Dan Crawley’s writing appears or is forthcoming in Lost Balloon, JMWW, Best Small Fictions, Flash Frog, Atticus Review, and elsewhere. His latest collection is Blur (Cowboy Jamboree Press). Find him at https://twitter.com/danbillyc.
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 was a novella-in-flash. I loved working on this form, linking the flashes together as “chapters” in the book, uniting all the pieces into a solid thread that kept the story moving forward. It was challenging, but a blast to write. When it was published by Ad Hoc Fiction, I was grateful to finally have a “book on the shelf” after decades of writing. And more readers, writers and editors were able to experience my work, which opened more creative opportunities for me.
My latest collection, Blur, is a collection I’m very proud of. The gratitude I have is just as palpable as my first book. In fact, when I publish any story I consider myself lucky, truly. It feels like winning the lottery.
2 - How did you come to flash fiction first, as opposed to, say, poetry or non-fiction?
In the 90s, I remember flashes were called “short-shorts” or “sudden fiction.” I’ve been a fan of this genre ever since. And even though I’ve written long stories, these very tiny stories are a joy to attempt. I marvel at how you can achieve character revelations, strong conflicts, and play out a whole story in under a thousand words.
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?
Molasses slow. And I’m finding that the more I write, the process has become slower and slower. It could take months, even over a year to develop an idea of a story, then all the drafting in my mind, and finally getting something on paper. Next there is revising, revising, revising. And what is in my mind rarely is the finished product; the seed is still there, though.
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?
This recent collection came from the many flash fictions I published the last few years. I wasn’t planning on putting out another book after my short story collection was published in 2021. The flashes in Blur just kept showing up. It is a nice surprise all around that a book flourished from these stories.
5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?
I can read another writer’s work (I do this a lot in my teaching), but reading my own stories can be scary for me. I guess my own stories are too close, causing me to feel more vulnerable. Something like that. I’m getting better, I think. Slowing down, concentrating on the words rather than my own terror. These days, Zoom readings don’t scare me as much as reading to a live crowd.
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?
Infidelity. Financial straits. Anything to do with family dysfunction. These concerns seem to show up most in my stories. Also, I’m constantly wondering: why do we do what we do to each other? Ha. Sounds like a Carver story.
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?
We need to keep holding up that fucking mirror. Keep revealing, to our last breaths.
8 - Do you find the process of working with an outside editor difficult or essential (or both)?
Hugely essential! I really appreciate the suggestions I’ve received from a wide range of editors. This writing biz is a lonely, isolating deal. I think it is important to get outside of my own thinking about a story and get another’s interpretation. Being a workshop teacher has made me even more adamant about seeking out an editor’s perspective.
9 - What is the best piece of advice you've heard (not necessarily given to you directly)?
Listen more than I talk. Still working on this one.
10 - How easy has it been for you to move between genres (flash fiction to the novella)? What do you see as the appeal?
Since I wrote a novella entirely of flash fictions, there hasn’t been such a chasm between the genres you mention. I’d like to write a few more novellas-in-flash, if I can. I find this format as one of the best ways to tell a longer story.
11 - 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 tried writing to a schedule many times throughout my adult life. Sometimes I’ve been successful and other times I’ve floundered. These days, I’m taking care of my dad, and now he is bedridden and needs hospice care. My days and into the nights are taken up with attending to my dad, and some days are more challenging than others. A writing schedule isn’t in the cards, so I try to work on a line here and there, whenever I have the chance.
12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?
I read fiction daily. From the numerous books stacked around my bedroom to all the amazing works being published every week in journals across our writing community. A variety of stories have kick-started me out of my stall. And I’m grateful for all the work being published by a brilliant generation of writers.
13 - What was your last Hallowe'en costume?
I worked in an office once and my supervisor dressed in a very disheveled manner. So I showed up to work one Hallowe’en all disheveled. Wild thing is: everyone acted like they didn’t notice how messy I looked! They probably thought I was having a bad day. Finally, an Admin. Asst. said, “Oh, you’re dressed like _____! Nice costume!”
14 - 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?
I dig all music. Punk to funk to rockabilly to bluegrass/folk and everything in between. Usually, I listen to music while writing out first drafts, and I need silence when finishing up the final draft, before submitting a story. But initially writing any story and/or revising, I need that beautiful noise. Today I cranked up Cœur de pirate. Nice.
15 - What other writers or writings are important for your work, or simply your life outside of your work?
Since I’m so obsessed with flash fiction, and microfiction, I’m exclusively reading these kinds of stories. For years now, I’ve been influenced by too many writers to list here. And I’m finding new writers, seemingly, all the time on the socials.
16 - What would you like to do that you haven't yet done?
It would be nice not to worry. I worry a lot. Too much. To be in a relaxed state of peace would be great for a change. And sleep throughout the night.
17 - 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?
I don’t know, rob! Isn’t that wild? I have no idea what else I could do for a living. Writing is all I’ve wanted to do since an early age. Sure, I’ve worked at a variety of jobs in and out of higher education. And teaching seems to be something I can do. But I can’t imagine teaching without my writing. They’re so intertwined, you see.
18 - What made you write, as opposed to doing something else?
Another stellar question. I have no idea where this drive to get stories out comes from. I know that when I don’t write, I’m the most unpleasant person. Worse than that bear on cocaine. But even thinking about a scene, or writing a line or two in a day helps quell my irksome ways.
19 - What was the last great book you read? What was the last great film?
Book: Eleven Kinds of Loneliness by Richard Yates (holy moley, “Doctor Jack-O’-Lantern” and “The Best of Everything” and “No Pain Whatsoever”).
Film: The Florida Project. Seriously, the last few scenes knock me to the floor in the fetal position, bawling my eyes out.
20 - What are you currently working on?
A round of new flash fictions and micros. Trying, always trying.
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