Darren is a passionate advocate for the intellectual disability community, and is the proud father of a son with life-long cognitive and communication challenges. When he’s not watching American Ninja Warrior with his beautiful wife, he’s eating Fatburger with his wondrous twins.
1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?
My first book changed my life before it was a book. As a manuscript, I submitted it to the biggest literary agents in my native Australia and one responded saying that, although she wasn't going to rep this work, I should keep writing because I had talent and I was someone to watch out for. That was a huge moment; it confirmed I wasn't deluding myself that I could write a good story.
I feel Boy in the Blue Hammock is my best work to date. Readers will have their own opinions, but I think it's the best writing I've done in terms of quality and craft. It's also traversing some territory that's largely uncharted -- the representation of intellectual disability is rare in literature, particularly when it involves a paucity of functional spoken language. I'm delighted a character like Kasper is on the shelves, not the least because he was inspired and shaped by my own son's lived experience.
2 - How did you come to fiction first, as opposed to, say, poetry or non-fiction?
I probably came to fiction courtesy of my grandfather; he was a big novel reader and I used to take books home to read from his collection. His taste was more commercial than literary, but Agatha Christie and Robert Ludlum wasn't a bad start for a word-hungry kid. That burgeoning love of fiction was really cemented by my grade 7 teacher, Mr Wade. He was big on creative writing. He can take a lot of credit for the author I've become.
3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?
Over the years, I've tended to start a novel with a bit of a skeleton plan, but my most recent manuscript (currently being shopped) was much more directed -- I used Michael Hauge's 'Six Stage Plot Structure' and found it very useful -- prior to commencing the first draft. I might do so again in my next project. Regardless of the amount of planning, my first drafts are slow, deliberate and measured, often reducing the amount of editing required later. Boy in the Blue Hammock came out almost fully formed; the edit with Nightwood Editions was quite light.
4 - Where does a work of prose usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?
I am working on a "book" from the beginning. Invariably, I have a clear sense of the piece as a stand-alone short or a novel.
5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?
I like readings -- as a former teacher, I have a strong performative streak. Reading aloud helps too; it brings the work back to life for me after the long triage of drafting and editing.
6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?
More a statement than a question — ‘We cannot live in a world of one’ is a thread that runs through my work. It’s a quote from my novel Are You Seeing Me? and it speaks to the fact that, as human beings, we need each other and rely on each other. It’s true too that, throughout the bulk of my writing career, I've been forcing my fictional characters to deal with things I'm too cowardly to face. They've had to cope with a lot. If they ever find out where I live, I'm in trouble.
7 – What do you see the current role of the writer being in larger culture? Do they even have one? What do you think the role of the writer should be?
For me, the quote from Kafka always looms large: "a book must be the axe for the frozen sea within us." I would add that, in these troubled times, a writer must also be the axe for the frozen sea around us.
8 - Do you find the process of working with an outside editor difficult or essential (or both)?
Both for sure, though much more essential than difficult. I pride myself on being a good collaborator and that means finding the delicate balance between defending your work and being open to feedback that benefits the story.
9 - What is the best piece of advice you've heard (not necessarily given to you directly)?
Best writing advice was the Logan Pearsall Smith quote: 'What I like in a good author is not what he says, but what he whispers.' (I've warped it into 'Show AND tell, but don't yell!' for my own workshops).
10 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?
I work a full-time day job, so writing routine tends to be in the evening and whenever I can. If I get 500 words done, that's a very productive day.
11 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?
I’m one of those authors who just keeps turning the problem over and over and over until a solution is willed into existence or the problem just gives up. Getting out of my head space often lets a solution wander in. A session at the gym can be helpful.
12 - What fragrance reminds you of home?
Not many folks would call it a ‘fragrance’, but the smell of Vegemite invariably transports me back to Brisbane.
13 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?
It's very true for me that books come from books, but these days podcasts are something of a go-to, particularly narrative-based ones. They really help fill the reservoir of thoughts and ideas and questions that I need to write a novel.
14 - What other writers or writings are important for your work, or simply your life outside of your work?
My favourite author all-time is Marquez -- the magic realism in my work is courtesy of his influence. A host of great Aussie novelists were key in my formative years: Peter Carey, Tim Winton, Venero Armanno, Nick Earls, John Birmingham. When we moved to Canada in 2007, I read a bunch of CanLit that first year, and I was particularly taken with Wayne Johnston's The Colony of Unrequited Dreams. These days, anything I read that's really good is important in my ongoing journey.
15 - What would you like to do that you haven't yet done?
Retire from my day job!
16 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?
Sports play-by-play commentator. Or maybe professional karaoke singer -- is that an occupation?
17 - What made you write, as opposed to doing something else?
Words and stories and books were definitely in the blood from a young age, and writing was the thing I gravitated to when I had time and space. Writing was also a pragmatic choice -- I'm crap at many things, particularly math.
18 - What was the last great book you read? What was the last great film?
Last great book was Quicksand by Steve Toltz. Last great film was The Father. I think it's the first movie I've seen where the narrator is reliable and everything and everyone surrounding is unreliable. Remarkable.
19 - What are you currently working on?
I have a few new novel ideas, and one of those is beginning to stick. Stay tuned!
12 or 20 (second series) questions;
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