Ariel S. Winter is most recently the author of The Twenty-Year Death.
Condition of Mr. Segundo: Wondering if he can condense the shards of his life into a twenty-year epic spanning three books.
Author: Ariel S. Winter
Subjects Discussed: Day jobs, being a stay-at-home father, sneaking out to write in the library, the exhaustion of writing after kids have gone to bed, Susan Straight, Stewart O’Nan writing 250 words a day, maximum time and page counts, the choice of pastiche, Georges Simenon writing novels in 11 days, original idea of a reader frame narrative, Police at a Funeral‘s original title, similarities between main character and F. Scott Fitzgerald, postponing writing in the first person until volume III, knowing the end based on Jim Thompson endings, The Alcoholic, narrators having the same sound, Pop. 1280, adopting specific verbal phrases, Chandler’s “automatic elevators”, Thompson’s “five-ten dollars”, consulting pages of Chandler/Simenon/Thompson books before writing, chronological accuracy, The Yellow Dog, references to World War II in Chandler’s novels, the importance of newspapermen, The Furies, punishment of those who kill members of their own family, Fitzgerald’s lone play, deaths with a comic tone, Murder, My Sweet, Thompson’s criminals never thinking they are at fault, Chandler being the most difficult to emulate, John Banville’s upcoming Philip Marlowe novel, apologizing to each writer in the dedication, poems in dialogue with other poems, Marlowe’s interest in poetry and chess,The Long Goodbye, maintaining the consistency of pastiche through various drafts, changing the ending to Malniveau Prison, Charles Ardai as editor, the Hard Case Crime editing style, James M. Cain’s The Cocktail Waitress, advantages of genre and pastiche versus original voice, and modernist aspects of The Twenty-Year Death.
EXCERPT FROM SHOW:
Correspondent: We were talking beforehand. I was curious what you did. And you said, “Well, I’m not going to tell you, Ed. I’m going to tell it to you on air.” I was curious about your life that is not a writer. What is that like? What is it that you do? What is your day job?
Winter: Well, my day job is I’m the primary caregiver to my daughter. It was always the plan that when we had kids, I would stay home. So that is what I’ve done since she was born. She’s four. She just turned four. So that’s more than a day job. (laughs)
Correspondent: It is.
Winter: Taking care is really a 24/7 job.
Correspondent: But it does allow you time to write novels.
Winter: Well, so the only way that that was able to happen was we hired somebody, a college girl, to come in three hours a day, five days a week. And I would sneak out, go to the library, and write during that time.
Correspondent: Oh really? So you had to arrange day care to ensure that you could get progress and momentum in the book.
Winter: Yes. Because it’s different.
Correspondent: People don’t talk about that too.
Winter: Well, I’ve worked full-time jobs and written books. And, believe it or not, as hard as it is to come home after working an eight-hour day and then go and sit and write, it’s doable. Where spending ten hours with a two-year-old, you can’t then sit and write when she goes to bed.
Correspondent: Not even a quick sentence or anything?
Winter: It’s too exhausting.
Correspondent: I was talking with Susan Straight and she said that she would always find time to write. Like when she was driving in her car. She scribbles down whatever sentences she can for that day. Just to get some kind of momentum. And then there’s the Stewart O’Nan thing, where he writes like a page. 250 words a day and that’s it. That’s all he can add. But in his case, it takes the whole day. So, for you, has that three hour need to get something going, I mean, what do you generally push forward on in terms of pages and words and so forth?
Winter: When things are going really well, I can write up to four hours a day. But I never write more than four hours usually. So three hours works really well, usually in that first hour might take me a little bit to get going. I might only write a page in that first hour and then I can, in that second hour, I can potentially write six pages once I’ve gotten started. So my goal is usually to write at least two hours or, if I have a ridiculous day, ten pages. I try to do one or the other. Whichever comes first. Rarely do I write ten pages in less than two hours, but those are my goals.
Correspondent: This leads me to ask if you actually adopted any techniques to write not only in the style of [Georges] Simenon, [Raymond] Chandler, and [Jim] Thompson [who represent the three styles of the novels contained in The Twenty-Year Death], but also to perhaps write the exact same way that they did. I mean, I did notice that the years that these three separate novels were set matched roughly around the type of writing that Simenon, Chandler, and Thompson were doing at the time. So as a way of offering a general question about why you need to do pastiche over say an original voice, maybe you can talk about this a little bit
Winter: Right. Well, to answer the initial part of your question, I didn’t try to drink a whole lot or smoke cigars.
Correspondent: I figured that was impossible with a two-year-old at home, although it hasn’t prevented other people from trying.
Winter: Right. So I didn’t adopt that part. And then also Simenon, he wrote his novels usually in eleven days. You know, I’m not that fast. I write fast when I’m writing, but not a novel in eleven days. Because I definitely wasn’t able to do that. The reason that I ended up writing in those voices was quite simply, initially, because I was just reading a lot of Simenon at the time. And originally the book that I had set out to write was going to be a book in which there was a reader reading a number of different books. And each of the books the reader read, we would see in full. So there would be this frame narrator — this first-person reader. Then we would see what he had read. And the first one I wrote was this Simenon pastiche. Then as I worked on that book more and I had started to feel like it wasn’t working, I wanted to hold onto them in a prison, which is the Simenon book in The Twenty-Year Death. So as I started to think about expanding and what I might want to do, that’s when I came up with the idea of what would a mystery series look like if it wasn’t the detective that we saw from book to book. Like one of the secondary characters. So since I had already written one in the voice of the author, it followed that I wanted to do the other two in the voice of different authors. And part of that was dictated just by the way that the main character’s, Shem Rosenkratz’s, life would have progressed. He was loosely based on Fitzgerald’s character.
Correspondent: Yes. Police at a Funeral [the title of the second book contained in The Twenty-Year Death] was a title that is in The Crack-Up.
Winter: You’re the first person to pick that up. But, yes, that was purposeful. And what’s really interesting is that I didn’t write the book with that in mind. So the scene where there are actually policemen at a funeral? I wrote that without realizing that was a Fitzgerald title.
Correspondent: The subconscious is an amazing thing.