12 or 20 (second series) questions with Joe Baumann

Joe Baumann is the author of four collections of short fiction, most recently Where Can I Take You When There’s Nowhere to Go, from BOA Editions, and the novels I Know You’re Out There Somewhere and Lake, Drive.  His fiction and essays have appeared in Third Coast, Passages North, Phantom Drift, and many others.  He possesses a PhD in English from the University of Louisiana-Lafayette.  He was a 2019 Lambda Literary Fellow in Fiction.  He can be reached at joebaumann.wordpress.com.

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?

Oh gosh--in so many ways.  I think beyond anything else it felt validating and gave me a certain confidence in what I was doing, that after all of the no answers, I really was onto something that would, could, and did lead to a yes.  

I think my recent work actually still emulates a lot of what I was up to in previous work thematically, in many ways, although the subjects have changed--as I've gotten older, so have my protagonists, and the kinds of "issues" they're facing have matured as I have.

2 - How did you come to fiction first, as opposed to, say, poetry or non-fiction?

Actually, I have a pretty weirdly circuitous path that led me to where I am now.  When I started college two decades ago (eep!), I was convinced I would spend my life writing fiction and poetry.  It became immediately clear I was not meant to do much of the latter.  But I also struggled with fiction.  I took a nonfiction course with a professor I really liked from taking my introductory course, and I was hooked--my senior project for my BA as well as my master's thesis were both in creative nonfiction, and it wasn't until I was doing my PhD and rolled the dice on taking my first fiction-focused course in about five years that I fell back in love with fiction, and I've largely stayed there (with dabblings into the other two) since.
 
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?

I am not much of a note-taker, or planner, except for the former when I get into revision.  Otherwise, I usually start with some goofy premise and not much else and I spend a ton of time figuring out what that idea is about.  So the start is usually pretty fast, and sometimes there's a dip as I wander about trying to figure things out.

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?

If I'm working in short form (which is my favorite), I usually begin with an opening sentence that marinates for a little bit in my brain before I set it down on the page.  Then I explore from there, and figure things out as I draft and try things out.  Sometimes I'm working on a book conceptually--for example, I have a book of stories where each story reimagines one of the biblical plagues of Egypt, and I knew that I was trying to write one of each of those from the start.  Other times, a collection simply emerges out of a larger pool of stories where I start to see thematic connections.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?

I love doing readings, whether they're open mic nights on my campus or planned events.  And I also love attending them--hearing other writers really helps get my creative work moving.
 
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?

The fundamental question that I'm always looking at, from some angle (as I think almost all writers are), is What does it mean to be a human being?  I'm also deeply interested in the human desire for rationality and the complete irrationality of humanness, particularly as it relates to experiencing and responding to human emotions.

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?

Oof!  That's a big one.  I think the work of a writer these days is to capture the cultural now--though that 'now' can be a different time (and different place) within the world of a particular story.  We can't divorce ourselves entirely from the way the social, political, and historical landscape looks outside our writing nooks, and I think it's the writer's job to confront the tides of the world and make people think about them.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?

Sometimes both.  I love getting outside eyes to see what I'm too close to see, but I also don't want to have my vision stifled by someone else's vision for what my work "should" be, if that makes sense.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?

That a great ending is both inevitable and unexpected.

10 - How easy has it been for you to move between genres (short stories to the novel to young adult fiction)? What do you see as the appeal?

Pretty easy--I like working on several things at once, and I actually like when they are very different.  I find it fun to switch modes, as they play against one another in interesting ways.

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 almost exclusively write in the morning and then edit/revise when I can during the afternoons/evenings around my work schedule.  I usually spend a short period on each piece I'm working on (never really usually generating more than a page or two per project in a given day).  I've followed this for about ten years, and it's really worked for me.

12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?

The things I read.  I read a ton, and if I'm stuck, I'll often read something that will unstick me.

13 - What fragrance reminds you of home?

Vanilla and apples--two of my favorite baking smells.

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?

TV has actually influenced me a lot.  I loved Buffy the Vampire Slayer when I was young.  I don't watch as much television as I used to, but the shows that drew me in years ago have stuck with me.

15 - What other writers or writings are important for your work, or simply your life outside of your work?

I'll follow Jennifer Egan, Adam Johnson, Ramona Ausubel, and Margaret Atwood to the ends of the earth.  I read the magic realists from Latin American religiously (in translation).

16 - What would you like to do that you haven't yet done?

I've had some ideas for screen--television--but haven't ever really pulled the trigger.

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?

There was a time where I thought I'd be an eye doctor, and that would certainly still be neat (though quite the sea change).

18 - What made you write, as opposed to doing something else?

I don't really know, to be honest.  I've always had an interest in the creative; I wrote my first 'story' (a ripoff of a cartoon I loved as a kid) when I was in 2nd grade.  I think invention just appealed to me, and I never let that appeal go.

19 - What was the last great book you read? What was the last great film?

I just reread Hernan Diaz's Trust, which continues to fool and amaze me.  I don't sit down to watch movies that often, but I recently rewatched Parasite and loved it as much as I did the first time.

20 - What are you currently working on?

Well, I just finished the garbage draft of a novel for NaNoWriMo, but I'm setting that aside for awhile to return to a surreal Southern campus novel about a young faculty member at a private college in Louisiana where strange things begin happening to administrators.  The original draft was jammed with too much stuff, but after several months of letting it marinate I think I have a plan forward, so I'm excited to return to that project.

12 or 20 (second series) questions;

12 or 20 (second series) questions with Brandon Reid

Brandon Reid [photo credit: Kevin Cruz] holds a B.Ed. from UBC, with a specialization in Indigenous education, and a journalism diploma from Langara College. His work has been published in the Barely South Review, The Richmond Review and The Province. He is a member of the Heiltsuk First Nation, with a mix of Indigenous and English ancestry. He resides in Richmond, BC, where he works as a TTOC. In his spare time, he enjoys cooking, playing music and listening to comedy podcasts.

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?

I stopped worrying about what happened to me, as I no longer had to protect myself to finish the book; I don’t sleep as much, now. I still take care of myself, of course (from time to time), but I no longer feel I have a duty to fulfill. The book also gave me confidence I didn’t have before. I would be hesitant to call myself a writer, but now I’m proud to do so. I have a published book out, that’s quite the accomplishment.

Beautiful Beautiful is my debut novel, although I self-published a book called Angel Hair Pasta on Amazon before. It was about a female chef working in LA and Seattle. It almost made me a toonie. I still enjoy that book—it has satisfying sections of modernist first-person writing—but Beautiful Beautiful is a much more thorough, meaningful work.

2 - How did you come to fiction first, as opposed to, say, poetry or non-fiction?

When I was six or so, my friend and I had a competition who could make the better character/fighter. I came up with a multi-headed dragon that could only be staggered by firing a fireball from the sun into its chest—wasn’t clear how it could ever be defeated. We drew our characters, and then created backstories for them. I continued creating characters, and I’d usually act out their stories by myself in the park or living room. Then one day, a relative bought me a journal, so I tried writing down these oral stories I was telling myself. They hardly went anywhere, but that was the genesis. I drew and wrote a lot in school, too, during lessons, to keep myself occupied. I’d burn through several drawing books a year, as most teachers were kind and encouraging enough to bestow as many as I requested.

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?

It really depends. Generally, I try and let ideas blossom for a few weeks before starting, even if I’m eager to use new premises. Words flow easily while I’m inspired, and incubation can generate inspiration. It’s not like an ice-cream cone, where you have to lick it all at once. I force myself to meet a word count, once I’ve begun writing a manuscript. I write at least 2,000 words a day, which takes approximately 2 to 3 hours. Some manuscripts require more research or thought, like I wrote a lot of sci-fi, which involved constant googling and conversing with ChatGPT about existentialism, aliens or space technology. Sci-fi requires lots of details.

            My first drafts are usually completely different than the finished works. My words aren’t precious to me, so I like sacrificing them for something better. To be honest, I don’t think the manuscripts always get better; the first drafts are like sketches, which have their appeal, opposed to the meticulous final-drafts. It’s like Bob Dylan versus the Beatles: the former preferred minimal takes, usually, while the latter would sometimes perform dozens of takes, especially in the later years. Beautiful Beautiful was linear in the beginning, then I utilized in medias res later, shifting parts around. Stephen King said try and write the first draft in three months, so I aim for that, then lend myself as much time required in the editing process.

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’m only concerned with writing books at this point, so that’s my initial intention. I think of certain scenes, like a storyboard, and then I work from the beginning until the end in one constant flow. I don’t plan a lot of it, I just add scenes that make sense—one after the other, shifting from positive to negative—progressing until the end. I may have a clear idea of where I’d like to end up, but I usually can’t predict the result. It’s like decoding a movie in my head: I’ll write a scene, then the fog will clear, and the best way forward is revealed.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?

I think they aid the creative process in the same way teaching does, in that I gauge the reactions of the audience, and realize what works and what doesn’t. That being said, I recognize reading aloud is different than reading quietly. I enjoy sharing pieces intentionally crafted to be spoken, but I don’t necessarily desire to read my books to people—it’s a different experience, auditory instead of visual, that sometimes works, sometimes doesn’t.

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?

Wow, those are great questions, I’ll do my best to answer them. I would say I’m equally concerned with the theoretical as I am the plot. This is evidenced by the title Beautiful Beautiful itself, as I strive to uncover the aesthetics of words and literature. I’m constantly thinking about why I write, the higher meaning. To me, Redbird is a songbird, singing the words. You can read into the differences between Indigenous and Western storytelling with Beautiful Beautiful. You may also apply a feminist reading using the internal logic of the tarot, that water and earth represent femininity. Or perhaps one may enjoy reading Raven as the archetypal raven. There were many lenses I applied to the book. Of course, there’s plenty of cheese, as well.

            There are so many questions I try answering through writing: what’s the difference between depicting dialogue and communing with spirits? How can I better articulate the thought chains of my mind? Does this work better to reach into the reader? Stuff like that. My writing is me capturing epiphanies I have along the way—about myself, about others, about life. I hope that makes it exciting for the reader.

            One current question I’m fascinated with, is what can a human do that an AI won’t be able to? I heard AI will develop to the point it will be able to produce literature of any kind upon request. “I want a sequel to The Return of the King,” you’ll say, and your wish will be granted. What, then, will set humans apart from AI? It’s something I’m constantly thinking about, how to stay ahead of the robot, basically.

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?

To bring book clubs together. I think most popular books help establish a community or tackle pressing issues. I don’t read many contemporary books. They’re often too focused on plot for my liking. I enjoy reading books I either hardly comprehend or that are inventive with language. It’s a viable function, for a writer to appeal to the masses, but I realize most of my literary influences died penniless or lacked popularity in their times.

            I think it’s fair some writers excel at marketing and business, but I’m interested in writers who convey a mind-set not yet found in literature, above all else. The writer is one who documents their experience reaching into the realm of spirit so all may behold a glimpse, because even that is insufficient to describe the vision I have of what writing is. Sometimes it’s easy to explain what is seen, other times, simplicity only mars the glory of that sight unfolding. Writers fall somewhere along that gradient, and they’re all equally writers.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?

It’s a difficult question. As I said earlier, some of my first drafts are interesting and enjoyable. The editor is someone who hones the work so it’s accessible for readers. In that sense, they’re essential; I wouldn’t expect Angel Hair Pasta to be found on bookshelves. I view working with an editor as a collaboration, and I really enjoy that element of the process. If it’s difficult, it’s only difficult because we both set a standard that I ultimately have to reach, so I have to push myself which I wouldn’t say is easy or lovely, it’s hard work that requires dedication and focus. I feel all the better for it, however.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?

A teacher gave me an appropriate grade for a mediocre piece of writing I submitted, then at the end of their comments, they wrote, “Keep writing!” That’s all it took to encourage me to keep at it.

10 - How easy has it been for you to move between genres (fiction to journalism)? What do you see as the appeal?

Writing for journalism was easy, it was interviewing people while seeming credible that was difficult. Journalism is a fantastic foundation for writers, as it teaches you to make a word count, respect deadlines, write concisely, edit thoroughly, handle information accurately, format well, and accurately record dialogue. There’s a rich tradition of journalists who learned the essentials then branched out creatively. Hunter S. Thompson is a classic example; he really blurred the line between each. The appeal for me is, there’s only so many ways I can objectively write about a situation before getting bored and seeking the alternative means of expression fiction offers.

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 wake up, put on headphones, listen to Spotify for an hour or two, get up, make my bed, adore the sun, brush my teeth, get an espresso, check the web, pray, meditate, exercise, stretch, adore the sun for noon, make myself a cappuccino, hopefully sit down to some fresh fruit and madeleines supplemented with vitamins, then, generally speaking, I’m in peak writing-form. That all goes out the window if I must head out to work.

12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?

Usually, music or reading other books. Inspiration can come from anywhere, though. Could be something I read online, something someone said to me—usually comes out of thin air. I force myself to meet my word-count, regardless, otherwise I don’t bother. Sometimes it’s good to sit around, waiting for inspiration, but if I’m immersed in writing, I trudge on, even while uninspired by what I’m writing, as I know I can improve it in the edit. Craft endures while inspiration falters.

13 - What fragrance reminds you of home?

Smoldering sage smoke.

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?

As a polymath, I’m a strong believer all my experiences affect my writing. Cooking allows me to better capture the senses affected while cooking, which helps me translate them to the page. It’s true, reading books helps writers learn the craft, but you get to a certain point—where you develop your voice, your ability and your style—that you don’t necessarily need to be an avid reader. John Lennon said something similar, in that he didn’t listen to popular music, as it was all variations of music he heard growing up.

15 - What other writers or writings are important for your work, or simply your life outside of your work?

I don’t know if I’d consider them important to me, more so integrated into my consciousness—probably the same thing. You know, James Joyce is my biggest influence. Aleister Crowley restored my faith. Moby Dick was a profound novel for me. Most writers that influenced me have passed.

16 - What would you like to do that you haven't yet done?

I’d like to travel across Canada, perhaps by train. I feel that’s a true Canadian experience.  

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’d try being a musician. I’ve played various instruments throughout my life: guitar, piano, drums, saxophone. I wrote many songs in my 20s, and performed them with a friend, but I didn’t really desire to play for anyone but us.

I promised myself, in high school, that if I was still single and had nothing going on by 23, I’d drop everything and join the army. I wound up quitting my job, at 23, to write over 3,000 words a day by hand, every day, for a year. I suppose I fatigued myself manifesting various partners through writing, instead.

18 - What made you write, as opposed to doing something else?

I just found myself alone, a lot, so I manifested my own worlds of companions. Writing is the ultimate solitary act, after all. Perhaps I made a shell of sorts. Writing got me through many troubling times, as did playing music. Writing satisfies me more than anything else, so I keep doing it. It sort of avoids definition beyond that.  

19 - What was the last great book you read? What was the last great film?

I recently finished Dante’s Paradiso, of all things. It was fun, following the rhythm, but it was an archaic version that was difficult to comprehend, which I state too often I enjoy.

I don’t watch many films. I used to. I watched Titanic a few months back. Go ahead and laugh if you want. I’m pretty sappy.

20 - What are you currently working on?

I’m currently working on a novel about Raven, from Beautiful Beautiful, utilizing my experience in the culinary industry.

12 or 20 (second series) questions;