Saturday, December 1, 2018

Miraculum ARCs are here!

...And they're gorgeous. Just sayin'. :)

https://www.amazon.com/Miraculum-Steph-Post/dp/1947993410/ref=sr_1_1?ie=UTF8&qid=1537026575&sr=8-1&keywords=miraculum
 
 
 
Want to know what's inside? Check out Entertainment Weekly's feature on Miraculum for a sneak-peak at Chapter One... Oh, and pre-orders are up as well! 
 

(If you are a reviewer interested in an advanced copy of Miraculum, please contact me or Jason Pinter at Polis Books. Miraculum is also available on Netgalley for request. Many thanks!)

Friday, October 19, 2018

Book Bites: Joe Clifford, author of The One That Got Away

Okay, admit it. You've been waiting for this interview. Today, I'm bringing you shoot-from-the-hip answers to a few questions from rock star author Joe Clifford. His most recent novel, The One That Got Away will hit shelves this December, but if you can't wait that long, check out Clifford's Jay Porter series and the book that started it all, Junkie Love. For now, read on as Clifford gives it to us straight about broken characters, deadlines, golf, and why crime writers are some of the nicest folks you'll ever come across....



"Taut, pacey and with a powerful sense of place, Joe Clifford's The One That Got Away is an intelligent and astutely observed piece of American small town noir." --Paula Hawkins




What drew you to the genre you write in?

I made the switch to genre, mystery, because honestly, the people were nicer. This isn’t to knock all literary fiction writers. But that’s the place I started, and I found many to be, well, sorta douchey. Or at least rude. And I think about this often, why mystery writers—crime writers—who write about some god-awful stuff—murder and assaults and kidnappings—tend to be some of the nicest mutherfuckers you’ll ever meet. Whereas, conversely, literary fiction writers, who write all about feelings and shit, are a little more insular, snobbish, pretentious, dickish. And I think it’s because we mystery/crime writers understand there is no end game. No prize. Every once in a while someone breaks through, and you are truly happy for them. But most of us are happy to get our books out, have some people like them, and so we support one another. Without generalizing too much, I think literary fiction carries a heavier weight, that illusion of the Great American Novel, and how it is going to change your life. It’s not.


Which character in the novel gave you the most trouble?

That’ll always be Jay Porter. Jay is a character I deeply identify with, and a character that pisses a lot of people off. He’s morose, sullen, angry, hellbent on revenge, and not all that nice. And while I am not like that, at least not entirely, I can see how I could’ve ended up there. A couple more wrong turns, fewer good breaks, whatever. But my life broke a different way. But it didn’t for Jay, and when so many things go wrong I see how people can become broken. My brother was broken like that. The stories of broken people interest me. Heathcliff. Holden Caulfield. Camille Preaker. I’ve found that a lot of readers don’t like to be reminded of that kind of thing, and that if a book is too dark, you run the risk of alienation. But that was the story I wanted to tell. But, yeah, it hurts that Jay doesn’t get a little more love.


If you weren’t writing, what would you be doing with all of your free time?

What I’m doing now. Golfing. I’ve been golfing a lot. I’m trying to take time off before the next book. I have three out this year (Broken Ground [Porter 4]; the 2nd Ed. of Junkie Love. And [my first in a 3-book deal with Down & Out] The One That Got Away. And a 4th if you count the Italian translation of Lamentation [Porter 1]). Which involves a lot of traveling to promote. I don’t think I get one uninterrupted three-week block till the New Year. Moreover, though, I want this next book I write to be … the one. I feel like I am running out of time. Anyway, it’s sorta driving me nuts, not writing. So I’ve been golfing a lot. Which with my injuries (motorcycle accident) is tricky. I’ve got a little old man swing. But it’s fun. I did it a lot when I was a kid. My wife thinks it’s a mid-life crisis. Probably. Still beats having an affair and buying a sports car.


How do you handle writer’s block?

I once heard another writer say that the best cure for writer’s block was having a deadline. It’s pretty amazing, especially if an advance is involved. I mean, you ain’t giving the money back. I haven’t missed a deadline yet.


What piece of your own writing are you most proud of?

Well you know how that is. You love all your babies the same. It’d be like asking you which chicken you love best! But, yeah, since you’re asking (and I’m answering). Junkie Love. It was my first book, and it’s the story of my life. I am very proud of work I did on the Jay Porter series, in part because I was able to expose what a bunch of rat-bastards the Manafort family is (have fun in prison, Paul). And my new thriller, The One That Got Away, may very well be the “best” book I’ve written, at least in terms of character, plot, mystery, etc. But Junkie Love will always be the story of how I got from there to here. And I like here. Most days.

Friday, October 12, 2018

Book Bites: Charles Dodd White, author of In the House of Wilderness

I'm so excited today to bring you an interview with Charles Dodd White, in my opinion one of the best Appalachian writers to date, whose harrowing In the House of Wilderness debuted last month to critical acclaim. White is known for the beauty and brilliance of his language and now he's bringing us a story of mythical proportions, set in a stark and desperate landscape, centered on a family that embodies the harshness of the land around them.

https://www.indiebound.org/book/9780804012102

"In the House of Wilderness may be Charles Dodd White’s finest achievement to date. This is a story that at once moves and lingers, well paced but dripping with the language we've come to expect from his pen. Line for line, White is one of the most talented writers at work in the American South."—David Joy
 
 
 

What drew you to the genre you write in?

I can’t become invested in a piece of writing unless I can feel that something urgent is at stake. So, for me, that really dismisses a lot of so called “high concept” fiction. Some readers have called my writing Gothic, but I really think I’m writing realistically about people who find themselves in difficult circumstances. I want the reader to feel like the conflicts my characters face are recognizable and important. That’s the heart of fiction, for me.


Have you ever given up on a writing project?

More than once. When you sit down to write a novel, you’re flying blind. One of the great things about that is that you have a world of possibility in front of you, and if you’re doing the job right you’re taking big risks. The downside of that is, of course, those risks don’t always pay off and sometimes you end up with a mess on your hands. I like what Harry Crews said about this, though I’ll butcher it in paraphrase. Sometimes, when the work isn’t there, it needs to go into the fire. I like that idea of purifying the work by destroying it so then you can go on and make something new from the ground up.


What piece of your own writing are you most proud of?

I’m always proudest of what I’m currently working on. I want to make sure I’m doing something different each time I set out on a project. As a writer it’s important to keep looking forward and to realize you’re building something longitudinal. A long term career is something that requires you to try to understand yourself and to reflect that honestly in what you create.

In your eyes, what does it mean to be a “successful” writer?

Success is writing the books that only you are meant to write. That might translate into sales, big publishers, and critical accolades or it might not. But being proud of sticking to your own view of what your art should be isn’t something that can be taken away from you. 


Who was your intended audience for the novel?

In the House of Wilderness is a book for people who believe the world doesn’t offer up easy answers. The characters are human, and as such, they are flawed. I’m not interested in writing something that promotes a cardboard version of right and wrong. As Hawthorne said: “Ambiguity is sacred.”


Friday, October 5, 2018

Book Bites: Kate Gehan, author of The Girl & The Fox Pirate

Today, I'm super-excited to bring you an interview with The Girl & The Fox Pirate author Kate Gehan. I mean, will you look at that cover! A dreamy, wonder-filled short story collection is exactly what we need right now....

 
"This is a charming, keen collection of creatures and treasures where even the darkness crackles and zaps with tiny electric lights." -Leesa Cross-Smith
 
 
 

If you weren’t writing, what would you be doing with all of your free time?

Piano and guitar lessons. Maybe song writing.


How do you handle writer’s block?

I do everything I can to get out of tired patterns. I explore new music, walk different streets, hit a new museum exhibit, and get out and people watch. Reading poetry aloud late at night and showering in the dark also rewires my brain.


Have you ever given up on a writing project?

A handful of years ago I started a novel about the opiate epidemic in Staten Island, where I grew up but left after my family moved away after I graduated from college. The story and characters grew out of a series of short stories, beginning with a couple who sells pot out of their ice cream truck. But then as I began to get serious about the project, the New Yorker published an exhaustive article about oxycodone busts on the island, and a few authors published books on the subject, along with Hurricane Sandy’s destruction. I didn’t move quickly enough and the market became saturated. Plus, I had qualms about writing about a place I’ve been away from for so long. My characters still feel real to me and I think about them often, but I’ve let go of their story.


What is the best piece of writing advice you’ve ever received?

It’s twofold: Just sit down and do it for 20 minutes, and everyone else faces the same blank page.


What single book has been the most influential to you as a writer?

I read Robert C. O’Brien’s children’s fantasy/sci-fi novel The Silver Crown as a child. The protagonist’s house burns down, she witnesses a murder, and escapes a kidnapping by sheer gumption and by use of a magical crown only she can control. Ellen uses the gifts she’s been given to survive a dangerous world—what a feminist heroine! I loved how O’Brien mixed realism with magical fantasy and I think I’ve been chasing that combination ever since in my own writing.


Monday, October 1, 2018

Tattoo Tuesday

Many thanks to Brian Lindenmuth for hosting me over at ToeSix Press for Tattoo Tuesday! (If you ever wanted to know more about my tattoos or tattoos in general, well, here you go...)

https://toesixpress.wordpress.com/2018/09/11/tattoo-tuesday-with-steph-post-interview/

Friday, September 28, 2018

Book Bites: Willie Davis, author of Nightwolf

So, it's been a hell of a week, but here's a Book Bites interview to get you through... Today, I'm talking with Willie Davis, author of Nightwolf, released just this past July. Nightwolf is a rough-and-tumble, down-and-dirty exploration of the darker side of Lexington, Kentucky, as seen through the eyes of a seventeen year old, in over his head and caught between choices that are only hard and harder.

https://713books.com/2018/07/09/nightwolf-davis-preorder/
"Davis, a master of wit, one-liners and dead on observations, has done everything right. Nightwolf, often funny and always smart, is told through the eyes of Milo, a devastatingly funny and keen social critic. And through him, this story of Kentucky and youth and angst and self-discovery gleams." --Natashia Deón


Which character in the novel gave you the most trouble?

My main character, Milo Byers, took a long time to come to me because his nature is to joke about his circumstances rather than deal with them straight on. Still, I liked being in his presence, so I didn’t mind waiting until I figured out what he was going through. His best friend, Meander Casey, however, was a puzzle. On the one hand, he’s slight, and of all the casual pain dealt out by the plot, he’s the only one that really feels the bruises and welts. On the other hand, he invites pain and seems to enjoy it. I couldn’t tell if he was invincible or if he was a flower about to wilt. Eventually, I realized how he came by his pain. He could afford to be emotionally open because he knew that no one else there, not even his best friend, would really understand him. By the end, he’s the one that feels the most revealed to me, the one with the least to hide even though the book isn’t in his voice.


Were they any parts of your novel that were edited out, but which you miss terribly?

The original ending of the book was actually the first thing I wrote with these characters. It was a standalone story, but I wanted to hear more from them. I actually thought it was the opening to a book that was going to follow these characters as they adjust to the challenges that come in their thirties. But the part of the story that kept insisting on itself was when they were seventeen. I thought the second part of the book would take place with the characters in their early thirties. But then another part of the story felt far more vital. I pushed on, in part, because I knew the epilogue would be this standalone story, that showed these wild, long-suffering characters as adults, still bruised from the past, still misbehaving, but still standing, full of genuine love for one another. When it came time for the final cut, the editor said it was fun, but it didn’t add anything to the story. To me, it showed both where they came from and where they were going. But on a practical level, he was right. I spread some of the elements of the epilogue throughout the book, but I miss having them take a troubled curtain-call of sorts.


How do you handle writer’s block?

I once heard the advice that, if you have writers block, send someone with a gun into the room. It’ll clear up everyone’s motivations and give them something to do. Seems like good advice, but given how often I get blocked, my work would be nothing but people with guns barging into rooms. I have occasionally found this helpful: pick a book at random. Read ten pages, and tell yourself, “I’m going to steal something from this.” Sometimes it’s a detail, sometimes it’s a tone, sometimes it’s just a word, but giving yourself the obstacle that “something from this book is going to go into my story” can make for rewarding reading.


What was the best review you ever received? The worst?

I’ve been fortunate to write some articles for Salon. The first article I wrote for them came out of the blue because an editor (who was my Facebook friend) needed an article about college basketball within 24 hours, and knew I was a fan. I was powerful proud to have it published and happy with my piece. The first comment I read was “This has to be the stupidest piece of shit that’s ever been published on Salon.” I thought, “That will be the worst review I ever get.” Then the next comment was, “Sadly, this is not the stupidest piece of shit that’s ever been published on Salon.” So I really ran the gamut from negative to positive there.


Did the novel have any alternate titles?

The original title was Against A Thunderstorm, a phrase taken from a letter General Sherman wrote to the Mayor of Atlanta. The mayor wrote to General Sherman asking to spare the city from his “reign of terror.” Sherman responded that were these normal times, he would not only spare the city, but would use his forces to help restore Atlanta. Unfortunately, however, this is wartime, and war rules over all. “You might as well appeal against a thunderstorm as against these terrible hardships of war. War is cruelty, there is no use trying to reform it; the crueler it is, the sooner it will be over.” It’s a quote both empathetic and heartless, and it speaks to the futility of so many of our daily fights. In fact, the only thing that quote lacks is even a tangential connection with my book. That didn’t stop me, and I called it Against A Thunderstorm anyway.

When I was starting this book, I lived across the street from a family with two young kids. They were excited because they had just adopted two stray cats. I asked what their names were, and the youngest daughter said she named her cat “Bubbles.” Then ten minutes later, she told me she changed the name to “Flowers.” After another ten minutes, she told me it was “Keisha.” I asked her brother what his cat’s name was, and he said “Nightwolf.” That shocked me—it was such a badass name. Meanwhile, I had this character who goes by a superhero-pseudonym and stalks the night. As I was yet to christen him, I temporarily named him Nightwolf, and before I could stop him, he ran off with my novel. Years later, I got word that my publisher wanted the book, but he couldn’t figure out why it was called Against A Thunderstorm. He’d publish it if it was called Nightwolf. I knew immediately that it was the right title, but also that it would mean that my literary achievement would be named after my 8 year-old neighbor’s cat.

Thursday, September 20, 2018

Book Bites: Brian Tucker, author of Pokeweed

I'm always trying to spice it up with my Book Bites and today I'm bringing you not only a YA novella (though it's really for adults, too), but a YA illustrated novella. And let's just throw 'historical' in there as well, as Brian Tucker's recently released Pokeweed is set in Hazard, Kentucky, in 1888. Here, Tucker shares his thoughts on True Grit, establishing a fictional place over a span of works, and what you can learn just by heading to the library.

https://www.indiebound.org/search/book?keys=pokeweed&=Search

"Brian L. Tucker is writing about Eastern Kentucky in original and interesting ways, and Pokeweed is a perfect example of that. I'm excited about this newest book and eager for what Tucker does next. You should be, too." - Sheldon Lee Compton


What drew you to the genre you write in?

I wish I could stick to one genre! I’ve written in different mediums with each work I’ve released. My first work, Baptisms & Dogs, was a short story collection written in the fictional town of Seton, KY. I draw largely from my experiences of my hometown of Monticello. The collection was close to me, as it was constructed while working through my MFA program at the Bluegrass Writers Studio (2010-12). This work prompted me to think more about place and setting as a character. It led me to tackle my first novel, Wheelman, taking place in central Mexico (again drawing from a summer residency our MFA program took to San Miguel de Allende (2010)).

Following this, I tackled a second YA novel and went explicitly through a Christian publisher to house the action/adventure work, Swimming the Echo. Again, I based the story in Seton, KY and allowed personal stories from my childhood (growing up in cave country) to allow the reader to travel to Mammoth Cave and witness some of the behemoths situated below ground. Since this second novel, I felt challenged to try something new. After reading Robert Gipe’s illustrated novel, Trampoline, I thought “Hey, it’d be cool to try to illustrate a tale told east of Seton.” I thought long and hard about surrounding towns, and I let research become a part of what would eventually become my newest publication, Pokeweed. It’s an illustrated novella set in Hazard, KY, at a time just after the Civil War. In it, I utilize factual events of a not-so-famous feud known as The French-Eversole Feud to permeate the travails of a teen forced to reckon with the loss of his sister (gunned down by one of the feudists). Due to the shorter length, I sought out an illustrator, and the artist totally nailed the vision I had for eastern Kentucky at that time in American history. It is set for release September 20th, and I can’t wait to share it.

Who was your intended audience for the novella?

Anyone who’s ever picked up a copy of True Grit and thought, “This is fiction!” I wanted to cater to that crowd and tell a story in a new style. I couldn’t get the character, Mattie Ross, out of my head. Portis did such a fantastic job writing a character into existence, and I wanted to mimic that with illustrations and true accounts. While the main character, Z Snopes, is a teen in his own right, his story is one for everyone who’s trying to survive.


Was there something interesting you learned while researching the novella?

So many things happen when you check out a book from the library. For the sake of keeping this [interview] brief, I loved reading about the dwindling size of a town—post-Civil War. (Not for the hardships and pains Hazard, KY people underwent, but the raw realization that just two opposing clans wreaked so much havoc from their sins.) Much like the Hatfields & McCoys, this feud consisted of ever-present hatred. At one point, less than fifty people were stated as living in the city of Hazard. The fear of getting shot caused people to move elsewhere. I couldn’t imagine that type of thing happening, even with all of the recent shootings we’ve seen in the US.


What single book has been the most influential to you as a writer?

This is a tough one. Every book can lend itself to a future idea or project. Wendell Berry’s creation of Port William in all of his great books comes to mind. So does Harriette Arnow’s books, especially Hunter’s Horn and The Dollmaker. I also love anything Thomas Merton wrote.


How important is the setting in your most recent novella?

Setting has gained so much more heft to what I write. Seton, KY started as a word on the page, and it grew from there. I wouldn’t say it’s nearly as fleshed out as Berry’s Port William, but it’s become special to me with each new book. My first thought now is, “Should I bring it back home?” And I weigh the pros and cons of starting in Seton or somewhere else. It’s nice to have that spot in mind. I love my hometown, and I wouldn’t be who I am without the people God placed in that corner of the world [Monticello].