Indie Monday

Today’s guest: Thomas Galasso


Every other Monday, I’ll be featuring other authors on my blog—authors who produce quality work outside the boundaries and strictures of the traditional mass-produced, mass-marketed commercial publishing world and traditional bookstore shelves.

Today’s featured guest is the multitalented author, musician, actor, and teacher Thomas Galasso. Thomas received his bachelor of arts in English from Wayne State University, and eventually earned a teaching certification in Secondary English, Speech, and Drama. He also received a master of arts in English from Marygrove College. He has been teaching in Detroit Public Schools for over twenty years. He worked on another certification, and now teaches kids with Autism. His “serious hobby” is playing guitar, bass, a little harmonica, and singing. Thomas is the author of a novel, When the Swan Sings on Hastings (Aquarius Press, 2017), described in detail below.

Recently I posed some questions to Thomas. Here’s what he told me.

DLThomas, welcome. Could you tell us a little about yourself?

TG: I was born and raised on the East Side of Detroit. My grandparents were immigrants from Italy and never spoke English fluently. My mother at five or six years old, remembered pulling into Ellis Island and got so excited, she started ringing the ship’s bell. My parents never graduated from high school, but they were serious about education. They sent my sister and me to Catholic school for twelve years. Early on in grade school, I was an avid reader and I used to make what is now considered graphic literature. My first story I ever wrote was in third grade. It was about a kid who wakes up and has a head of cabbage instead of his own head. I won some contest in school for it. However, I stole the idea from a similar story I read at the neighborhood library and then put my own spin on it. At the time, I didn’t understand plagiarizing or its crime, but I certainly was not going to say anything.

When I got to be a teen, we took the bus downtown to J.L. Hudson Department Store and I fell in love with exploring downtown. We also spent a lot of time at Belle Isle, as well. I took Creative Writing classes at Wayne State and then got involved in theater. After doing a dozen plays or so, I spent one year making a living on just acting. I joined Actor’s Equity, the Screen Actor’s Guild, and American Federation of Television and Radio Artists, three unions I no longer belong to since I stopped paying dues. I studied acting at the University of Detroit and with famed actress/acting teacher/author, Uta Hagan, both here in Detroit and at her old HB Studios in New York City.

DL: Tell us about your latest book and works in progress. Where did the ideas for those come from?


TG: My debut novel, When the Swan Sings on Hastings, is under the genre of historical fiction. It’s about a group of black and some white businessmen, numbers runners, hustlers, and Hastings regulars who face the destruction of their beloved neighborhood to make way for I-75 in an age of segregation. The neighborhood was razed from Gratiot all the way beyond Warren Ave.

The novel has a very interesting upbringing. It started as a bunch of dramatic monologues and then morphed into a one-act play that I wrote and directed for my drama class. It was performed at Detroit Northern High School where I taught. A year before I wrote the play, I was teaching drama at a DPS middle school. We put on a show every year for Black History Month that would include my drama class, the vocal music class, and the school band. The vocal music teacher, Ms. Rosalind Stearns-Brown, is also the daughter of Turkey Stearns, the Hall of Fame outfielder who played for the Detroit Stars of the Negro Leagues. His plaque is on the wall outside Comerica Park. (Ms. Stearns-Brown also sings the National Anthem every year for the Negro League series game at Comerica. Recently, she sang it at Keyworth Stadium in Hamtramck where the Stars once played.)

For Black History Month one year, she wanted to do “something about my dad” for our annual presentation. I wrote some monologues of three Negro League ballplayers, Stearns, Cool Papa Bell, and Jimmie Crutchfield as older men reminiscing about the old days.

Segue to a year later, and I rewrote the monologues into a one-act play that takes place on Hastings Street in Detroit’s historical Paradise Valley. I did research on the Negro League players and on Paradise Valley for the play.

This mash-up of Negro Leaguers and Hastings Street came about from my befriending blues musicians who played on Hastings. I bartended in Greektown in the ‘90s, and when I got off work I would go down to the now defunct Music Menu Bar on Monroe to listen to music. They had some great bands playing there. Through the great Detroit drummer, R.J. Spangler, I met Johnnie Basset, the famed blues guitarist who played on Hastings. I also met the extraordinary blues vocalist, Alberta Adams.

Hastings Street in Detroit, ca. 1960. Photo credit: Detroit Historical Society

When they took their breaks, I was lucky enough to corner them at the bar and they would tell me stories about Hastings Street and its lively music scene and nightclubs and after-hours joints. One thing led to another, and I decided to bring the Negro League guys into the world of Hastings Street. I also decided a novel was more accessible to an audience than a play; one can read a novel anywhere, even on the other side of the world. (Actually, I know someone who read it in South Korea.)  So I took a deep breath and said, “Well, I think I can write a novel. We will see one way or another.”

My work in progress is a series of short stories—a dozen or so that have to do with “working Detroit.” Two, however, are set in San Francisco. Three of them will be published in a few months along with stories from three other Detroit writers, Diana Wolfe-Popa, Ryan Ennis, and Michael Schwartz, in a collection.

I pull my art from my work and life experiences. The characters in my new batch of short stories are all working people—waiters, orderlies, assembly line workers, and actors trying to scruff their way through. I am also working on a screenplay of my novel, When the Swan Sings on Hastings. I am co-writing it with Heather Buchanan, producer of AUX Media. We have a short film of the same name showing at the Royal Oak Main Theatre on August 28 at 7p.m. We are going to show the film and play some blues with a little band I put together. I play a numbers runner in the film. But I am most excited about the cast. Arthur Ray and Grover McCants, two acting veterans from Detroit, star in it. Shahida Hasan, a dynamic actress/vocalist, plays the “Aretha” role and sings her heart out.

DL: Why do you write? What do you hope to accomplish with your writing?

TG: I write because it is who I am. Creating is very important to me, be it playing guitar, acting, or whatever kind of creative activity. I could take a more spiritual stance and say it is a gift from God, which I believe. It would be wasteful if I didn’t create. Ever since I was a kid, I was an avid storyteller and it is natural for me. In terms of accomplishment, I hope to give my readers a fulfilling experience that leaves an impression after they put the book down. I want to take them “there.” I want them to feel something—visually, emotionally-—I want them to touch, smell, and listen to the world I am creating for them. I want to take them to a place that I have living in my head and in my heart. I want them to get inside someone else and feel their joy, pain, or other emotion. I believe when we read, we see the world better, and not just from our own perspective.

DL: Please talk a little about your writing process. What is your favorite part of the process? Least favorite?

TG: My writing process consists of rethinking incidents that I experienced in my life and finding the “literature” or the “story” in them. Everything in our mundane moments in life contributes to a bigger canvas or movie. I used to do a lot of writing with a glass of red wine or a pint of beer or at times a joint and sit in a corner at a bar and scribble away. Jack Kerouac called it “sketching.” I would sketch physical aspects of a room or people or conversations I overheard. I would scribble them down and then go home and within hours, maybe days or even weeks, I would take them and put them in a story with more meaning.

Then, there is the craft of the art. What can this story tell? What do I want my reader to feel? I love rewriting something I wrote months ago. I like to write and let it sit for a while and then come back to it with a clear head. A writer should not fall in love with one’s own words too much. Use only what drives the story. Pruning, cleaning up, watering, nourishing-—that is what I love. When I have nothing in the well, I stop. I play guitar and do other things, maybe act.

I can’t think of anything I don’t like about the writing process except forcing myself to write when I should be doing something else.

DL: Could you reflect a bit on what writing or being a writer has meant for you and your life?

TG: Ever since I was a kid, I was told I was a good storyteller. I never looked at it that way. I just said, “Man, lemme tell you what happened today.” After reading bios on Hemingway and Kerouac, I found how we can take our everyday moments in life and make them something bigger than that moment. There is so much to be found in our simple daily lives. The beauty of literature is that it takes these simple moments and makes them so much more important, psychologically, emotionally, and intellectually. Every second of life is holy. There is a story in everybody and that is what makes being a writer so precious, exciting and yeah, HOLY.

DL: Many thanks for joining us today. What is the link to your book’s web site so readers can learn more about it?

TG: Thank you for giving me this opportunity. Here is the link to the Amazon page for When the Swan Sings on Hastings:





“Where do you get your ideas from?” part I

Like many authors, when I’m speaking to people about my writing, I tend to hear similar questions, whether I’m talking to a group or to individuals.

One of the questions I often get is, “How long did it take you to write this book?” That’s an interesting one, and I’m not sure exactly where it comes from. I’ve never asked anybody who posed it, “Whaddaya wanna know for?” That would seem rather surly and ungracious, especially if I haven’t answered their question.

I’m guessing most people have little idea about what goes into writing a novel, so the only form of measurement that makes sense to them is time and that’s why they ask about it.

But without a doubt, the question I get most often is, “Where do your ideas come from?”


If I’m talking to people who either would like to write or have already started on the long road of becoming a writer, what they really want to know is, how can they go about finding ideas for their own writing. I usually give them some version of Henry James’s advice to young writers: “Try to be one of the people on whom nothing is lost.” That is, be open to everything . . . what you read, what you hear, what you see, and so on.

For a general reader at a library presentation or a book fair, I tend to talk about where the ideas for a specific book came from. And, because nobody wants to hear a long story while they’re standing at a table, I’ll usually abbreviate it.

The truth is, of course, as always, more complex.

I’m not good at just making things up out of whole cloth, which is what many people (including many writers) think being a writer is all about. For me, I have to start at a specific place—with a kernel of an idea, which may come from an anecdote I’ve heard from someone, or an item I read in the newspaper or online or elsewhere that aroused my interest. When I write mysteries, this usually has to do with a crime or violation of the norm.

Also, because I like my books to be busy, from there I braid together that starting point with elements of other ideas, again taken from my mental file cabinet where I store all my possibilities. (I’ve tried writing these down, but I usually lose my notes.)

Let’s look at the fourth Martin Preuss mystery, The Forgotten Child, as an example of how this works.

TFC-Finalcover cropped jpeg copyIf you haven’t read the novel, here’s some context. (I’ll go easy on the spoilers.) The book is a departure from the first three books in that my main character, Martin Preuss, is now retired from the police department and is trying to figure out what to do with the rest of his life once the thing that gave shape and meaning to his days has ended.

Thus he’s at loose ends when he’s asked to find someone who was last seen in the 1970s.

His search takes him back to the the art scene in the Cass Corridor in Detroit, and to the history of Ferndale, the inner-ring suburb of Detroit where he lives and works.

So where did all that come from?

When I finished the third book in the series, Guilt in Hiding, and started thinking about the next one, I knew I wanted to focus on more than just a crime, I wanted an event that had a critical impact on Ferndale.

My then-neighbor was president of the Ferndale Historical Society, and he told me about a huge fire that devastated a block in downtown Ferndale in 1975. He shared the Society’s archives with me, and he put me onto a book written by the former fire chief, which included a chapter on the fire.

That took care of the important civic event I was looking for, but I knew I needed to personalize it. Most of my books have family dysfunction at their centers, so I rifled through that mental file cabinet for a suitable direction.

I remembered hearing about several men of my acquaintance who, though currently married with families, had had a child with other women when they were young, and who had lost touch with those children over the years. One of these stories seemed like it would lend itself to a mystery novel that forced an investigator to go back in time to the 1970s, and would in addition be ripe for some compelling family drama.

These became the main strands of the plot of The Forgotten Child.

As I began to flesh out the missing person (or should I say, the missing person began to flesh himself out; this is the mysterious and exciting part of writing fiction), I realized he was an artist, and thus his link to the art scene in Detroit in the 1970s was a natural connection, as well as another likely source for more drama.

And the fire? My challenge was how to take this actual episode in Ferndale’s history and put it into a novel—to transform it from an episode in history to an integral part of the plot of a book.

I wouldn’t need to write an accurate history of the fire; historians and participants had already done that. But I would need to imaginatively transform an actual happening into a fictional event that would not only advance the plot of the book but would act as its center of gravity.

The poet Marianne Moore talks about poetry being “imaginary gardens with real toads,” and that’s what I found myself creating here.

I kept as many of the actual details of the fire in place as I could to give the events of the book authenticity and accuracy, while making them serve my own purposes. I kept the date of when it happened, the details of the fire itself (where it started, what damage it did, how it changed Ferndale), and the responses of local fire and police departments.

But because I was creating a work of fiction, I changed some details, some circumstances, and the outcome. I also switched the real people involved with my fictional characters. I changed some key details—specifically the cause of the real fire, which was never determined—to meet my own purposes in the book. I omitted some details to keep the story moving as quickly as possible.

I peopled the apartments in the building (as well as the entire novel) with imaginary characters. I call them “imaginary,” but they are “real toads”—people I might have known or seen at one time—living in this imaginary garden. (Don’t believe authors when we say we’ll never put you in our books; we always do.)

And finally, I set all this in a context consistent with the conventions of a mystery novel, with lots of bad actors and bad actions, most taken (again) from reality but transformed through the alchemy of fiction.

In the coming weeks (alternating with Indie Mondays), I’ll be talking about where the ideas came from for a few of the other books in the series, including the events that formed the inciting actions of the plots. I hope they’ll demonstrate my guiding principle: everything is fuel for a writer’s imagination.



Indie Monday

Today’s guest: Andrew Charles Lark


Every other Monday, I’ll be featuring other authors on my blog—authors who produce quality work outside the boundaries and strictures of the traditional mass-produced, mass-marketed commercial publishing world and traditional bookstore shelves.

Today’s featured guest is the multitalented author, playwright, actor, and teacher Andrew Charles Lark. Andrew is a graduate of Wayne State University, where he received his bachelor of arts degree in English. His play, Stop Up Your Ears!, a farcical account of a month in the life of Florence Foster Jenkins, won Wayne State University’s Heck-Rabi award and was produced at the Hilberry Studio Theater in Detroit. Other plays have been produced at theaters around Detroit and Hudson, New York.

Recently I posed some questions to Andrew. Here’s what he told me.

DLAndrew, welcome. Could you tell us a little about yourself?

ACL: I’m a Metro-Detroit boy through and through. For all its troubles and woes, I love this city and its thriving arts and literary scene, and I’m delighted and revel in the true renaissance it’s experienced over the last few years. Detroit is a blue collar town but it’s a town that’s in love with culture, and that’s evident when one looks at the massive international impact we’ve had in our thriving music scene with Motown, and scores of other genres; our literary luminaries like Elmore Leonard, Jeffrey Eugenides, and Philip Levine to name a few, and although I stand in the shadow of giants, I’m proud and honored to contribute, in my own small way, to our area’s literary scene through my short stories, books, and plays.

DL: Tell us about your latest book and works in progress. Where did the ideas for those come from?

ACL: I have a children’s book coming out later this year titled, Monstergarten, and it’s my hope that it will help to allay those first day jitters that many five-year-olds go through as that first day of kindergarten approaches. I’m working with Danny Raymond, a wonderful illustrator who’s found just the right mix of fun and scary to make Monstergarten a delight for children four through seven years of age, but really, I think everybody who picks it up will love it. 

I’m also writing a short story that’s one of three stories in an upcoming dystopian anthology. Two other authors, for whom I have great admiration, are contributing as well. I’m really excited about this anthology because it addresses the end of humanity. Each author has been assigned a different take on that tragic time when humanity finally snuffs it—natural, man-made, and alien/supernatural. 

My ideas for this formed over the last year or so, and I had to do something creative to help process the depressing news I see almost daily regarding our imperiled planet and humankind’s seemingly boundless lack of empathy when it comes to the environment, the climate, and rampant species extinction. This may sound depressing, but I think it’s a topic of vital importance, but rest assured—the book doesn’t have a political agenda; it’s merely three great “what if” stories written by three very imaginative authors.

book cover final.jpg

I also continue to work on The Persistence of Whispers, the sequel to Better Boxed and Forgotten, my first novel, a supernatural-fantasy-mystery set in Detroit’s historic Indian Village. I’m also writing a full-length play titled, Viv n Vince, that brings classic Hollywood and Stonewall together.

DL: Why do you write? What do you hope to accomplish with your writing?

ACL: I’ve always been a story teller; even way back in elementary school, when we students would have to get up and share something with the class, my arm would always shoot up to go first. It was always fairly easy for me to invent scenarios and assemble them into fun and imaginative stories. My father was an artist and my mother was a poet, so I think some of that rubbed off. My brother is a musician, and my sister has mad skills in the kitchen as a professional chef, so we were always encouraged in our individual artistic endeavors.

As far as accomplishing anything with my writing, I can only hope that my stories and plays engage and entertain. Deeper themes always manage to creep into my stories, but in ways that are not overt and obvious, and that’s fine. I guess it’s like this: if you’ve ever walked out of the cinema after having seen a great film that generates great conversation between you and the person you saw the film with—that’s what I hope to accomplish. I hope to entertain and to make you think a little perhaps.

DL: Please talk a little about your writing process. What is your favorite part of the process? Least favorite?

ACL: When my writer hat is on, I strive to get, at a minimum, two single-spaced, 12 font, New Times Roman pages down on paper. I typically don’t write at home. I enjoy writing in coffee houses where there’s a slight buzz of people engaged in their individual things. I tune the white noise out and get to work, but I need to look up every now and see what’s going on.

I love those times when I’m writing and the subconscious seems to take over. As it is with Freud’s concept of the Id, Ego, and Super Ego—these reside inside and are instrumental to my process. When they’re in harmony, there’s a stasis and equilibrium, and my writing goes swimmingly, and other times there are battles and conflicts and I really struggle to get words onto the page. I also self-edit. I’ve heard that this is a bad habit that I should try to break, but I can’t help it. I’m a bit compulsive, and if, for example, there’s an error on page four, or an awkward sentence that needs work on a previous page, this will bug me and stand in my way until it’s fixed to my satisfaction.

My least favorite parts of the process are when things have run dry and I’m struggling for ideas. For example, it’s taken me way too long to finish The Persistence of Whispers, and that’s because I’m struggling with a well that needs time for the waters to replenish. Honestly, if I had it to do all over again, I would have written Better Boxed and Forgotten as a stand-alone book, but I didn’t, and I owe it to those who loved it to soldier on with book II.

DL: Could you reflect a bit on what writing or being a writer has meant for you and your life?

ACL: Again, I’ve always been a story teller. It’s the way I process stimuli. A teakettle whistles when the water starts to boil, and it’s the same with me. The ideas roil and boil inside and they need to pour out. My writing has also brought me the gift of being part of a great community of Detroit area, independent authors whose work and creativity inspire me in my own work.

Writing for the theater has been rewarding as well, in that a couple of my plays have enjoyed professional productions both in Detroit and New York. It’s an incredible experience watching a play that I wrote—something that came from my imagination—engage, other professionals in their skills with costumes, lighting, set design, directing, and acting—and watching how my plays have been interpreted by these other artists is the most fascinating aspect of all.

DL: Many thanks for joining us today. What are links to your books, website, and blog so readers can learn more about you and your work?

ACL: Thank you for the interview. It was an honor and a lot of fun. My website and blog:

Better Boxed and Forgotten’s Amazon Page:

My Facebook Page is:

Six Sure-Fire Ways to Kill Your Writers’ Group

I rarely take part in writers’ groups anymore. I totally get their usefulness—writers need support from peers, they need responses to their work from actual readers who won’t just say they loved it, a sharp reader can point something out that a writer might not have thought of, and so on. A good writers’ group can be beneficial, no doubt.

In large part, I don’t do it because it’s not how I work best. When I came of age as a writer, I learned to do most of my work alone. I wrote projects to order and under pressure of deadline; there wasn’t the time or the opportunity—or the expectation—to get other writers’ perspectives on what I was doing. My boss—or the client—had the final say.

In larger part, though, my avoidance of writers’ groups comes from my having run or taken part in so many of them over my careers as a writing teacher and writer. The other day, I  estimated how many writers’ groups I’ve been part of over the years. I came up with the semi-astonishing figure of roughly 1,200 groups over twenty-plus years, both inside and outside the classroom.

That’s 1,200 groups of writers, ranging in number from three to thirty, where people responded to each other’s stories, poems, novel drafts, or essays. I was either an active participant or a facilitator helping the writers themselves carry the conversations.

I was deep into collaborative writing, see. The whole being the “guide on the side” instead of the “sage on the stage” thing, to use one of the more ridiculous clichés of education that still makes me gag.

I thought a lot about the subject. I took courses in how to run writers’ groups. I attended workshops in how to do it. I even gave workshops for my colleagues and others in the benefits of writing groups and how to work with them.

In all that time, I saw how and why groups could be valuable. But I also saw what could go very wrong. In particular, I came to learn that certain behaviors will kill a writers’ group dead. If you’re a member of a writers’ group and you want to make your partners miserable, try some of these out:

Screen-Shot-2016-08-28-at-6.07.19-PM1. Everybody’s a Critic.

Interpret “critique” to mean “criticize mercilessly” (instead of, say, “offer careful judgment about”), and criticize the hell out of the workshopper (the one who reads or presents a piece for discussion). Pick every single nit you can find, from structure to grammar, regardless of what stage the draft is in. Find fault, instead of reflecting your responses to the piece back to the author, who can then make decisions about how well she/he framed the writing in preparation for revising.

It also helps if you gang up on the writer with other members of the group.

2. Do As I Say, Not As I Do.

Understand that your other main job as participant (besides telling authors what they did wrong) is to tell the writers what they need to do to improve the work. Regardless of your own experience of literature and writing, don’t be shy about telling the author what to do with a particular work. The wronger the advice, the louder you should insist on it.

3.Tu Casa Es Mi Casa.

Take over the author’s writing completely. Pay no attention to an author’s intentions, but respond to a piece of writing based on how you would have written it yourself. Don’t give the author any chance to make decisions about what to do or change based on how well you got what she/he was saying. This works especially well if you’ve never written anything like what the author is sharing.

4. If You Can’t Say Something Bad, Don’t Say Anything, Part 1.

Don’t mention any of the strengths of the piece, and don’t bother telling the author what you liked or appreciated about the work, or thought the author did well. Your job is to focus on the bad parts. The good parts are already good, aren’t they? Why talk about them?


Besides, agents and editors aren’t going to go easy on a writer, so why should you? You’re helping to toughen up the workshopper. Writing group as WWF Smackdown!

5. If You Can’t Say Something Bad, Don’t Say Anything, Part 2.

Never mind articulating any questions you have about the piece, or points of confusion you wonder about, or interesting places where you’d like to hear more details; these might be too helpful. Your criticisms are enough.

6. I Object!

When you’re the workshopper, defend your draft loudly and vociferously. Don’t bother trying to learn from your partners’ responses and get ideas for revision, but instead show them how wrong they are in their appraisals of your work. If you have to explain or defend what you said, it just shows how little your responders get you (and how much smarter you are).

If you try all these strategies in your next writers’ group, I promise your group mates will develop some very special feelings for you.

If, on the other hand, you find yourself doing any of these, you might try to back off from them and maybe—just maybe—your writers’ group will be more enjoyable, and a whole lot more useful.

Indie Monday

Today’s Guest: Patrick W. Gibson

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Beginning today, Indie Thursday becomes Indie Monday. Every other Monday, I’ll be featuring other authors on my blog—authors who produce quality work outside the boundaries and strictures of the traditional mass-produced, mass-marketed commercial publishing world and traditional bookstore shelves. On alternate Mondays, I’ll be making my own posts about the writing life.

Today’s featured guest is Patrick W. Gibson. Recently I posed some questions to Patrick. Here’s what he told me.

DL: Welcome. Could you tell us a little about yourself?

PWG: I’m a Michigan native and a Wayne State grad. In the past five years, I’ve also attended The Writers Studio and obtained a certificate in fiction writing from UCLA. My day job has taken me for extended living periods in Chicago, Toronto, and Japan. These experiences show up in my writing.

My short stories and flash fiction pieces favor a working class feel. I’ve been published by The Flexible Persona, Medusa’s Laugh Press, Wraparound South, Dark Ink Press, Fiction Attic Press, ARTIFEX, UofM Bear River Review, and the Ripples in Space podcast.

My wife and I live in Northville and she’s my biggest supporter in this writing adventure. We enjoy home and family, traveling, and have been avid SCUBA drivers. Three shark dives, without cages, and all limbs intact!

I’m also a hobbyist musician and my enthusiasm more than compensates for any shortages in singing and guitar playing ability.

I run the Northville District Library Writers Group. So, if you find yourself near the library on the fourth Wednesday of each month, around 7 pm, then join us for supportive discussion and feedback.

DL: Tell us about your latest works in progress. Where did the ideas for those come from?

PWG: I’ve completed one novel manuscript and I’m querying it right now with the goal of getting a traditional publishing contract. I’m also working on two more manuscripts. One is a sequel to the queried work, and the second is in a different genre, horror. All three are big city, working class tales, grown from short stories, and born from my studies at UCLA and The Writers Studio.

Besides the big projects, UofM Bear River Review recently published my flash story about an elderly couple and their love for each other and an old Buick. It’s a vision of love transitioning the physical challenges of age and dementia. I was drawn to the age and memory loss aspects from my own father’s battle. The story’s twist is fictional.

Artifex literary magazine published a creative non-fiction piece about my mother-in-law’s journey from Nazi Germany to the United States via Canada. It’s a little story set within a big story setting and deals with becoming a US citizen on the very day President Kennedy was assassinated.


And Ripples in Space produced my sci-fi story “Apprehension Soars” as a podcast complete with music and sound effects! I could describe the story, but it’s more fun to listen to it here.

The ideas for my work often come from family and family challenges. For example, The Flexible Persona literary magazine published my creative non-fiction piece, “Birthday with Dad.” I spent one birthday with my father, and my recollection, told through a blend of baseball love and a musty estate auction, outlines a childhood. You can read it here.


Other ideas for my work are all fiction. For example, the journal Wraparound South called for story submissions featuring contemporary Southern literature that “disrupts the expected.” My piece featured reflection and upheaval in an urban Southern family. Read it here.

And please check out my back-porch advice on writing here, also in Wraparound South.

DL: Why do you write? What do you hope to accomplish with your writing?

PWG: I write because I enjoy creating characters, putting them into situations, and seeing how they react to the quandary at hand. I’m especially drawn to flash fiction, which challenges me to develop a character, tell a complete story including emotion and a twisted ending, all in the fewest words.

I hope to craft compelling stories that captivate readers and leave them thinking about their own situations. My work may be serious, comical, even educational, but at the core is characterization. I might apply themes others might choose not to write about and situations we may not want to deal with, think dementia, family alcoholism, absent parents, and divorce. But most of us have witnessed it, perhaps experienced it. I know my characters have.

DL: Please talk a little about your writing process. What is your favorite part of the process? Least favorite?

PWG: I love doing the research and reading everything I can, in whatever genre I’m working in. I don’t think you can write well unless you read, reflect, and learn from others.

During the early stages of a big project, I like to write scenes from the beginning, middle, and end simultaneously. I do this because the plot is still malleable, the character development immature, and I’m really not sure where I’m going with things. But once I have a few dots, connection and refinement can occur.

I’ve grown to enjoy the editing process. Self-editing is one necessary discipline but working with a professional editor is very different. Your manuscript, the one you’ve worked so hard on and for so long, now becomes a team effort. It’s no longer just about you! Trust and a solid working relationship are crucial, for both parties. Similar comments apply to critique groups and beta readers.

I’m heavily involved in the query process, and it’s new to me, so I can’t say querying and publishing are my favorites, but I think any trepidation is due to their newness. Long term I expect I’ll grow to enjoy them like the other aspects in this fascinating business.

DL: Could you reflect a bit on what writing or being a writer has meant for you and your life?

PWG: Writing and success with my published short stories has enabled me to step back from the day job that used to be all-consuming from a professional standpoint.

Being a writer has also allowed artistic growth beyond words on paper. One of my characters strives to be an actor, and I took a few acting classes so I could write about the fear of going on stage. I did that, but I also learned how difficult it was to give a ten-minute monologue, memorized, and delivered with honesty and realism.

I’ve worked with local musicians, notably Bill Boley and Jill Jack, to learn vocal, instrument, and songwriting skills. Bill runs a weekly rock/folk class in Plymouth that has built my confidence in front of groups. Nothing says performance like being called on to sing “Don’t Stop Believing” in your best falsetto, while strumming a guitar. And Jill’s Big Dream studio in Ferndale is a multi-disciplined inspirational space. It’s amazing to see your poem transformed via chords, melody and voice into a three-dimensional entity.

All these actions have expanded my writing abilities and enriched my life.

DL: What are links to your books, website, and blog so readers can learn more about you and your work?

PWG: My website is the place to find links to my published work, follow my blog entries, and join me on my writing and creative journey:

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My Facebook page is: