Andrew Cotto's Blog, page 2
June 22, 2012
A New York Times article about OUTERBOROUGH BLUES
Even a Mystery Novel Is Ultimately About Gentrification
By ANDREW COTTO
Author Andrew Cotto’s new mystery is set in a pre-gentrification Fort Greene and Clinton Hill.
The book jacket synopsis of my new novel, “Outerborough Blues: A Brooklyn Mystery (Ig Publishing, May, 2012) describes the story as “a stylish mystery set on the dawn of gentrification.” The dawn of gentrification — sounds portentous, looming. But it is more than that.
Gentrification is a term rife with dramatic tension since it inherently throws disparate groups of people into a collective scenario, where motivations are usually at odds, cultures can clash, and enormous matters — like home and identity and serious money — are in play. The setting of Clinton Hill/Fort Greene in the early 1990s worked perfectly for me since gentrification informed many of the novel’s major themes.
“Outerborough Blues” is a novel about race. The protagonist, Caesar Stiles, is a white man living in a predominantly African-American neighborhood “with decidedly mixed feelings about his presence.” This was certainly the neighborhood in the early ’90s, when white faces were scarce. Simple appearance can be the symbol of gentrification in the most visceral way, and the presence of the real life Caesar Stileses certainly raised eyebrows. That’s why I explored the manner in which established neighborhood entities react to an outside threat. This equation is only heightened when the aspect of race is a dominant factor, even more so when a black majority is being impeded upon by a white minority as this particular setting allows.
OuterboroughBlues-Cvr-05.indd
This is a novel about community. Clinton Hill/Fort Greene was (and still is) a close-knit area. Gentrification can be considered a threat, though some residents see it as progress. As a result, allegiances are tested; personal agendas conflict, and neighbor is pit against neighbor. For some members of the community — in real life and in my novel — gentrification is an opportunity for riches and advancement; for others, it is nothing short of an imminent threat to their established way of life, to be dealt with by any means necessary.
“Outerborough Blues” is a novel about identity. Caesar Stiles is on a mission to end his family’s curse, and the remedy rests within his ability to reconcile his past. Gentrification, specifically as it applies to the neighborhood of Clinton Hill/Fort Greene, creates a conflict within this quest. Caesar seeks a home, a place where he belongs. The innate resistance his regular neighbors have to him, specifically in the form of his much-desired tenant Angel, obliquely communicates the distance that is kept between a community and its interlopers. There might not be any overt rejection of Caesar amongst them, but it’s clear he is and will always be an outsider. Gentrification can happen rather quickly and without obstruction, but acceptance as one of the neighborhood’s own is a far more difficult accomplishment. This is true in both the real life area of Clinton Hill/Fort Greene and the one depicted in my novel.
By ANDREW COTTO
Author Andrew Cotto’s new mystery is set in a pre-gentrification Fort Greene and Clinton Hill.
The book jacket synopsis of my new novel, “Outerborough Blues: A Brooklyn Mystery (Ig Publishing, May, 2012) describes the story as “a stylish mystery set on the dawn of gentrification.” The dawn of gentrification — sounds portentous, looming. But it is more than that.
Gentrification is a term rife with dramatic tension since it inherently throws disparate groups of people into a collective scenario, where motivations are usually at odds, cultures can clash, and enormous matters — like home and identity and serious money — are in play. The setting of Clinton Hill/Fort Greene in the early 1990s worked perfectly for me since gentrification informed many of the novel’s major themes.
“Outerborough Blues” is a novel about race. The protagonist, Caesar Stiles, is a white man living in a predominantly African-American neighborhood “with decidedly mixed feelings about his presence.” This was certainly the neighborhood in the early ’90s, when white faces were scarce. Simple appearance can be the symbol of gentrification in the most visceral way, and the presence of the real life Caesar Stileses certainly raised eyebrows. That’s why I explored the manner in which established neighborhood entities react to an outside threat. This equation is only heightened when the aspect of race is a dominant factor, even more so when a black majority is being impeded upon by a white minority as this particular setting allows.
OuterboroughBlues-Cvr-05.indd
This is a novel about community. Clinton Hill/Fort Greene was (and still is) a close-knit area. Gentrification can be considered a threat, though some residents see it as progress. As a result, allegiances are tested; personal agendas conflict, and neighbor is pit against neighbor. For some members of the community — in real life and in my novel — gentrification is an opportunity for riches and advancement; for others, it is nothing short of an imminent threat to their established way of life, to be dealt with by any means necessary.
“Outerborough Blues” is a novel about identity. Caesar Stiles is on a mission to end his family’s curse, and the remedy rests within his ability to reconcile his past. Gentrification, specifically as it applies to the neighborhood of Clinton Hill/Fort Greene, creates a conflict within this quest. Caesar seeks a home, a place where he belongs. The innate resistance his regular neighbors have to him, specifically in the form of his much-desired tenant Angel, obliquely communicates the distance that is kept between a community and its interlopers. There might not be any overt rejection of Caesar amongst them, but it’s clear he is and will always be an outsider. Gentrification can happen rather quickly and without obstruction, but acceptance as one of the neighborhood’s own is a far more difficult accomplishment. This is true in both the real life area of Clinton Hill/Fort Greene and the one depicted in my novel.
June 6, 2012
Interview and review of 'Outerborough Blues' by Andrew Cotto 06/06/12
Link: http://www.andrewcotto.com/
Recently I was fortunate enough to speak with Andrew Cotto, author of ‘Outerborough Blues: A Brooklyn Mystery’ (Ig Publishing 2012) and ‘The Domino Effect’ (Brownstone Editions, LLC Publishing 2011). Andrew has a playful sense of humor which shows up in his writing, endearing him to his loyal readers and also making for a great interview. He is a journalist with regular contributions to New York Times and the Good Men Project, who also writes a monthly blog called “Our Italian Year” on his website retelling adventures of the year he spent living in Tuscany with his wife and daughter.
Presently, and for the past seven years, Andrew teaches creative writing workshops and composition courses in New York City. Andrew also tells me he is a great cook and oenophile saying that one of his greatest pleasures is creating and sharing a meal he has prepared, usually an Italian dish, and bottle of great wine with his family and good friends. However, I’ll have to take his word on that having not had the opportunity to experience his talents.
With all of the things on his plate it’s a wonder Andrew had the time to share a little of himself. But share he did and as a result I am pleased to offer this insight into the workings of Andrew Cotto, the man, the author.
Jodi Hanson (JH): I have been told the biggest piece of advice that authors give is to read everything and everybody. What are your thoughts?
Andrew Cotto (AC): Writers do need to read, a lot, though I think it’s probably best to read those authors/novels that inspire your work. I read such titles very closely, and repeatedly. I actually do so with a pen in hand, underlining every phrase/image/word that especially catches my attention. Then, when I’m done with the book, I write these down, verbatim, in notebooks. I go back to the notebooks often for inspiration, though, of course, I’m careful not to use anyone else’s language. So, when it comes to reading as a writer, I’d advocate a less is more approach when it comes to breadth. I think one can learn more about writing by reading “Gatsby” 10 times as opposed to 10 different random titles.
JH: Andrew, you are an incredibly talented author, at what age did you become aware that writing was your calling?
AC: Thank you! I’m definitely a late-bloomer on the writing-is-my-calling thing. I was in college when I discovered a love for literature, and it was shortly after that when I realized I had a knack for storytelling and an ability to write fairly well. Still, even at that juncture, I wasn’t ready to really pursue writing in a meaningful way for another decade or so after graduating.
JH: Caesar Stiles is complex almost haunted character, did you struggle in your creation of him or does he resemble someone in your life making him almost write himself?
AC: Thanks for saying that, since “complex” characters are what most of us strive to create. I didn’t have a hard time coming up with Caesar, though I can’t really recall specifically from where he came. Like most of my characters, he’s an amalgam of people I’ve encountered in some way (through real life or fiction or whatnot) combined with my imagination. Once I get a character on the page, then they become their own entity, and I kind of let them take me where they want to go.
JH: Your description of Brooklyn in Outerborough Blues creates vivid pictures for your readers. Being that you are from Brooklyn yourself did you write from experience about the seemingly segregated neighborhoods?
AC: I grew up in a lot of places around America, but I’ve been in Brooklyn for the past 16 years, which makes it the place I’ve lived the longest (by far). I love it here, especially all the distinct neighborhoods. I definitely used the wonderful neighborhood of Clinton Hill, where I had once lived, as an inspiration for the primary setting of OUTERBOROUGH BLUES. Even though we moved there at a time actually a little later than when the novel is set, I had no problem imagining the type of strife that gentrification could create since when we arrived it was still pretty early in the area’s shift from an almost exclusively African-American enclave to one that would become decidedly more diverse.
JH: Do you write from an outline with an ending in mind or do you let the story take its course making changes when it has been written?
AC: I like to have a sense as to where the novel is going (beginning/middle/end) though I let the particulars work themselves out as I go along and then write accordingly. For instance, both of my novels had fairly different endings planned in my head which never made it to the page because they just didn’t work anymore when I got there. I think a mix of the planned and impromptu is a healthy way to tell stories.
JH: What makes Andrew Cotto tick?
AC: I like having goals. Things I’m working towards. Getting better, more informed, improving everyday at certain things gets me out of bed in the morning. I believe in incremental change through long-term commitment. I love that theory about having to do something for 10,000 hours before it’s mastered. That works for me.
JH: Who is the person that has had the most effect in you becoming the man you are today?
AC: My father, probably. He’s an amazing man. He’s been a musician, a teacher, a businessman, an entrepreneur (not to mention a great husband and father). Now, in his 70s, he’s a motorcycle riding computer geek. I admire his courage and independence. I also, for as long as I can remember, have been aware of his sense of morality, which has positively informed my life and my character in a major way. I think one of the reasons that I’m just a flat our sucker for father/son stories of all kinds (and have made this a big part of both of my novels) is that I know, first hand, how fortunate it is to have a really good father.
JH: I suspect you have something in the works; can you share what it is?
AC: I have a few things going, though the primary project is another noir story. MARTINIS & BIKINIS is the sort of fun noir I associate with writers like Elmore Leonard, though – at its heart – the story is a serious critique of how corporations are corrupting our arts and media, and – as a result – our society.
JH: If you were to have a biographical movie made of your life, who would you envision playing the role of Andrew Cotto? AC: Oooh. Wow. That’s a tough one. Too tough and fantastic for me to even come up with a legit answer, so I’ll just go with a younger George Clooney since I really like his style.
JH: One of my favorite questions to ask an author is what book do you wish you had written? Why?
AC: Another tough one, though this one I can answer without equivocation: The Great Gatsby. I love the language and the characters and the story, but, most of all, I’m impressed by the insight into those times – specifically how the decadence and corruption of American society in the 20s would lead to such a serious downfall by the end of the decade. Nice call.
I’m glad to have had the opportunity to speak with Andrew and would very much like to thank him for agreeing to my interview. For further information on OUTERBOROUGH BLUES and THE DOMINO EFFECT and Andrew Cotto please visit his website. http://www.andrewcotto.com/ and watch his trailer at http://www.youtube.com/watch?v=n_iF27...
The Review
Have you ever read a book that you know you will read again and again? Outerborough Blues is now a book on my list. Andrew Cotto has a style of writing that is lyrical and commanding. He skilfully draws the reader’s attention with the voice of Caesar Stiles as he tells the history of his family’s lineage and his attempt for redemption.
Caesar Stiles is a man haunted by his past. A drifter recently arrived in Brooklyn, he is looking to set down roots and create a ‘normal’ life for himself. He takes a job in a local joint called The Notch as a bartender and cook, minding his own business and doing a good job of it until an attractive French girl walks in to the bar, orders a drink and enlists him to find her missing brother. Stiles agrees, and his quiet little world is thrown off kilter.
In the course of his search for the artist, Stiles finds himself rooting around in the seedy side of Brooklyn’s underground: a place of drug addicts, prostitution and organized crime. Stiles begins to notice a car tailing him and a growing pile of cigarette butts outside of his front gate. Someone is watching him, leaving a crawling feeling down his spine as he wonders who it could be. Having crossed a nefarious individual who he calls The Orange Man, Stiles is worried the man may be looking to retaliate.
Caesar’s past soon catches up with him in the form of his ex-convict brother who has a violent temper usually directed in Caesar’s direction, and this time isn’t an exception as he seeks to settle a family score. With his brother on the warpath, the continued search for the missing man, and a beating from a group of local thugs, Stile’s life spirals out of control in the course of one week.
With his second novel, Andrew Cotto has firmly carved a niche for himself in the mystery genre. A teacher and seasoned writer with published works in many publications, including regular contributions to the New York Times and the Good Men Project, Cotto has an MFA in Creative Writing from The New School. He presently spends his time teaching composition courses and creative writing workshops in New York City while working on a third novel.
This book was provided graciously by the author for review.
Recently I was fortunate enough to speak with Andrew Cotto, author of ‘Outerborough Blues: A Brooklyn Mystery’ (Ig Publishing 2012) and ‘The Domino Effect’ (Brownstone Editions, LLC Publishing 2011). Andrew has a playful sense of humor which shows up in his writing, endearing him to his loyal readers and also making for a great interview. He is a journalist with regular contributions to New York Times and the Good Men Project, who also writes a monthly blog called “Our Italian Year” on his website retelling adventures of the year he spent living in Tuscany with his wife and daughter.
Presently, and for the past seven years, Andrew teaches creative writing workshops and composition courses in New York City. Andrew also tells me he is a great cook and oenophile saying that one of his greatest pleasures is creating and sharing a meal he has prepared, usually an Italian dish, and bottle of great wine with his family and good friends. However, I’ll have to take his word on that having not had the opportunity to experience his talents.
With all of the things on his plate it’s a wonder Andrew had the time to share a little of himself. But share he did and as a result I am pleased to offer this insight into the workings of Andrew Cotto, the man, the author.
Jodi Hanson (JH): I have been told the biggest piece of advice that authors give is to read everything and everybody. What are your thoughts?
Andrew Cotto (AC): Writers do need to read, a lot, though I think it’s probably best to read those authors/novels that inspire your work. I read such titles very closely, and repeatedly. I actually do so with a pen in hand, underlining every phrase/image/word that especially catches my attention. Then, when I’m done with the book, I write these down, verbatim, in notebooks. I go back to the notebooks often for inspiration, though, of course, I’m careful not to use anyone else’s language. So, when it comes to reading as a writer, I’d advocate a less is more approach when it comes to breadth. I think one can learn more about writing by reading “Gatsby” 10 times as opposed to 10 different random titles.
JH: Andrew, you are an incredibly talented author, at what age did you become aware that writing was your calling?
AC: Thank you! I’m definitely a late-bloomer on the writing-is-my-calling thing. I was in college when I discovered a love for literature, and it was shortly after that when I realized I had a knack for storytelling and an ability to write fairly well. Still, even at that juncture, I wasn’t ready to really pursue writing in a meaningful way for another decade or so after graduating.
JH: Caesar Stiles is complex almost haunted character, did you struggle in your creation of him or does he resemble someone in your life making him almost write himself?
AC: Thanks for saying that, since “complex” characters are what most of us strive to create. I didn’t have a hard time coming up with Caesar, though I can’t really recall specifically from where he came. Like most of my characters, he’s an amalgam of people I’ve encountered in some way (through real life or fiction or whatnot) combined with my imagination. Once I get a character on the page, then they become their own entity, and I kind of let them take me where they want to go.
JH: Your description of Brooklyn in Outerborough Blues creates vivid pictures for your readers. Being that you are from Brooklyn yourself did you write from experience about the seemingly segregated neighborhoods?
AC: I grew up in a lot of places around America, but I’ve been in Brooklyn for the past 16 years, which makes it the place I’ve lived the longest (by far). I love it here, especially all the distinct neighborhoods. I definitely used the wonderful neighborhood of Clinton Hill, where I had once lived, as an inspiration for the primary setting of OUTERBOROUGH BLUES. Even though we moved there at a time actually a little later than when the novel is set, I had no problem imagining the type of strife that gentrification could create since when we arrived it was still pretty early in the area’s shift from an almost exclusively African-American enclave to one that would become decidedly more diverse.
JH: Do you write from an outline with an ending in mind or do you let the story take its course making changes when it has been written?
AC: I like to have a sense as to where the novel is going (beginning/middle/end) though I let the particulars work themselves out as I go along and then write accordingly. For instance, both of my novels had fairly different endings planned in my head which never made it to the page because they just didn’t work anymore when I got there. I think a mix of the planned and impromptu is a healthy way to tell stories.
JH: What makes Andrew Cotto tick?
AC: I like having goals. Things I’m working towards. Getting better, more informed, improving everyday at certain things gets me out of bed in the morning. I believe in incremental change through long-term commitment. I love that theory about having to do something for 10,000 hours before it’s mastered. That works for me.
JH: Who is the person that has had the most effect in you becoming the man you are today?
AC: My father, probably. He’s an amazing man. He’s been a musician, a teacher, a businessman, an entrepreneur (not to mention a great husband and father). Now, in his 70s, he’s a motorcycle riding computer geek. I admire his courage and independence. I also, for as long as I can remember, have been aware of his sense of morality, which has positively informed my life and my character in a major way. I think one of the reasons that I’m just a flat our sucker for father/son stories of all kinds (and have made this a big part of both of my novels) is that I know, first hand, how fortunate it is to have a really good father.
JH: I suspect you have something in the works; can you share what it is?
AC: I have a few things going, though the primary project is another noir story. MARTINIS & BIKINIS is the sort of fun noir I associate with writers like Elmore Leonard, though – at its heart – the story is a serious critique of how corporations are corrupting our arts and media, and – as a result – our society.
JH: If you were to have a biographical movie made of your life, who would you envision playing the role of Andrew Cotto? AC: Oooh. Wow. That’s a tough one. Too tough and fantastic for me to even come up with a legit answer, so I’ll just go with a younger George Clooney since I really like his style.
JH: One of my favorite questions to ask an author is what book do you wish you had written? Why?
AC: Another tough one, though this one I can answer without equivocation: The Great Gatsby. I love the language and the characters and the story, but, most of all, I’m impressed by the insight into those times – specifically how the decadence and corruption of American society in the 20s would lead to such a serious downfall by the end of the decade. Nice call.
I’m glad to have had the opportunity to speak with Andrew and would very much like to thank him for agreeing to my interview. For further information on OUTERBOROUGH BLUES and THE DOMINO EFFECT and Andrew Cotto please visit his website. http://www.andrewcotto.com/ and watch his trailer at http://www.youtube.com/watch?v=n_iF27...
The Review
Have you ever read a book that you know you will read again and again? Outerborough Blues is now a book on my list. Andrew Cotto has a style of writing that is lyrical and commanding. He skilfully draws the reader’s attention with the voice of Caesar Stiles as he tells the history of his family’s lineage and his attempt for redemption.
Caesar Stiles is a man haunted by his past. A drifter recently arrived in Brooklyn, he is looking to set down roots and create a ‘normal’ life for himself. He takes a job in a local joint called The Notch as a bartender and cook, minding his own business and doing a good job of it until an attractive French girl walks in to the bar, orders a drink and enlists him to find her missing brother. Stiles agrees, and his quiet little world is thrown off kilter.
In the course of his search for the artist, Stiles finds himself rooting around in the seedy side of Brooklyn’s underground: a place of drug addicts, prostitution and organized crime. Stiles begins to notice a car tailing him and a growing pile of cigarette butts outside of his front gate. Someone is watching him, leaving a crawling feeling down his spine as he wonders who it could be. Having crossed a nefarious individual who he calls The Orange Man, Stiles is worried the man may be looking to retaliate.
Caesar’s past soon catches up with him in the form of his ex-convict brother who has a violent temper usually directed in Caesar’s direction, and this time isn’t an exception as he seeks to settle a family score. With his brother on the warpath, the continued search for the missing man, and a beating from a group of local thugs, Stile’s life spirals out of control in the course of one week.
With his second novel, Andrew Cotto has firmly carved a niche for himself in the mystery genre. A teacher and seasoned writer with published works in many publications, including regular contributions to the New York Times and the Good Men Project, Cotto has an MFA in Creative Writing from The New School. He presently spends his time teaching composition courses and creative writing workshops in New York City while working on a third novel.
This book was provided graciously by the author for review.
April 1, 2012
Interview with Katie French of Underground Book Review
Interview with Andrew Cotto by Katie French 03/20/2012
As a writer, teacher, blogger, husband, parent and much more, Andrew Cotto offers his insights into education, publishing and the role of authors today. Please welcome Andrew Cotto, author of The Domino Effect, to the Underground.
Katie: The Domino Effect is a coming-of-age tail akin to Catcher in the Rye or A Separate Peace. Where did you get the idea for the story?
Andrew: I've always loved coming-of-age stories, and those two you mention happen to be among my favorites. Oddly, the idea for Domino came to me not after reading such stories but after seeing the Spike Lee film, Do the Right Thing. Something about the effect that movie had on me made me want to tell a story that involved racial or ethnic strife, and I really jumbled a lot of my experiences into something that included both types of conflict. Putting an adolescent in the main role made the transformation a coming-of-age experience.
Katie: The main character Danny has such a unique and realistic voice in this novel. Did that voice exist within or did you research to create realistic teenage interaction?
Andrew: Thanks. Danny's voice really is the key to the narrative because he'd probably be too easy to abandon without that connection he establishes with the reader. I sort of conjured Danny's voice by tapping an array of voices I know intimately, including a certain amount of my own.
Katie: You describe boarding school life so well. Have you attended boarding school or is this the result of in-depth research?
Andrew: I'm not much of a research guy, so I tend to write about things I know already. I spent one year at a boarding school, Blair Academy in western New Jersey, and it was all I needed to create the setting, which really is Blair Academy in its physicality.
Katie: You mention in your bio an MFA degree. Some authors think the MFA is the way to go if you want to publish. Others think authors can do just as well on their own. What made you seek out an advanced degree? Would you recommend it to those who want to be a published writer?
Andrew: I'm a believer in an MFA if you are truly dedicated to growing as a writer. Being in school, with deadlines to meet, is important. It really tests your mettle. You also must endure criticism and learn how to use it. I don't think most writers can grow as much on their own. It also helps one find a community, as well as adding some credibility and focus to the pursuit. In the publishing industry, I believe it opens doors that may not be opened otherwise.
Katie: You seem to be very prolific on the web with articles in publications such as the New York Times and The Good Men Project. With two novels under your belt, is writing your career or do you also have a day job?
Andrew: I enjoy writing articles very much. It's a nice variation from novel writing since articles are sprints as opposed to marathons. Writing in two forms makes me a better overall writer. I also teach creative writing and composition courses throughout New York City. I love teaching, and I feel this experience informs my writing as well. At this point, I teach full time and write part time, though I'd love to cut the teaching part in half since all the grading and prep work is tiring.
Katie: You have written many articles for the Good Men Project. Tell us about the Good Men Project.
Andrew: The Good Men Project is an online magazine dedicated to exploring contemporary masculinity in thought-provoking ways. I really like what they're doing, though I'm not the typical contributor since most of my articles are not within their brand. But they like my writing and have been very supportive, which is something I appreciate deeply. They've allowed me to publish articles on a wide variety of topics, from food to friendship to race to politics and beyond. I kind of look at it as my own opinion/editorial/personal essay column, and I'm very proud of the work I've had published there. I just wish I could attract more readers.
Katie: Outerborough Blues is your next release due out this spring. Tell us a little about what to expect.
Andrew: Outerborough Blues is different than The Domino Effect in some obvious ways. For starters, it's noir. It's also harder-hitting in its content and language (there's a couple of racy scenes I'm actually a little embarrassed to have my family read). That said, it's still - at its heart - a coming-of-age novel in that the protagonist has to come to terms with his identity and try to find a way to reconcile his conflicts, both internal and external. I'm really proud of it. I was able to do things with language that Domino just wouldn't allow, considering the age of the narrator.
Katie: You seem to have interests in many different literary genres and age groups. Do you put any weight behind the adage that an author must find his niche and stick to it?
Andrew: I can see why it would behoove an author to find a niche and stick to it, though artists must go where their vision takes them. I didn't specifically switch genres; I just went to work on another book that I wanted to write. At the end of the day, the job is to tell a great story in the best way possible.
Katie: They say today’s author gets little help from publishers with promotion and marketing. How have you been involved in promotion and marketing for your novels? Where have you found the most success? Where were the biggest struggles?
Andrew: Promotion and marketing these days is very much part of the writer's job. Sadly, I'm not so good at it (my most successful article to date was about this very thing - ironic, I know). Having a publisher gets you quality reviews and access to book stores, among other important things, but the onus these days is on the author to connect with readers directly. I love this idea. I love connecting with people (it's one of the primary reasons I love teaching). The hard part is being technologically savvy enough to find an audience. You also need to have time. I'm getting better at it. Twitter is nice. Facebook is important. Pinterest seems to be taking off. I'm pretty bad at all of them, though, as said, I'm getting better. There's forums such as this one to pursue (I'm amazed at the amount of book bloggers and their passion for promoting authors - thank heavens). I've also gotten some great help from the wonderful author, Melissa Foster, (Chasing Amanda, Come Back To Me, Megan's Way) and her online community at the World Literary Cafe. We all help each other and Melissa generously shares her hard-earned knowledge about Social Media and self-promotion. She's pretty amazing. Five more people like her in my writing life would be nice.
Katie: Any advice for writers longing to break into publishing?
Andrew: I would encourage aspiring writers to be pragmatic about the process and their commitment to it. It takes a lot of dedication to complete a novel or story collection. In order to do so, one must write on a regular basis for a long period of time (a few years, if you're lucky, for a single book) without any guarantees. If, knowing this, you can get up and write every day, you're a writer. Keep going. If this is not possible or pleasurable, do something else. Save yourself the agita.
Katie: When you are not writing, what would we find you doing?
Andrew: As said, I teach (too much). I also have a lovely wife and two beautiful kids. I love to cook, so we often have friends or family over for long meals. Amongst all this, I'm usually thinking about writing...
As a writer, teacher, blogger, husband, parent and much more, Andrew Cotto offers his insights into education, publishing and the role of authors today. Please welcome Andrew Cotto, author of The Domino Effect, to the Underground.
Katie: The Domino Effect is a coming-of-age tail akin to Catcher in the Rye or A Separate Peace. Where did you get the idea for the story?
Andrew: I've always loved coming-of-age stories, and those two you mention happen to be among my favorites. Oddly, the idea for Domino came to me not after reading such stories but after seeing the Spike Lee film, Do the Right Thing. Something about the effect that movie had on me made me want to tell a story that involved racial or ethnic strife, and I really jumbled a lot of my experiences into something that included both types of conflict. Putting an adolescent in the main role made the transformation a coming-of-age experience.
Katie: The main character Danny has such a unique and realistic voice in this novel. Did that voice exist within or did you research to create realistic teenage interaction?
Andrew: Thanks. Danny's voice really is the key to the narrative because he'd probably be too easy to abandon without that connection he establishes with the reader. I sort of conjured Danny's voice by tapping an array of voices I know intimately, including a certain amount of my own.
Katie: You describe boarding school life so well. Have you attended boarding school or is this the result of in-depth research?
Andrew: I'm not much of a research guy, so I tend to write about things I know already. I spent one year at a boarding school, Blair Academy in western New Jersey, and it was all I needed to create the setting, which really is Blair Academy in its physicality.
Katie: You mention in your bio an MFA degree. Some authors think the MFA is the way to go if you want to publish. Others think authors can do just as well on their own. What made you seek out an advanced degree? Would you recommend it to those who want to be a published writer?
Andrew: I'm a believer in an MFA if you are truly dedicated to growing as a writer. Being in school, with deadlines to meet, is important. It really tests your mettle. You also must endure criticism and learn how to use it. I don't think most writers can grow as much on their own. It also helps one find a community, as well as adding some credibility and focus to the pursuit. In the publishing industry, I believe it opens doors that may not be opened otherwise.
Katie: You seem to be very prolific on the web with articles in publications such as the New York Times and The Good Men Project. With two novels under your belt, is writing your career or do you also have a day job?
Andrew: I enjoy writing articles very much. It's a nice variation from novel writing since articles are sprints as opposed to marathons. Writing in two forms makes me a better overall writer. I also teach creative writing and composition courses throughout New York City. I love teaching, and I feel this experience informs my writing as well. At this point, I teach full time and write part time, though I'd love to cut the teaching part in half since all the grading and prep work is tiring.
Katie: You have written many articles for the Good Men Project. Tell us about the Good Men Project.
Andrew: The Good Men Project is an online magazine dedicated to exploring contemporary masculinity in thought-provoking ways. I really like what they're doing, though I'm not the typical contributor since most of my articles are not within their brand. But they like my writing and have been very supportive, which is something I appreciate deeply. They've allowed me to publish articles on a wide variety of topics, from food to friendship to race to politics and beyond. I kind of look at it as my own opinion/editorial/personal essay column, and I'm very proud of the work I've had published there. I just wish I could attract more readers.
Katie: Outerborough Blues is your next release due out this spring. Tell us a little about what to expect.
Andrew: Outerborough Blues is different than The Domino Effect in some obvious ways. For starters, it's noir. It's also harder-hitting in its content and language (there's a couple of racy scenes I'm actually a little embarrassed to have my family read). That said, it's still - at its heart - a coming-of-age novel in that the protagonist has to come to terms with his identity and try to find a way to reconcile his conflicts, both internal and external. I'm really proud of it. I was able to do things with language that Domino just wouldn't allow, considering the age of the narrator.
Katie: You seem to have interests in many different literary genres and age groups. Do you put any weight behind the adage that an author must find his niche and stick to it?
Andrew: I can see why it would behoove an author to find a niche and stick to it, though artists must go where their vision takes them. I didn't specifically switch genres; I just went to work on another book that I wanted to write. At the end of the day, the job is to tell a great story in the best way possible.
Katie: They say today’s author gets little help from publishers with promotion and marketing. How have you been involved in promotion and marketing for your novels? Where have you found the most success? Where were the biggest struggles?
Andrew: Promotion and marketing these days is very much part of the writer's job. Sadly, I'm not so good at it (my most successful article to date was about this very thing - ironic, I know). Having a publisher gets you quality reviews and access to book stores, among other important things, but the onus these days is on the author to connect with readers directly. I love this idea. I love connecting with people (it's one of the primary reasons I love teaching). The hard part is being technologically savvy enough to find an audience. You also need to have time. I'm getting better at it. Twitter is nice. Facebook is important. Pinterest seems to be taking off. I'm pretty bad at all of them, though, as said, I'm getting better. There's forums such as this one to pursue (I'm amazed at the amount of book bloggers and their passion for promoting authors - thank heavens). I've also gotten some great help from the wonderful author, Melissa Foster, (Chasing Amanda, Come Back To Me, Megan's Way) and her online community at the World Literary Cafe. We all help each other and Melissa generously shares her hard-earned knowledge about Social Media and self-promotion. She's pretty amazing. Five more people like her in my writing life would be nice.
Katie: Any advice for writers longing to break into publishing?
Andrew: I would encourage aspiring writers to be pragmatic about the process and their commitment to it. It takes a lot of dedication to complete a novel or story collection. In order to do so, one must write on a regular basis for a long period of time (a few years, if you're lucky, for a single book) without any guarantees. If, knowing this, you can get up and write every day, you're a writer. Keep going. If this is not possible or pleasurable, do something else. Save yourself the agita.
Katie: When you are not writing, what would we find you doing?
Andrew: As said, I teach (too much). I also have a lovely wife and two beautiful kids. I love to cook, so we often have friends or family over for long meals. Amongst all this, I'm usually thinking about writing...
Underground Book Review of Domino
Katie's YA Hotspot: Review of The Domino Effect by Andrew Cotto 03/19/2012
Every once and a while a young adult book comes along that surprises me. The Domino Effect falls into this category, both thoughtful-- yet humorous, moralistic-- yet light-hearted. Cotto's coming-of-age story left me invigorated, and thinking to myself, “Now, that's how you tell a story.”
Though The Domino Effect has not seen the rampant readership like current fantasy and sci-fi novels, it should. The story chronicles the high school career, particularly the senior year, of Danny “Domino” Rorro. After a violent attack at his old school, Danny's parents enroll him in Hamden Academy, a prestigious boarding school far different than life at home. Danny manages to maintain his comical out-look on life in this new setting, though he carries scars from the past. Things begin to change for Danny when he is assigned a roommate, Terance King, the only African American at Hamden Academy. This event propels both boys into a conflict of race that tests them to the core and changes them forever.
Though the novel takes a while to warm up, the depth of Danny's character will draw you in and keep you captive. Danny's wise-cracking, street-wise Italian voice will keep you chuckling. Cotto is a master at the adolescent banter and the descriptions of Hamden, told through Danny, were pitch perfect. The tender romance between Danny and Brenda Devine is touching and heartfelt. My one complaint would be that Cotto opens with pages of exposition on the previous three years, much of which could have been dealt out later or cut completely. I fear that readers may get bogged down in the first few pages and miss the gold lurking beyond.
Overall, The Domino Effect, does not disappoint. You'll find yourself cheering for Danny through the end. But more importantly, you'll find yourself reflecting on deep issues, something that is often lacking in teen literature of today.
Every once and a while a young adult book comes along that surprises me. The Domino Effect falls into this category, both thoughtful-- yet humorous, moralistic-- yet light-hearted. Cotto's coming-of-age story left me invigorated, and thinking to myself, “Now, that's how you tell a story.”
Though The Domino Effect has not seen the rampant readership like current fantasy and sci-fi novels, it should. The story chronicles the high school career, particularly the senior year, of Danny “Domino” Rorro. After a violent attack at his old school, Danny's parents enroll him in Hamden Academy, a prestigious boarding school far different than life at home. Danny manages to maintain his comical out-look on life in this new setting, though he carries scars from the past. Things begin to change for Danny when he is assigned a roommate, Terance King, the only African American at Hamden Academy. This event propels both boys into a conflict of race that tests them to the core and changes them forever.
Though the novel takes a while to warm up, the depth of Danny's character will draw you in and keep you captive. Danny's wise-cracking, street-wise Italian voice will keep you chuckling. Cotto is a master at the adolescent banter and the descriptions of Hamden, told through Danny, were pitch perfect. The tender romance between Danny and Brenda Devine is touching and heartfelt. My one complaint would be that Cotto opens with pages of exposition on the previous three years, much of which could have been dealt out later or cut completely. I fear that readers may get bogged down in the first few pages and miss the gold lurking beyond.
Overall, The Domino Effect, does not disappoint. You'll find yourself cheering for Danny through the end. But more importantly, you'll find yourself reflecting on deep issues, something that is often lacking in teen literature of today.
January 10, 2012
January 7, 2012
The Domino Effect - trailer
I tried to post this link to The Domino Effect trailer in the video section of my profile, but it wouldn't work. So, here it is.
http://www.youtube.com/watch?v=gY5jsm...
The trailer was created by me and my friend using an imac. We took many of the photos in the Queens neighborhood and boarding school that inspired the respective settings.
The music is from the amazing Chris Cubeta.
http://www.youtube.com/watch?v=gY5jsm...
The trailer was created by me and my friend using an imac. We took many of the photos in the Queens neighborhood and boarding school that inspired the respective settings.
The music is from the amazing Chris Cubeta.
January 3, 2012
December 15, 2011
An Article about "Domino"
This is an article I wrote for the Good Men Project, a magazine where I am a regular contributor. I write about a lot of things (food, family, parenting, politics, the economy, equality, and so on), but this piece was about storytelling in general and THE DOMINO EFFECT in particular.
http://goodmenproject.com/arts/father...
http://goodmenproject.com/arts/father...
Look what I found on goodreads...
I was just checking the status of my giveaway of THE DOMINO EFFECT and I found my forthcoming book, OUTERBOROUGH BLUES: A BROOKLYN MYSTERY, listed here on goodreads. It has a full synopsis and no cover (too bad, the cover is awesome). Kind of weird.
I even found out the pub date (June 12). I guess the distributor is excited about the book.
I even found out the pub date (June 12). I guess the distributor is excited about the book.
December 12, 2011
My latest New York Times article
Writing articles for journals is a great way to improve one's fiction. There's an economy required of it, along with the need for a compelling narrative that is developed in every sentence. And, once in a while, you come across a real character, just like this one from yesterday's "Neighborhood Joint" column in the New York Times:
http://www.nytimes.com/2011/12/11/nyr...
http://www.nytimes.com/2011/12/11/nyr...
