Q&A On Plagued, With Guilt with Casus Belli Books
Q: PWG is a long book, particularly for a debut novel. What was behind this decision?
A: I wanted to start with something I could be proud of, even if the book was not a commercial success. So I chose a plot on the grandest scale I could think of—the existence of the human species as we know it. At the same time, I've always liked stories about regular people who rise up from their everyday trials to face extraordinary challenges.
In order to combine these two things, I felt that I couldn't just jump right into "humanity is on the brink." I thought it would be more meaningful to see how individual lives would be impacted by a terrifying pandemic. Doing that required showing those regular, everyday lives first, before events overtake them and turn everything upside-down.
Q: Is the focus of the story more action-based or character-based?
A: Definitely character-based. As a reader, I like stories where I really get to know the characters, so that's the style I use in my writing. There's plenty of action in the book, but readers looking for it from the very beginning will probably be frustrated.
Q: Each chapter starts with a non-narrative opener. What was the purpose of this?
A: In a way, the book tells two stories. The main one, of course, is how a new pandemic affects both the principal characters and society at large. The second is a connection between fiction and real world issues of importance today, such as mental illness and international relations. The novel is meant to be entertaining, but at the same time provide some insight into the world that the reader may not have thought about or even be aware of. So I just scratch the surface on a number of topics as they become relevant to what is happening in the narrative. I know that not every reader will love every one of these, but it is hoped that each reader will be interested enough in one or two them to look into them further.
Q: The use of speech errors in dialogue is somewhat jarring for those of us who have an inner editor. What was the thought behind this, and are you concerned that the book will appear to have errors that might turn off some readers?
A: I can see how it could be confusing, but hopefully it is not overused in the book. Having difficulty with language as an early sign of the disease was done for two reasons. First, it is a realistic symptom that could result from an affliction that rewires the brain. Second, the fact that it is sometimes "jarring"—as you describe it—serves as a tip to an observant reader that such-and-such character is beginning to be affected.
Q: Will there be a sequel?
A: Who can predict the future?
A: I wanted to start with something I could be proud of, even if the book was not a commercial success. So I chose a plot on the grandest scale I could think of—the existence of the human species as we know it. At the same time, I've always liked stories about regular people who rise up from their everyday trials to face extraordinary challenges.
In order to combine these two things, I felt that I couldn't just jump right into "humanity is on the brink." I thought it would be more meaningful to see how individual lives would be impacted by a terrifying pandemic. Doing that required showing those regular, everyday lives first, before events overtake them and turn everything upside-down.
Q: Is the focus of the story more action-based or character-based?
A: Definitely character-based. As a reader, I like stories where I really get to know the characters, so that's the style I use in my writing. There's plenty of action in the book, but readers looking for it from the very beginning will probably be frustrated.
Q: Each chapter starts with a non-narrative opener. What was the purpose of this?
A: In a way, the book tells two stories. The main one, of course, is how a new pandemic affects both the principal characters and society at large. The second is a connection between fiction and real world issues of importance today, such as mental illness and international relations. The novel is meant to be entertaining, but at the same time provide some insight into the world that the reader may not have thought about or even be aware of. So I just scratch the surface on a number of topics as they become relevant to what is happening in the narrative. I know that not every reader will love every one of these, but it is hoped that each reader will be interested enough in one or two them to look into them further.
Q: The use of speech errors in dialogue is somewhat jarring for those of us who have an inner editor. What was the thought behind this, and are you concerned that the book will appear to have errors that might turn off some readers?
A: I can see how it could be confusing, but hopefully it is not overused in the book. Having difficulty with language as an early sign of the disease was done for two reasons. First, it is a realistic symptom that could result from an affliction that rewires the brain. Second, the fact that it is sometimes "jarring"—as you describe it—serves as a tip to an observant reader that such-and-such character is beginning to be affected.
Q: Will there be a sequel?
A: Who can predict the future?
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