Our very own Ericka Lutz  discusses her writing history, The Edge of Maybe, publishing, promotion, and “circumventing the gatekeepers”  in a featured interview on Meghan Ward’s Writerland.

You do so much: writing novels, non-fiction, blogging, copywriting, and editing. How do you get all that done, and what do you do in your spare time?

Spare time? Never heard of it! Between writing and work and family, there’s precious little, but when I do have free time, chances are I’m reading. Or sleeping. As for how I get it all done, I guess I’m fairly good at time management, and I’m fortunate that I can work freelance as a copywriter, as opposed to full time, so I can make room for my “other” writing. Also, I drink way too much coffee.

Eden Lake, your previous novel, was published with Last Light, while Double Time is coming out from Saint Martin’s press. What were your experiences getting a new agent and selling your book?

It all happened remarkably quickly! Once I put together what I felt was a strong proposal, I contacted a few agents, all of whom were the agents of writer friends of mine, which facilitated the process somewhat. Two offered representation, and I chose Henry Dunow, who’s not only a wonderful agent but a father of twins himself, so he really “got” the book on a whole other level. Once we finalized the proposal, he got it out there amazingly quickly, and within a couple of weeks we had an offer. Things don’t usually go this fast when it comes to trying to get a book published.

What can readers look forward to in Double Time?

It’s a memoir of my pregnancy and first three years as a mother of twins, as well as my struggles with clinical depression and my (impossible) quest to “have it all” during that time. It’s a little funny, a little serious — seriocomic. (Is that a word?)  I basically wrote the book I wish I’d had when I found out I was pregnant with twins. I’m hopeful that expectant and new moms of twins, and mothers who’ve experienced the immense challenge of parenting through depression will relate to a lot of it.

Photo: Mara Brod

Your narrative voice is often infused with a subtle sense of comedy. Where did that come from?

Thank you! It’s taken me a long time to find that voice, and of course, it’s still a work in progress. As to where it comes from, I’ve always enjoyed reading things that are witty or funny so I suppose I’ve unconsciously emulated that. Mostly, though, I think it’s just a reflection of my personality. I can’t help seeing the humor in things—and often have to restrain myself from making jokes at inappropriate moments. (Not that I always succeed).

What are your plans for future projects?

At the moment, I’m working hard on essays and guest posts and interviews to promote Double Time. But once the dust settles a bit, I want to get going on another novel. God knows if or when I’ll ever finish it, but it’s been klunking around in my head for a while now, so I need to get it down on paper.

Shadow Path deals a lot with philosophy. What philosophies did you use and how do they play out in the novel?

I started walking the path on a diet of science fiction, fantasy, mythology and theosophy when I was probably just under a decade old (I don’t claim I UNDERSTOOD it back then, just that I started reading it). What I quickly discovered was that philosophers of older ages, confronted with a world that was literally beyond belief, weren’t trapped by the illusion of omnipotence we seem to have today.  They had to wring their wisdom from common clay, hoping that once they stepped off the edge of the map, their wisdom would prove enduring.  They traded secrets with travelers from afar, created esoteric languages, coded the fruits of their labor into stories and formulae and taught apprentices what they thought might be the key to unlocking God’s (or gods) thoughts.

Put another way, I’ve been inspired by a lot of things: The Invisibles by Grant Morrison, Promethea by Alan Moore, The Books of Magic by Neil Gaiman. The works of Israel Regardie and Aleister Crowley and Samuel L. MacGregor Mathers. Willaim S. Burroughs, H.R. Giger, Alejandro Jodorowsky, Umberto Eco. Movies like MindWalk and the Fountain and the Matrix. Books like Isis Unveiled by Blavatsky and Secrets for All Ages by Manley P. Hall.

A lot of Western philosophy tries to be alchemical in nature and that’s how I tried to play it out in the book.  A lot of mixtures of ideas, paths turning that seem to be the right path, until you look back and you see where it’s all been really leading you towards.

How did the book begin, and where did some of your ideas come from?

The book began as a screenplay after a writing collaboration I had with my brother fell apart.  This same script was used to secure my very first professional writing project as a writer / designer on 7th Level’s Return to Krondor game. It was inspired by a very simple notion “What if every thought we think leaves an impression on reality?” Not necessarily on the world we walk through, but at the edges, just out of reach. What would that look like?  And what would happen if people could walk out to those edges and play around in those imaginary forces? What if they could bring some of it back here?

Creating a story for me, is very much like hunting.  Something inspires me, attracts my attention, and I start investigating, fleshing it out, following up.  But that’s where that exploration narrative ends because at some point, the story jumps me.  It gets inside and now I’m no longer looking for it.  It’s using me as a mouthpiece.  I get to argue with the characters and be shown their point of view, what they want to do next.  It’s really quite a wild ride.

How was the transition from writing games to novels?

My dream back in school was to become a novel writer (a fact my oldest friends and my wife love to remind me) but I got sidetracked into trying to write comics, then screenplays and finally games.  So, it’s sort of like re-visiting an old love.  It’s exhilarating and fun and I adore it.  Now, my challenge has become “how fast can I write a new one?”  I can’t wait to see what people think of the work.

Coming soon from Last Light Studio is William Vinson’s Christmas and Other Oddities. The ancient tales and distant origins of Christmas and its traditions have long been of very little interest to the right thinking. This book seeks to arm and know-it-all, the boor, the acid-tempered and other social miscreants with information designed to harass the sensibilities of the more balanced celebrants of Christmas.

Read what The London Chronicle called “A work of utter madness,” and what Lloyd’s Illustrated Newspaper hailed as “An inelegant assortment of claptrap, poppycock, balderdash and rubbish with the aftertaste of an ill-stored cod.” The Hull Packet has even described it as “Repellent tripe of the first order… a tome so vile as to shame Gutenberg himself.”

WILLIAM J. VINSON is a character of dubious origins, unusual vocations and regrettable pursuits. His other writings have even less purpose than this treatise, unless kindling is required. He has been overly educated, having received a B.A. and M.B.A. for no Earthly reasons.

Most recently, Quiet Americans was named one of only three Honor Titles by the judges for the Sophie Brody Medal, which is administered by the American Library Association and recognizes exceptional Jewish literature. Previously, Quiet Americans was named one of the Notable Books of 2011 by The Jewish Journal, the largest Jewish weekly outside New York City. (All of this on the heels of earlier recognition from Shelf Unbound magazine, too.)

We’re proud of Quiet Americans, and proud of Erika!

P.S. Have a couple more moments? Check out this new Quiet Americans video, too.