassroots organizations as “saviors” who “understand” their role in the problem, who want to help heal the damage, only to use the clout and street cred they gain from this as weapon or badge of prestige once they’ve gained a position in these organizations. I apologize if this all sounds a bit cryptic, but the minutiae is so varied and detailed that it would take a whole book to frame it properly.

2. Given the straight forward language and heavy scenarios that you tend to use in your style, have you run into any issues getting your work out into society at large, such as when you place your titles in bookstores, or showcase your work at public events?

Yes and no. Some art galleries, event organizers and bookstores seem to get my message by osmosis, automatically understanding everything I’m saying in my work because they have the life experience to grasp the situations I present in my writing. Others however, namely those run by gentry who want a slice of the growing magnetism involved with hating gentrification; galleries and bookstores like this tend to grill me with elitist snobbery before they’re willing to carry my books or throw events with me…..if at all. This usually comes in the form of them questioning the necessity of what they perceive to be my “harsh language”, “overly graphic” sex scenes, and the heavy invective I use against the wealthy. Living a soft-handed existence their whole lives, these gentry simple don’t get the fact that so-called “people of the hood”, as they perceive us, are not over educated stoic orators who want to write in sterile fashion. I for one write with emotion, and this requires a no filters tactic that I will not compromise on! I often wonder how the irony of this escapes them, that they so badly want to “join the club”, so to speak, by pretending that they are low income working class revolutionaries, yet they perpetually question and police the way people who actually come from this society express themselves.

3. You’ve mentioned often in your social media that you love to watch your characters evolve in unexpected ways; can you elaborate on this with a few possible examples custom to specific characters?

I’d love to! My characters are like my peers or family, in the sense that I love watching them grow and evolve, struggle and triumph, face pain and enjoy pleasure, etc. A bit of preamble on this is the fact that I cannot stand the flawless hero or unredeemable villain archetype that we (as readers and writers) have seen a million fucking times all our lives. That sort of thing gets redundant, especially when a well lived life indicates that we all have our ups and downs. Take Miguel and Baroness Victoria Kain for instance. Miguel begins as an opiate addicted Los Angeles local who has lost total faith in life, whose only driving force is to hate gentrifiers with all his heart and soul. Victoria Kain, one of my culture eating, undead gentry demon characters, was introduced as a villainous wealthy infiltrator from New York who came to Los Angeles for the sole purpose of consuming and capitalizing on the local culture. That said, both Miguel and Victoria find themselves micro-gradually becoming their polar opposites in my two recent installments, Salted Plastic: Tales of Gentrification books five and six. Miguel begins to gain confidence and awareness of his larger potential through a series of spiritual awakenings. These “epiphanies” are initiated through psychedelic drug use and participation in a decadent sex magick orgy at the behest of Salted Plastic’s femme fatale/red woman character, Dagmar Askenazic. During the orgy, he begins to individuate, gaining mastery over specific chakras with each successive sex partner until he realizes he’s vastly underestimated his potential his whole life. And then there’s Victoria Kain, my two-millennia-old undead gentrifier character, a villain who spent her introduction feeding on the “cultural value” of an LA local’s ethnic-culinary tradition to regain her human appearance. On the verge of death, looking like a rotten corpse, she absorbed the humanity and soul of the girl’s family recipe for pozole like a psychic vampire, thereby allowing her to revert back to a fresh and youthful appearance, while leaving the poor girl she had fed on in a state of pochafication, hypnotized and talking like a white-washed gentry…….a side effect of being fed on by a Baron demon. Victoria’s demonic beginnings are certainly a stark contrast to what comes next; in books 5 and 6 we find her discovering a sort of lost spiritual tradition of her people, the undead culture farming/real estate controlling demons known as Barons. Victoria, in an act of genuine empathy towards a human being in distress, finds out that being caring and empathetic towards humans, instead of using them as a cultural feeder bar, is key to her and the other Barons regaining their lost humanity.

4. Salted Plastic: Tales of Gentrification seemingly started with this inferred idea that Miguel Lyons was the protagonist, but delving deeper into each book, there are often micro-vignettes, mostly a chapter or two here and there, that insinuate that there are many stars in the drama of the story. Would you say that this was consciously done on your part, or are these side stories mainly supplemental filler?

I’m going to be honest and say that, although I had originally intended the entire story to be a Bukowski-esque diatribe against gentrifiers, with Miguel at the fore of the narrative, that the story micro-gradually evolved into something else. The side stories, originally meant as examples of how ridiculous and/or venomous the behavior of gentrifiers seems to me, eventually became a cohesive mythology of a tribe of proto-humans who see human culture as nothing but a resource to be used for their pleasure and sustenance. The stories were analogies for how culturally and economically disinherited gentry left me and people like me feeling as they came into the neighborhoods we grew up in. After a while, seeing that these side stories sort of created a coalition of evil of a tribe of demons that were banded by their common cause, I realized that Miguel needed allies, people of similar struggle that would balance out their/his side of the story. This realization is what led to my creation of the off grid group of rebels known as Sisters, Others and Brothers, a sort of underground worldwide network of social outcasts who “see the writing on the wall” in a way reminiscent of the rebellious factions in such stories as Chuck Palahniuk’s Fight Club, John Carpenter’s They Live, and Grant Morrison’s Invisibles. First there was Jasmine Filth Creature, a young Cambodian lesbian assassin from Long Beach, who in rogue-like fashion systematically murders gentry after seducing them or promising them fame in the entertainment business. Then there was Adrik Saturn, an Afro-Cuban punk rocker from East LA, my wise ass joker-type character, who is hopelessly in love with a girl who is an avatar of the Aztec deity Tlaloc. Little by little, these characters/side stories built a history spanning mythology about an ongoing shadow war between the oligarchy and socio-cultural manipulation of the Baron’s, and the fight for autonomy and cultural reverence being championed by Sisters, Others and Brothers.

5. Would you say that you have adapted your style or subject matter as society has become increasingly sensitive to particular forms of artistic expression?

Yes, but not in the sense that I’m attempting to placate those in society who want to edit free expression, but more so in my conscious effort to display the behavior of people who want to exploit social justice movements as a badge or a weapon. What I mean is that there is a great need for many social reforms in society, but that those who seek to co-op the suffering of those in need of these social reforms often weaponize the plight of the people they propose to represent and champion. When this happens I find myself dealing with a lot of tyrannical editing from people who have missed the mark and meaning of what they pretend to care about in their quest for social prestige. To clarify I’ll give an example. I was personally priced out of my home town by gentrification back in 2017, a major catalyst to me writing Salted Plastic. About a week ago I wrote a lengthy diatribe on the power structure of gentrifier influence, namely their connections in real estate, politics, academia, arts and entertainment. In response to this, I received a backlash from some gentry entryist who attempted to lecture me on the style of my rhetoric, telling me that I need to change my tone. This is a prime example of how advocates to a cause, that haven’t felt the firsthand effects of the issues, attempt to police the tone of the people who speak up that are actually dealing with the issue. Large preamble to my point, I realize, but my point is this; experiencing this, I use it to create micro-stories in my books that show how petty and ridiculous these gentry (with their savior syndrome) appear when they hijack social justice movements solely for the purpose of gaining social relevance and becoming the loudest voice in the room.

6. You mention often in your posts and stories that gentrification has snowballed into a hot topic in recent years, and that this has led to a lot of co-oping of the magnetism of anti-gentrification efforts by the very people in society that are responsible for the problem. Can you please elaborate on that?

I believe I have shown what I mean by this in my responses to the above questions, but I’m never short of material in this regard….hahahaha…..so I’ll give a few more examples. I mean, in essence, the subtext of my story is that cultural graft and identity crisis is a root of (if not THEE ROOT of) the problem of cultural appropriation, and that cultural appropriation is a big part of why gentry want to live in a low income working class neighborhood, this being a big part of their over the top personality graft, AKA the identity crisis that comes from them not wanting to admit that mommy and daddy have been financially wiping their ass their entire lives. Take these so called edgy, punk rock, splatter punk, irreverent fiction, “hard hitting”, horror thriller, “subversive” writers and publishers for instance, that claim to be so irreverent that they don’t care if society wants to edit them. I’ve learned time and time again, attempting to network with them, that they are just trust fund kids who migrated to Los Angeles to “reinvent” themselves as edgy weirdos, and that the rebellious chip on their shoulder is just a part of their personality/business branding. I mean, there are soooooo many of these little indie presses that want to claim that they don’t edit, that they want to “fuck the system”, that they’re tired of oppression and fakeness, that they’re “crazy and irreverent”, yet when you take a look at their submission rules there is ALWAYS a huge list of what they won’t accept because its “too offensive” for them. After a while it just becomes apparent that they’re just using the whole “I’m crazy and I don’t care!” tactic as nothing but a branding technique. It’s all very insulting and ingenuine, and it creates a standard that drowns out the remaining legit people in writing and publishing that honestly want a no filters medium.

And that’s just the art world; more obvious examples are prevalent in political circles. I’ve seen, within the last three months alone, a charity gala for the housing crisis in Los Angeles, where many of the key attendees were politicians who ran on a pro-gentrification campaign in years past. Bookstores that formerly gave me the cold shoulder for speaking against gentrification are now hitting me up to stock my work because they want the clout that comes with working with an anti-gentrification artist, because they believe this will prevent protestors from showing up at their door. Gentrifiers have shown up to tenants union meetings asking for support against their landlord now that people with even more money than them are moving into the neighborhood. They come to protest rallies to fight the problem they started. They start or infiltrate anti-gentrification pages on social media to spy or gain street cred. The biggest slap in the face (at least for me) came about three months ago, when I saw another gentrification horror story published by a gentry professor from Ohio who moved into East LA; this right here is a prime example of how people who are a part of the problem now feel like they have every right to bandwagon on the magnetism, and pretend like they are part of the solution to the shitstorm they started. I can go on and on, but my point really is this, that I really hope the legit subversive elements in society, both in art and politics, come to the fore and wash all the fakes away……because I’m tired of them playing gatekeeper in cultures that they have no respect for other than as a means to upgrade their lack of social prestige.

Thanks Nathan for joining us.

If you'd interested to know more about Nathan check out the following links:

Amazon

LinkTree

Imposter Syndrome as a Writer: Understanding the Phenomenon and Strategies for Moving Forward

Imposter syndrome, a psychological phenomenon characterized by feelings of inadequacy or self-doubt despite evidence of accomplishments, is prevalent among high-achieving individuals, including successful writers. Writing being a solitary activity, writers are vulnerable to comparing themselves to their peers, leading to feelings of not being qualified or deserving of their success. Famous authors, such as Maya Angelou, Neil Gaiman, and J.K. Rowling, have also experienced imposter syndrome, highlighting that it can affect even the most accomplished writers. In this article, we will explore the causes of imposter syndrome among writers and suggest some strategies for overcoming it. In this article I will review this phenomenon which I personally face on a daily basis.

What is Imposter Syndrome?

Imposter Syndrome as a Writer

Imposter syndrome and transgressive fiction Writing

Overcoming Imposter Syndrome as a Writer

Illustration by Franziska Barczyk

What is Imposter Syndrome?

Imposter syndrome is a psychological pattern in which an individual doubts their abilities and feels like a fraud despite evidence of their accomplishments. It is the feeling that you are not good enough or that you do not belong in the position you are in. Imposter syndrome is not a clinical disorder, but it can lead to anxiety, depression, and other mental health issues if left unchecked.

What are common signs and symptoms of imposter syndrome? Feeling like a fraud or impostor, even if one has evidence of accomplishments or success. A persistent fear of being exposed as incompetent or not living up to expectations. Difficulty internalizing achievements and accomplishments, and attributing them to external factors like luck or timing rather than personal ability. Setting excessively high expectations for oneself, and feeling like one has to be perfect or flawless in their work. Undermining one's own achievements by comparing oneself to others and feeling inadequate. Struggling with self-doubt and anxiety, particularly in relation to one's work. Imposter syndrome can be particularly common among high-achieving individuals or those in competitive fields, as they may feel a heightened sense of pressure to succeed and perform at a high level. This can lead to feelings of self-doubt and inadequacy, as they may feel like they do not deserve their success or that they are not qualified for their position.4 causes of imposter syndrome Childhood experiences: Individuals who grew up with high expectations or criticism from parents or caregivers may internalize these messages and develop a sense of inadequacy. Personality traits: Individuals who are perfectionistic or have a high need for achievement may be more prone to imposter syndrome. Cultural factors: Societal messages about success and achievement can contribute to feelings of inadequacy or impostorism. Work environment: Competitive or high-pressure work environments can exacerbate feelings of self-doubt and imposter syndrome.Imposter Syndrome as a Writer

Imposter syndrome can be particularly common among writers because writing is a solitary activity. Writers spend a lot of time alone with their thoughts and their work, and it can be easy to doubt oneself when there is no one else around to provide feedback or validation. Additionally, writers are often exposed to the work of other writers and may feel like they do not measure up to the standards set by their peers.

Causes of Imposter Syndrome in Writers

There are several factors that can contribute to imposter syndrome in writers:

Comparing oneself to others: Writers are often exposed to the work of other writers, which can lead to feelings of inadequacy or self-doubt. Fear of criticism: Writers are vulnerable to criticism and rejection, which can be challenging to deal with and can lead to feelings of self-doubt. Lack of validation: Writing is a solitary activity, and writers may not receive validation or feedback on their work, which can lead to self-doubt and imposter syndrome. High standards: Writers often set high standards for themselves, and when they do not meet those standards, it can lead to feelings of inadequacy or self-doubt.Imposter syndrome and transgressive fiction Writing

Writers of transgressive fiction may experience imposter syndrome for several reasons. Firstly, they may feel like they are not qualified or skilled enough to write about taboo subjects, and that their work is not good enough compared to other writers in the genre. Additionally, the transgressive nature of their writing may expose them to criticism or rejection, leading to further self-doubt and imposter syndrome. However, it is important to remember that imposter syndrome is a common phenomenon that can affect anyone, regardless of their profession or success. Famous authors, such as Stephen King and Chuck Palahniuk, have also experienced imposter syndrome, demonstrating that it can affect even the most accomplished writers.

Overcoming Imposter Syndrome as a Writer

If you are a writer struggling with imposter syndrome, there are several strategies that you can use to overcome it:

Recognize the pattern: The first step in overcoming imposter syndrome is to recognize the pattern and acknowledge that it is a common phenomenon. Understanding that many successful people experience imposter syndrome can help to normalize your feelings and reduce self-doubt. Practice self-compassion: Self-compassion is the practice of treating yourself with kindness and understanding. When you feel imposter syndrome creeping in, try to be kind to yourself and remind yourself of your accomplishments. Set realistic expectations: Setting realistic expectations for yourself can help to reduce self-doubt and imposter syndrome. Instead of striving for perfection, focus on making progress and improving your writing skills. Seek feedback: While writing is a solitary activity, it is important to seek feedback from others to validate your work and get a different perspective. Joining a writing group or working with an editor can be helpful in getting feedback on your work. Celebrate your successes: When you achieve a writing goal or milestone, take the time to celebrate it. Celebrating your successes can help to build confidence and reduce self-doubt.Conclusion

Imposter syndrome is a common phenomenon that can affect writers and other high-achieving individuals. If you are a writer struggling with imposter syndrome, it is important to recognize the pattern, practice self-compassion, set realistic expectations, seek feedback, and celebrate your successes. Remember, you are not alone in your feelings of self-doubt. We're all in this together!

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Writer vs. Writer: Chad Lutzke

Welcome to our interview blog where we have the pleasure of speaking with Chad Lutzke, an accomplished author who has written in a variety of genres. With a literary career spanning 20 books, Chad has made a name for himself in the writing world, receiving high praise from esteemed authors such as Jack Ketchum, Joe R. Lansdale, Richard Chizmar, and Stephen Graham Jones. His novella OF FOSTER HOMES AND FLIES has even been translated into multiple languages, including Arabic, Russian, and Spanish. But his talents don't stop at writing. Chad is also a skilled artist and musician, creating his own book covers as well as covers for other authors and publishers. With a 32-year marriage, 3 children, and an abundance of pets, including two ferrets, Chad is a true testament to balancing creativity and family life. Join us as we delve into the mind and experiences of this multi-talented author.

Hi Chad. Pleasure to have you for this interview. How’s your life going as a writer?

Thanks for having me, Neda. It’s been an adventure. Both highs and lows, mostly highs, but overall I’m happy with my accomplishments. Because I started writing with zero expectations, I’ve gone much farther than I originally anticipated.

How do you typically approach the creative process when it comes to writing your stories? Is there a particular routine or environment that you find most conducive to your writing?

It’s usually a very quick, random thought prompted either by an image, article, or just sitting there daydreaming. A few books were written based on life experiences. No real routine or environment. I have no set time of day I write. Sometimes I write in my office, sometimes outside on the patio, or in bed. I don’t think I could ever be one of those people who writes in a café or library. I’m a people watcher, so I’d get distracted too easily.

Paperback I Kindle

Me neither. As Stephen King never plots because he believes it's useless as "our lives are largely plotless". Your work spans across multiple genres and audiences. How do you balance the needs of each genre and audience to create a compelling story that resonates with readers?

I think it’s because I hop around so much that it makes it compelling. If I stuck to the same thing over and over again I’d lose interest, and that would come across in the story. I’ve written things while uninspired, whether it be to meet a deadline or for a paycheck, and I’m just better off writing what I’m in the mood for. If I want to write something sad, that’s what’s next. Something funny, then I’ll fuse that into some crime fiction. Something dramatic, I switch gears there too.

OF FOSTER HOMES & FLIES has been translated into multiple languages, which is a huge accomplishment! How has the response been from your international readers, and what does it mean to you to have your work reaching so many different people around the world?

I get several emails and messages from international readers, and it’s humbling. I feel so grateful, and it amazes me how something created here in Midwest America can be so appreciated on the other side of the planet. When they take time out of their life to contact me or even just leave some kind words on Goodreads or Amazon, it really puts a smile on my face. Seeing some of these countries get their hands on my books makes the world feel smaller somehow.

You're also a musician and artist. How do you think your creative skills in those areas inform your writing, and vice versa?

I’m not so sure being a musician helps, but I think being an artist does. I can visualize an entire book before I’ve written a word, knowing it’s going to be something I’m really proud of. If anything, being a musician makes it so I can’t listen to most music while writing because I’m an attentive listener. Even when hanging out with friends, if music is played in the background, half my mind is on the song. It’s a real distraction when writing.

Paperback I Kindle

Your book covers are often striking and unique. Can you talk about the inspiration behind some of your favorite cover designs, and how you decide what visual elements to include?

Thank you. I usually like covers that paint an ambiguous picture of the contents inside, asking the question on what does this really mean? Same with my book titles. I like it when the reader has that moment where they finally understand the title and the cover. The title for OF FOSTER HOMES AND FLIES and STIRRING THE SHEETS are perfect examples of that. They’re like little epiphanies when you get to them. Inspiration always comes from the story inside as well as a mood I’m trying to convey before the spine is even cracked. CANNIBAL CREATOR screams gory fun, whereas SLOW BURN ON RIVERSIDE says this is something more literary.

What was the most challenging book you've written so far, and how did you overcome any obstacles you faced while writing it?

Probably either WALLFLOWER or STIRRING THE SHEETS because of the headspace they put me in. With WALLFLOWER, I did a lot of research on heroin use, watching videos of people “nodding off” while high, hearing testimonies, visiting message boards where the drug was romanticized. It was all very sad, and I wrote the book in response to a great number of overdoses that had happened in my hometown one year.

With STIRRING THE SHEETS, I had be in the mindset of someone who has lost their spouse and can’t cope. That situation is my greatest fear, so to write about it was unsettling, and I couldn’t wait to be done with the book.

Paperback I Kindle

Makes sense. I have the same issue with my recent duology. You've received praise from some incredibly accomplished authors, including Joe Lansdale and Jack Ketchum. How does it feel to have your work recognized by such respected figures in the industry?

It’s a little surreal. I am so grateful to anyone who takes the time to read something I wrote, but when your idols take the time…and actually enjoy it….that’s a whole other level. Getting some of the praise I’ve gotten over the years is something I never anticipated. I just set out to write for me, to maybe have one book on the shelf to pass down to my kids and grandkids. Now I have nearly two dozen of them.

No doubt. Are there any upcoming projects that you're particularly excited about? Can you give us a sneak peek into what readers can expect from your next book?

I have three books coming out within the next year that I’m excited about. The first one will be released by Deadsky Publishing on May 15th, 2023. It’s called HOW THE SKIN SHEDS. It’s a splatterwestern filled with revenge, bizarre happenings, and bloodshed, all while on a horseback road trip hunt with two men and a 9-year-old girl.

My book BRUISES ON A BUTTERFLY will be released January 2024 by Cemetery Dance. That one is coming-of-age body horror that’s horribly sad. And then early 2024 will see the release of my collaborative novel with John Boden called THE BEDMAKERS. Another sad book. This time it’s a crime thriller and will be published by Crystal Lake Publishing.

What advice would you give to aspiring writers who are trying to make their way in the industry?

Just start writing. The important thing is to get the book written. You don’t need to do months of research, a typewriter, a desk, or tweed jacket. Just keep your head down and write on napkins if you have to. Just make sure you’re writing for you.

Learn from constructive criticism and don’t surround yourself with “yes” men and women. Get honest feedback so you can hone your craft. There are too many subpar books being celebrated because the author is surrounded by people who aren’t honest.

Finally, what do you hope readers take away from your stories? What themes or messages do you strive to communicate through your writing?

I never set out to have anyone take anything away from my stories or teach them something or change them somehow. But based on the letters I get, they often do. I guess if I have to answer the question, I’d say to be empathetic, open-minded, and understanding of others. To consistently and constantly take self-inventory. You’re not as right as you think you are. You have a lot of growing to do. We all do. Every year. Every day.

Beautiful. Thank you Chad for this interview.

If you would like to know more about Chat please visit his:

Website

and

Amazon

5 Post modern novels on theme of identity: Part 2

Welcome back to my series on postmodern novels exploring the theme of identity. In part 1, we delved into five novels that challenged our understanding of identity in a world dominated by technology, consumerism, and media. If you missed it, be sure to check it out! In part 2, we will continue to explore the theme of identity through the lens of five more postmodern novels. These novels will take us on a journey through the complexities of individual identity in a world of uncertainty and change. To continue reading this article subscribe for Free. No Credit Card needed.

5 ways to use Symbolism in Transgressive Fiction

Symbolism is a powerful literary device that has been used by transgressive fiction writers. In this genre symbolism is employed to communicate complex ideas and emotions that are often too difficult to articulate directly. As we discussed in previous article "Transgressive Fiction Themes", this genre often tackles themes that are considered taboo or controversial. These themes are explored through characters that are often flawed, creating a sense of moral ambiguity and uncertainty that can be challenging for readers. I believe symbolism in can provide a way for authors to convey these themes and ideas more effectively and powerfully in such genre. In this post, we will explore 5 ways in which symbolism is used in transgressive fiction. If you're interested in learning more about literary devices in transgressive fiction, be sure to check out our other blog posts on imagery, perspective, and other techniques. Subscribe for free to read more.