by Lehua Parker | Mar 26, 2015 | Blog Tours, Guest Posts, & Interviews
Johnny Worthen recently released his newest novel, The Brand Demand. An eclectic writer whose work spans many genres and ages, The Brand Demand is an adult eco-political thriller set in Utah and published by Cherokee McGhee. It’s available as a trade paperback and eBook.
In celebration of his fourth novel, Johnny’s dropping by his old blog tour haunts and sharing his thoughts.
Some authors take the time to plot the entire story and create extensive character backgrounds before they write, others sit down and wing it. What’s your writing process like and how do you balance planning with spur of the moment creativity?
Allow me to ramble: Every book is different, but I’m getting something of a system now that tells me that too much pre-writing will take the energy out of the work, if not the fun. My prewriting process usually consists of pages of notes, character lists with minimum descriptions and waypoints. A waypoint is a place I want to get to. They’re like plot points, but more general. I think of them as scenes I want to have, not just for the plot but for the theme. Theme is huge. It’s the biggest pre-writing concern I have. I need to know what the book is going to be about before I can write a thing. Waypoints are how I’ll to navigate the theme to get to the end that may or may not be plot dependent. “Galen meets with Carson,” “compare rich and powerful vs. invisible and powerful.” “Galen confesses to Bonnie. “Ideology softens” “Show the city in winter.” This kind of thing.
My original idea for THE BRAND DEMAND came from a vision of the ending. I saw the climactic moment in my mind and felt goosebumps. I then worked backward from that, inventing the characters that would get that ending, developing the theme to justify and explain it. I developed waypoints and outlined – only outlined – the characters. I then let their voices come out and gently guided the action to the end.
Many authors say they write because they cannot not write. If you couldn’t tell stories with words, what artistic medium would you choose?
I’m a modeler. That’s the archaic hobby of glueing plastic together and painting little men and spaceships. It’s a lonely outlet, but an art and I really enjoy it. It is however ridiculously frivolous and the finished models pile up with no place to display them. Sometimes you can build game pieces and theoretically have a use for them, but truth is I’m the only person I know who does this and games are few and far between. One day, maybe, I’ll get back to my collection and lose myself in little men and spaceships again.
Successful authors are more than writers; they are public speakers, educators, marketers, and business owners. As you’ve grown in your career which things have surprised you? Which aspects of being an author delight you and which horrify you?
I’m not sure what makes a successful author. There are no rules. We all just make it all up as we go along. It’s so much a matter of luck that if one were to think logically before embarking on this career they’d never do it. The odds are frightening, – horrifying, to use your word. Rejection is constant and unrelenting. You never get used to it. I thought I would, but I haven’t. They don’t sting as much as they used to, but they still bite.
The delights are when even against these odds, something gets through. Better still is the wonder that people read your work. And beyond belief is when they get it and appreciate it. It’s a drug I can only liken to the experience of finishing a book in the first place. It’s wonderful.
With such stiff competition and long odds, you’d think that writers would be a mean and bitter bunch, but they’re not. I’ve met so many wonderful people doing this. Helpful, encouraging, nice people who, like me, labor under the idea that the best way – the only way, to achieve one’s dreams is by helping other people achieve theirs. There’s a solidarity and friendship among the authors I’ve come to know. Of course there are few outliers who don’t get it, but I’ve been surprised at how warm the community generally is – so welcoming and supportive. It’s been a wonderful discovery of friends in arms.
Connect with Johnny Worthen
The Blog Mansion
Amazon
Twitter: Twitter @JohnnyWorthen
Facebook
Goodreads
by Lehua Parker | Jun 26, 2014 | Blog Tours, Guest Posts, & Interviews, Jolly Fish Press Titles & Authors
Someone was pound, pound, pounding on the side door. The vicious tiny attack poodles at my feet each peeked one eye open and went back to sleep. Wow, I thought. This must really be important! I quickly hit save, then back-up, then compile, then save again on my manuscript before dashing madly to the door.
A gas leak? A house on fire? Girl Scouts with cookies to sell? I flung open the door ready for anything except a wall of raging tie-dye waving a summons in my face.
“You’re taking me to court?!” the mountain thundered.
“Oh, hi Johnny. Welcome to the Parker Hale. It’s not nearly as grand as the Blog Mansion, but we like it.”
“Court! Over some dry-cleaning and an ER bill.” Johnny Worthen, author extraordinaire of Beatrysel and Eleanor, the Unseen was huffing and puffing like the Big Bad Wolf in acid-laced Technicolor.
“What?” I grabbed the papers and quickly scanned them. “Oh, good. They did include the costs of the rabies shots. How’s Morey The Eel?”
“When my lawyer Sammy ‘Light Finger’ Calzone gets through with you, you won’t have a coconut to crack!” Johnny snarled.
I smiled. “I really liked Eleanor, the Unseen.”
Like water on the Wicked Witch, Johnny melted. “You did?” he breathed.
“Yep.” I opened the door wider. “Wanna come in and talk about it?”
On the back deck I cracked open a couple of Diet Cokes and poured them over ice.
“What? No bourbon?” Johnny sulked.
I waved my hand over his glass. “Tah-dah! Now it’s bourbon.”
He sniffed it. “It’s still soda. You can’t do that. You’re not magic!”
“Says the guy who just sniffed his drink. We’re authors, Johnny. It’s all about suspending disbelief. In Eleanor you create a creature that’s not what she seems. Parts of her transformation are rooted in modern physics—endothermic, mass conservation, and the like—while other parts are more mystical—tasting, shifting, mimicking, and hints about Native American lore. She’s not quite one thing or another. How did you go about creating her?”
The power of metaphor, the energy of symbol, and a web of imagination. I wanted to embody the idea of potential radical change, put it within the most vulnerable creature I could imagine and make it all believable.
Eleanor, The Unseen, is a paranormal story, which suggests that something ain’t right in it, but I wanted that something to be natural as opposed to supernatural. I based it on legends for historical grounding. Every culture I know has some kind of folktale about a shapeshifter, be it the werewolves of Transylvania, the Skinwalkers of the Navajo, or the Nimirika among the Shoshone. I approached that paranormal element within Eleanor from the idea that all these stories were right but wrong at the same time. These ancient peoples all witnessed the same thing, event, creature, what have you, but they didn’t understand it. Their descriptions are full of fear and superstition and prejudice (a theme in the series) but what they have in common, a brush with something unusual, marvelous and scary, was right on point. There is a predator in their midst. The suggestion becomes then that the paranormal element in the story is old and familiar to mankind, but forgotten and dismissed because it is so rare and unstudied.
I wanted the miracle to be metaphor and symbol, a complication and not the story itself. The story is Eleanor, her tale, her trials as the ultimate outsider hiding in plain sight. She is a soup of contradictions, lost but found, loved but lonely, malleable but fixed, struggling with who she is, what she might be, and afraid of her own powers in the face of tragedy and hope. To compound the metaphor, it’s placed at that time of life when young people become young adults and grow into what they are to be, those awkward socializing high school days. Eleanor is an exaggeration of the growing up, trying to fit in while being different.
Finally, keeping with the theme of change, I needed Eleanor’s to hurt. Change is painful and her wonderful “gift” has costs — terrible, painful, frightening costs. It’s not easy. It is not quick. She becomes helpless. And she is a slave to it. Thus is change. Change is not easy. Also, I think this simple symmetry of cost and benefit help to sell the concept and make it easier for the reader to suspend their disbelief and concentrate on the story.
While Eleanor prefers to hide rather than fight, she will when her back’s against a wall. Do you think most bullied people are that way? Is there a snapping point?
Bullying is a social interaction that extends far beyond the microcosmic high school experience. It’s a hierarchical thing, alpha males and females rising to the top of the herd by beating others down. I see it as a symptom of insecure people trying to gain some control over their lives. It’s hard to pity them, but in the wide shots, you can and I try to.
The idea of fighting back is a tricky one for Eleanor. Her snapping point has less to do with what her bullies are doing to her than it does with her change of perception of her own worth and her future. She admits to herself that she’s becoming reckless, fighting back when she’d always retreated before because at that point in the book, she has something to fight back for. She has hope. Most people would snap after a long history of abuse, a final straw thing, but for Eleanor it’s an awakening inside her, a new idea of self-worth brought on by the simple affection of a single friend. When survival is no longer enough, the timid become bold.
There’s a whole cannon of literary work about young girls transitioning from victim to victor, everything from Stephen King’s Carrie to Alice Walker’s The Color Purple to Jerry Spinelli’s Stargirl. How does Eleanor add to the empowerment conversation?
There is a lot of Carrie in Eleanor, I admit that. The similarities struck me as I wrote my book, but there are important and fundamental differences between King’s story and mine: his is horror. Mine is a fable.
I don’t think Eleanor is a victor over her bullies. They are trials that shape her, complications that vex her, metaphor for an intolerant society but they are just some among the many troubles Eleanor faces. Because Eleanor has lived in fear her entire life and was forced to hide, she is fearful and passive. She reacts as a frightened animal might. Her achievements then, not to give too much away, are to take control of her life and become an active player in its events. It’s the difference between being a scavenger and a hunter.
It is a complicated dynamic, the bullies and Eleanor, and not to give too big a tease, but it is explored in depth, passionately and lovingly, over the length of the series.
While many readers will focus on the developing love story between Eleanor and David, the love story that caught my heart was the relationship between Eleanor and her mother, Tabitha. Tell me about how this theme came about.
Yes. Absolutely. The original title for the book was not Eleanor, but Tabitha. The series was to be called Eleanor, but editors and publishers wanted Eleanor so Tabitha, Eleanor Book 1, become Eleanor, The Unseen Book 1. Whatcha’ gunna to do? But so central was Tabitha to the book that she was in fact meant to be the title character.
The relationship between Eleanor and Tabitha is central to the book: two women, vulnerable and alone, broken and lost coming together, saving each other. It is a powerful symbol of love and acceptance, joy without conditions. The best of humanity – a mother’s love. It is healing among death, growth during decay, the future from the past. Tabitha is the teacher and Eleanor the student and what is taught is the best our species has to offer.
I channeled my own grandmother into Tabitha, and other friends and family. I took from them the best I’ve seen in people facing the worst; the nobility and affection, strength during weakness, joy during pain. Tabitha’s very personal to me.
Give me the links so readers can find you.
Here’re some:
The Blog Mansion
Kirkus Review of Eleanor, the Unseen
Amazon
Twitter: Twitter @JohnnyWorthen
Facebook
Goodreads
Any upcoming events? Just in case I need to serve you new papers.
Upcoming events? Serving papers? Well, uhm, I’ll be at the “Process Server Lynching” on the 19th and the “Frivolous Lawsuit Retribution Society” meeting, gun sale and barbeque on the 5th. Don’t forget the “How to Poison Your Neighbors” workshop on the 8th. I’ll be presenting.
Otherwise check out my events page.
http://www.johnnyworthen.com/Events.html
And make sure you come out to the Eleanor, The Unseen Book Launch on the 28th of June at Barnes & Noble in Sugarhouse. 12:00-3:00.
Johnny leaned back in his chair and drained his glass. “Well, you got me all talkative about Eleanor, The Unseen. I love that book. It’s deeply personal. My grandmother is in Tabitha; Eleanor is the daughter I never had. The issues are as deep to me as the marrow in my bones. Now, where was I? Oh, yeah. You still owe me for Morey The Eel’s rabies shots.”
I waved my hand over a cocktail napkin. “Here you go. Paid in full.”
“Full what?”
“Magic!”
Links to my visit to Johnny Worthen’s Blog Mansion
Lehua Parker Did Not Buy Me Lunch
Lehua Parker is My Chum
Johnny Worthen’s book review of One Boy, No Water
Johnny Worthen recently released his newest novel, The Brand Demand. An eclectic writer whose work spans many genres and ages, The Brand Demand is an adult eco-political thriller set in Utah and published by Cherokee McGhee. It’s available as a trade paperback and eBook.
Connect with Johnny Worthen