A Chat With Dan Lombard

Dan Lombard

For as many years as I lived in Northern California – and even the coincidence of penning advertising copy – my path had never crossed that of fellow wordsmith and publisher Dan Lombard.* It was through some of his well-crafted political posts on Facebook that our cyber-paths not only began to cross regularly but soon segued to chats about our joint fondness for fabulous food and travel. When I learned that Death Panel, Dan’s debut novel in 2012, had been followed in rapid succession by several more, I just knew I had to put this prolific author in the global spotlight.

*A mirthful bit of disclosure here is that I’d once had a government coworker of the same name. When I encountered that name again decades later, I couldn’t help but think the passage of time had made DL much more accomplished and interesting. A closer look at his head shot, however, also explained why he never mentioned he remembered me. Because, in fact, we’ve never met.

Interviewer: Christina Hamlett

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Q: If we were to time-travel and take a peek in the bedroom of your 10-year-old self, what clues might give us an indication of what you thought you wanted to be when you grew up?

A: Probably more riddles than clues. I haven’t figured them out yet. Or maybe I just did. Yes, that is it, I was always seeking adventure in the unknown, and back in those days entertainment was very participatory and required imagination, unlike today’s passive entertainment. It was a different place and a different time though. I mean, today I’m reluctant to allow my high school children to go into our local Target store alone. But when I was 15, back in the early 70’s, my buddy and I bought Eurail Passes and toured Europe for a month with nothing but that pass, a few hundred dollars and whatever we could fit in our backpacks. I need to keep that in mind when considering a contemporary audience; their experiences today are completely unlike anything I experienced. Perhaps that is why ageism is prevalent in Hollywood and on 5th Avenue.

Q: Did you have favorite authors/books at that young age?

A: Tolkein of course, the Harry Potter of my generation. Then, not long after it was Ian Fleming, I enjoyed reading about James Bond’s adventures as much as seeing them on screen. It was not until much later in life that I became aware that a favorite childhood movie, Chitty Chitty Bang Bang, was written and directed by the same duo, Ian Fleming and Albert Broccoli, who gave us Bond in print and on film. Of course, that made complete sense.

Then it was Leon Uris and above all James Michener (notably The Source) and his ability to draw you into a tale that featured far off places and spanned centuries. At one point I also found an unfortunately misplaced copy of a Henry Miller book, I can’t even remember now if it was Tropic of Cancer or Capricorn. Needless to say, it ruined me. But little did I know it would give me a taste of what would, far in my future, (today) be the model for bestselling novels. At the time I was living in Stockholm, Sweden, a very permissive society in that regard, and on my way home from school every day (yes, in 7th grade) my buddies and I would pass by a number of sex shops. Nobody would ever bat an eye when we’d stop in for a little ogling of the picture books, furthering my youthful debauchery.

Q: And who are your favorites now?

A: I do not read near enough fiction today, either in reprint from generations ago or contemporary. My preference in writing and reading is for books with an (accurate and believable) historic context, Dan Brown being a good example. I do have one peculiarity that I will share. At the age of 25 I read the entire 6-volume set of Winston Churchill’s recounting of World War II. I reread it 25 years later at the age of 50, and expect to do so one more time at 75. However, in between those readings, I do read volume one, The Gathering Storm, alone. That volume contains the instructions on how to avoid reliving the subsequent volumes. History is fascinating, a great teacher and, unfortunately, widely ignored.

Q: What experiences – travel, work, relationships – would you say have/had the most influence on your approach and discipline toward the craft of putting a story together from start to finish?

A: It’s not so much the experiences, but my approach to them. Everything I say, do, hear, think or see is tucked away for future use, whether simply in life, at work, or perhaps to form a plot or subplot in a good story. And in dreams and nightmares, the observations do show there frequently, as well.

Q: Which is more challenging for you as an author – writing a book or writing a short story?

A: If writing was a challenge I would not be writing. Okay, that was snide. A book is more difficult but has less regret. A short story is easier, but I am always left wondering why I didn’t expand that wonderful plot into a more complete work.

Q: Catharsis often factors into the development of works that are deeply personal and/or painful. Your first book, Death Panel, addressed the failure of the medical system during the last four months of your wife’s life following a diagnosis of multiple myeloma. What governed your choice to pen this as a novel told in third-person through fictional characters rather than as a first-person memoir?

A: It was not to shield myself from pain, or to serve as an outlet for the pain. I wanted to be completely honest in recounting my experience, which included some emotions from which I felt I could derive no pride. A reader can tell, though, that the third person is merely a front, so it was not an attempt at deception. But rather to deceive myself, and thinking that, since I had signed a confidentiality agreement with Kaiser when they paid me off, that this was a defense should they decide to come after me for violating that confidence. In retrospect, the best thing possible would’ve been for them to do exactly that, to give me publicity you just can’t buy. And after that ordeal, there really wasn’t any blood for them to get in return.

Q: The reviews on Amazon reflect that the themes which underscore Death Panel have resonated with readers across the country. What was your reaction to the outpouring of vicarious support from total strangers?

A: The reviews were a tremendous reward in themselves, and were sufficient to justify the time spent writing the book. Which is fortunate since, well, there was no financial reward.

Q: Almost on the heels of your debut novel, you entered the self-publishing waters again, this time with a cat and mouse suspense thriller set against a backdrop of California’s high-speed rail system. How did Midnight Departure come about and can we draw from the plot’s prescient context that Dan Lombard is secretly psychic?

A: I actually had been against the bullet train back when it was first proposed at the turn of the century, and even financed a website called StopTheBullet.com. That measure failed, I patted myself on the back for the small part I played, and assumed that was gone. Then it came back, and I thought what a great context in which to place a cat and mouse suspense thriller. Much of what I wrote is happening, not that greed, corruption and government planning are such a novel premise.

Q: Other than flowing prose and compelling dialog, what is the most important consideration as you write?

A: I like to bring together larger concepts and figure out how to work them in together. In the case of Midnight Departure pairing the project to build a $100,000,000,000 high-speed rail system with greed and corruption might have been kind of obvious. In my screenplay Prime Time Crime I chose to pair the notion of seeking fifteen minutes of fame (and the hoped for fortune that follows) with the evolving idea that just about everything we do is, or has the potential to be, surreptitiously recorded. In Last Writes, a short story, I chose to pair a Faustian deal with unforeseen consequences, especially when the devil is the author of those consequences. In the short story Red Ringer I paired the concept of identity theft with the Wild West of the 1880’s. And in Serum 6 I chose a device that is, I think, unusual if not unique. In this medical thriller I create a situation whereby the two protagonists do not realize they are brother and sister (though the reader does) as they get closer to consummating their relationship. Later in the novel, when this knowledge makes all the difference, the roles are reversed: they believe they are brother and sister but the reader now knows they are not.

And finally, most important, as I write, I think, how will this novel translate to the big screen? And, in so doing, how can I avoid stretching credibility?  Not only do I feel compelled to research anything I write for accuracy, but timelines as well. I absolutely detest faulty timelines in writing or in movies. The notion that, in the space of five minutes (five minutes to other characters in the work, not necessarily for the reader), the protagonist can board a plan, fly halfway around the world and confront his nemesis for the final battle, just bothers me.  And bathroom breaks. How can someone live an entire life, or even a month, or a year, in a novel or a movie, and never have to relieve themselves?

Q: When and where are you the most creative at the keyboard?

A: At the strangest of times.

Q: What’s the most unusual object that occupies a space on your desk or the walls of your home office?

A: Perhaps not so much unusual as special. Many years ago I had been publishing a local advertorial magazine and for one issue I featured an artist’s work on the cover. She later confided that had done more than anything to boost her career. I soon began doing this for a different artist on each issue, though no longer as a favor. I am the proud owner of a very nice collection of art by the local art community. In one case I commissioned a piece through this arrangement, bringing the artist two very different historical renditions of William Shakespeare and had her meld them into one. He looks over my shoulder whenever I sit down to write.

Which brings me to the one thing for which I am most grateful. While the Italian language may be wonderful for soaring operatic aria, and French as a musical spoken language lacking hard edges, as a writer, I most grateful that I am an English speaker. It is an incredible language with great depth that allows nuance and poetry within prose. Rules that I can break with abandon; though recognizing the need to avoid the banality of one cliché too many. The downside? A rapidly increasing English speaking population that believes a vocabulary of under one thousand words is sufficient to see one through a lifetime of communicating.

Q: If your writing career came with its own soundtrack, what would it be and why?

A: Magic Carpet Ride by Steppenwolf, one of my ten top favorite tunes of all time, and because if its title.  Any good read should take you on a ride like that, as should the writing itself.

Q: Anticipation or the real thing: which is better?

A: If it is alright I will direct you to the answer to next question as I see them as intertwined. Anticipation is the future, the real thing is history

Q: If someone gave you a crystal ball, would you look into it?

A:  Yes, though I would likely question what I saw.

Q: What are your thoughts on modern literature and the direction it’s taking in the 21st century?

A: The greatest let down was not long after I published my first two novels. First was, after finding my book as one of an estimated 30,000 titles self-published every month, as lost in the wilderness, oblivion, that I would try giving my books away for free on Smashwords.com.  After three months of promoting myself vigorously and watching my rankings inch upwards I found I just could not compete with the porn that was also being given away.  So–no I did not decide to write my own porn–but I did download and read one. We are not talking soft core here, folks.

The second instance was shortly after publishing Midnight Departure I was on a flight back East to visit my parents and struck up a conversation with the fellow on the other side of the vacant seat between us. I gave him a free copy of Midnight Departure, for which he thanked me profusely. Thirty minutes into the flight he pulled Fifty Shades of Grey from his carry-o and was immersed for the rest of the flight. So immersed that he forgot to pack the copy of my book which was left on the vacant seat as we deplaned.

Q: Do you let anyone read your projects while they’re still in progress or do you make everyone wait until after you’ve typed “The End”? What about that method works for you?

A: I don’t really have anyone around me right now that would be particularly interested or have the time to critic a lengthy manuscript, so pretty much rely on myself.

Q: What piece of technology could you not go an entire week without using?

A: The Internet.

Q: What makes writing a joy for you?

A:  As previously stated, the fact that I get to write in English. An amazing language.

Q: What is currently gathering dust in your footlocker or (to channel Hemingway) in your mind ready to bleed from your forehead?

A: Since I have already, in bits and pieces, described the work I have completed, what lies ahead? I have a drama in the works, Jack Rabbit, a story of an accidental con man, which unfortunately will not be completed until long after Danny DeVito has stopped performing in lead roles; I pictured him firmly in my mind’s eye every time I sit down to write a chapter there. I have a great American Novel in the works, in fact in the works for fifteen years now, and largely untouched for the last seven. A paranormal novel that involves time travel, though without the intention or ability to change history.

Q: Where can readers learn more about you and your work?

A: The books are on Amazon, or drop me an e-mail at dan@mailprose.com

Q: Anything else you’d like to add?

A:  The most important part of writing, and the one which can cause the most serious hang-ups (writer’s block) is the segue. It is necessary if you want to weave your tale. Loose ends are to be avoided and ideally, you don’t give your reader a resting place where they can set the book down and resume it later!  Perfectly good, and acceptable, to fool your reader. But if you do fool them, it is best to do so with a V8-style forehead-slapper: leave clever clues.

Humor is always a useful tool in writing. I see humor as having three flavors:

Situational, where you juxtapose two or more unlikely-paired conditions in one scene.

Slapstick, where simply falling down is funny.

Wit, where you use the tool at your disposal, language, to bring a smile.  This is my favorite flavor.

So, to tie it all together, and before I lose my audience, I repeat my favorite quote by my favorite author and conclude the interview:

“Brevity is the soul of wit.”

 

 

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Media Interviews 101 – An Article

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THE TEN WORST THINGS TO DO WHEN THE MEDIA CALLS

By Christina Hamlett

The dream of almost every author when his/her new book comes out is to get a request from a journalist to do a feature interview about it. Yippee! Huzzah! Can fame and fortune be far behind once you become a media darling?

Unfortunately – and because most people think of interviews only in the context of job-hunting – the potential for totally botching this invitation to free publicity is pretty high. Herein are the 10 most common mistakes that will land you on a reporter’s never-call-again list. (Note: Although the focus is on authors, the advice is applicable to spotlight moments for virtually any other industry.)

  1. Blowing It Off. Even if you’re maniacally busy, terminally lazy, or simply aren’t interested, it’s a matter of professional courtesy to at least acknowledge the request and say thank you. While now and then a reporter will follow-up to see if a query trickled into spam folders or a phone message accidentally got deleted, it’s much easier to cross off your name and move down the list rather than to keep chasing you. Not surprisingly, a number of authors that have ignored my original invitation will call me a year later and expect me to still be wildly interested in them.
  2. Sending Clips of Previous Interviews. “These will give you some ideas of how to write my story,” they’ll explain. Perhaps they think they’re just being helpful, unaware that a good journalist will already have done his/her homework to learn as much about the interviewee as possible. The underscored message, however, is that they think the reporter doesn’t know what s/he is doing and needs to learn from examples. Even worse are those who say they’re too busy for an interview but they don’t mind if I cut and paste from prior publications. Does it not occur to them that those previous reporters would be torqued or that yours truly could be perceived as a plagiarist?
  3. Sending More Than Is Requested. If an agent asks to see the first 5 pages of your novel, do you really think you’ll endear yourself by sending 407 along with a smiley-face note that you just knew they’d be hooked and want to read the whole manuscript? Unless a reporter specifically asks to see more than a brief bio and a 25-word synopsis of your project to prep for an upcoming story, do not annoy them by sending your headshot, Amazon reviews, sample chapters, glowing testimonials, or Facebook links. The same goes for word-count parameters. When I tell an interviewee that his/her story will run about 2,000 words, the last thing I want to get is 6,500 words and instructions to “just go ahead and edit out whatever you don’t want.”
  4. Being a Flake/Missing Deadlines. Promoting your work should be your highest priority. If you’re scheduled to do a television, radio/podcast or Skype interview, nothing less than a genuine emergency should cause you to have to reschedule it. When you cause an interviewer to have to scramble at the last minute to fill your slot with someone else, don’t expect to get asked back any time soon. Whenever a journalist gives you a date that s/he would like to receive your email interview replies, it’s because that interview has been slated for a specific issue/publication date. You shouldn’t have to be reminded multiple times to turn in your content. If you absolutely need an extension, ask for one as far in advance as possible.
  5. Being a Pest. You’re not the reporter’s only story. Seriously. If you’re constantly sending emails, leaving voicemail messages and asking for progress reports, it won’t take long to wear out your welcome. You must also be mindful of the fact that “freelance” does not mean “free at all hours of the day and night.” A freelance reporter will certainly do everything humanly possible to accommodate your schedule but expecting him/her to take your calls at 3 a.m. or on holiday weekends is neither reasonable nor professional.
  6. Rewriting the Questions. In my experience, this happens with authors more than any other group. If you’re asked a question that you feel is inappropriate, repetitive or off-message, politely bring it to the interviewer’s attention at the outset rather than rewriting it yourself. My own worst-case scenario was an author who not only snarkily re-wrote all of my questions but also wrote “my” introduction to what a fabulous person she was.
  7. Saying “It’s All In My Book.” Let’s say you went to buy a high-tech appliance. Every time you asked the salesman about a particular feature, you were told, “Oh, it’s all in the user’s manual.” Would you really feel inclined to make a purchase? The purpose of any interview is to sell yourself as the expert, not do a hard-sell commercial for your product. If you can’t impart useful tidbits to whet a reader’s appetite, you’re approaching the interview process in entirely the wrong way.
  8. Expecting the Journalist to Become Your Personal PR Firm. On the one hand, it’s flattering that someone likes the way you develop a feature story about them. On the other hand, it’s nothing short of pushy on their part to now expect you to become their 24/7 marketing maven, redesign their website, get them booked on radio shows, and write advertising copy for them…all of which they expect you to do for free. (It’s also not uncommon for interviewees to expect you to become their BFF just because you’re paying attention to them.)
  9. Asking For Previews/Demanding Copies Upon Publication. Unless the interview is in conjunction with paid advertising, you’re not entitled to review the story prior to its publication. This only holds up the process. Nor is it appropriate to ask a journalist, “You’re not going to make me look terrible, are you?” This is akin to asking a surgeon while you’re on a gurney being wheeled into surgery, “Do you promise not to kill me?” With online publications, I always provide my interviewees with a link when their story goes live. For print media, I provide interviewees with a pdf version. With books, magazines and newspapers, you’d be surprised how many people ask me if I can get them x-number of copies – and deliver them – so that they can send them to friends and relatives. Sorry, guys – if you want extras, you need to contact the publication yourself and purchase whatever number you want.
  10. Trivializing the Journalist’s Role. Last but not least is the most common excuse I hear from interviewees about why they haven’t responded in a timely and responsible manner: “Unlike you, I have to work for a living.” Do they really think that reporters just sit around all day eating bon-bons, watching soaps, and taking naps? Being in the media may sound glamorous on the surface but it’s still work. Hard work. Work that often extends well beyond an 8-hour day. Trust me: We’re just as busy as you are.

Hi, Readers!

For as long as I can remember I’ve been a voracious reader. I memorized the route of the neighborhood bookmobile, I always checked out the maximum number of titles at the school library, and I suspect that if a Beast had given me access to a ginormous collection of books in his castle, I’d have had no reason to ever leave. My allowance was regularly spent on the latest Nancy Drew mysteries (which I read with zeal and via penlight under the covers long after it was past my bedtime). Even as an adult, I probably have enough books to open a lovely bookstore, although I’m sure I’d develop a modicum of angst about parting with some of my favorites and sending them out the door with a total stranger.

In the 30+ years of my own career as a professional writer, I’ve always been intrigued by what inspires my fellow authors, who their mentors were, how they organize their work day, what they’re passionate about, and what they’re currently reading. Thus was born the idea of launching “You Read It Here First” – a gathering place for those who love to write and those who love to read.

If you’re an author who’d like to chat about your latest title as well as share insider tips for those who are just beginning their own journeys in fiction (any genre), nonfiction, playwriting, or screenwriting, drop me an email (authorhamlett@cs.com) and let’s get the conversation started.