Michael Gardner, whom I interviewed for my December newsletter, is an indie author from New Zealand. I’d like to introduce him to you by reprinting the bio he’s posted on Goodreads.
|1.Why do I write? I write because I have an obsession with writing which borders on a mental disorder. I’ve often wondered if I can get medicated for this condition, but it’s much cheaper and easier to spend time at a keyboard.|
2. How long have I been at it? I’d love to tell you I had some magical writing awakening, but the truth is I’ve been writing since I could combine a noun and a verb to form a sentence. Not sure when that was or what I used. Probably the red crayon on the kitchen wall incident. It was a good story, but not well-received.
3. What is my inspiration? I’m inspired to write so I don’t have to find another pastime. I’ve tried stamp collecting, golf and other forms of self-harm, and writing seems to be the least destructive to my mental well-being and the environment. I also have an allergy to churning out books in a specific genre, which makes me a difficult author to follow. Sorry about that.
4. Do I have a pet, is it cute and what’s its name? I do have a pet. My wife thinks it’s cute. It’s actually the embodiment of evil with a soft coat. Amongst other names, I call it the Anti-Bob. If you’d like to know why, read The End and Other Stories.
Will: As a fan, I was delighted when you gathered eight of your separately published stories into one volume, Outside Inside. Do you have some “back story” about that process and those stories in particular that you can share with us? What do you believe are the elements of a good short story?
Michael: They all come from completely different places, which sounds contradictory considering they all came out of me. For example, Henry & Isa started as a dream. Goddammit, Larry! was inspired by a glitch in a video game I love to play. And Alexander Rollins Must Die came to me fully formed as I was going to the supermarket. Don’t ask me what grocery shopping has to do with a black comedy metafiction story.
I guess the point is that inspiration strikes us in unusual and unexpected ways. We have to tune in to those moments and embrace them. Or find a really good therapist. Short stories are an interesting beast. For years, I had the ridiculous notion that a short story was what people wrote if they weren’t good enough to craft a novel. It’s absolute nonsense. In many ways short stories are easier than novels, but in many ways they’re much harder.
With a novel, you have time to explore the story in depth, chase various ghosts, sidetrack down mysterious pathways. With a short story, you have to leap into the deep end of the pool and hope you can swim, or that the pool isn’t filled with hydrochloric acid. It demands finding the protagonist’s voice, conflict and goals as quickly as possible, then chasing them relentlessly to a conclusion in the most compressed form of storytelling you can muster.
Will: Your novel Rescue One is a page-turning thrill ride. Please tell us about how you created that.
Michael: I always wanted to be a writer. But for many years, I had a bee in my bonnet about it. Writers felt like mystical, elusive creatures, and I couldn’t quite see myself in that role. The early moral of the story is: follow your dreams, don’t listen to that voice.
Anyway, cutting a long story short, I spent five of my best working years (before becoming a self-employed writer) at my local rescue helicopter service. I flew a desk, not the chopper. But the rescue crew were an inspiring group of men and women who have left a mark on me for life.
One year, I was asked to run the strategy meeting. I never take a conventional approach to anything, so as a warm-up, I made everyone play a party game called ‘And the consequence was…’ You give each person a sheet of paper and a pen. Each person writes a line from a predetermined set of story ideas. You fold the paper over so each line is hidden and pass it to the next person in the circle. I changed the story ideas to imagining what the rescue helicopter service would be like one hundred years into the future. At the end of the session, you unravel the paper and read the story. Everyone was weeping with laughter.
And so I decided to ignore that voice and start writing a book, which became Rescue One.
Will: Your droll sense of humor is practically a trademark of your writing. Does that humor come easily for you? Does it have roots in your family?
Michael: My family are a very sensible bunch of people. I’m the one with the droll sense of humour. I like to laugh and give other people a good laugh too. From a writing perspective, you can create very powerful moments if you write funny scenes and deliver them deadpan. It’s simple juxtaposition really, layering contrasting ideas into scenes to give the story different nuances.
Will: You are a master at developing quirky characters to inhabit your stories. Are there some “tricks of the trade” you might share with us about how you do that?
Michael: I’m a big fan of the antihero. All my protagonists are antiheroes, even the high-achieving ones. For me, flawed characters are more human, relatable and interesting to write. I think it’s important to love all your characters, including the villains. If you enjoy writing them, that enthusiasm comes through on the page for the reader.
Will: Do you have any advice for other indie authors, things you’ve learned along your own creative journey?
Michael: Write because you want to tell other people your story. Do it for no other reason than that. If you write with pure determination to produce a good book, with no expectation of getting anything in return, you’ll do your best work.
And, as above, don’t listen to the voice.
Will: Thank you, Michael. My readers and I appreciate your taking the time to speak with us.
Catch up with Michael and all his books by clicking on his picture above.