FOCUS ON - June 2013
A Q&A with editor Stefano Scalich, one of the contributors to What Matters Now? (What Can't You Hear?).
Tell me of those scans from your notebooks. Sometimes in the past you sent me the scans and not a word document.
It's just the way I work.
I storified the whole behind-the-scenes process.
You can walk through all the story drafts, step-by-step... and what do you get? Facts: nonfiction.
Or you can do the opposite: walk backwards... and guess what? Fabrication: fiction.
You pick the side you like: A, B... same record.
Back to the scans. They're there for a reason.
I read tons of authors' interviews and when it comes to the craft of writing I am amazed at how many still say they write everything longhand, pencil and paper, period.
'That's it,' I said to myself, 'that's the way it oughta be.'
It's a vinyl slash analog approach.
Pencil and paper then becomes scans and paper.
Scans and paper provide a monster buffer for afterthoughts.
Scans and paper can help you figure out instant layouts.
Scans and paper force you to be consistent at early stages.
Tell me of fieldwork as method.
I need to start with the real thing.
Post-production is just that: post.
I _must_ go out there and stretch out my little antennas provided (yes, this is vital) I know what I'm looking for.
Without that, I go round and round and waste aeons of time.
A lesson learned: my first field trips were fairly aimless.
Then, slowly but surely I started 'seeing things'.
Familiar faces, leitmotifs, and all that streetwise lingo.
An Easter egg: fieldwork unearthed a lot of tastes I didn't know I had.
I am my own specimen: no doubt about it.
Tell me of hereabouts: a place? A fiction? A book?
It's simply 45°29'55"N 9°13'48"E on Google, more or less.
No, it isn't hands-down special: just for me.
Yes, the Muse willing, it might be a book.
It takes a lot of work, though. Lots of behind-the-scenes.
Tell me of memories and Milan. Will you?