Tag: guest post (Page 2 of 2)

The Poet’s Secret – Q&A with author Kenneth Zak

October 11, 2015 / Kyle Wendy Skultety / 0 Comments

Elia Aloundra, a young lit student, sees a reclusive poet, Cameron Beck, recite a poem at a campus pub before he vanishes. Ten years earlier, Beck had published a popular collection of ninety-nine odes to one anonymous muse before dropping from the public eye, leaving behind a decade of speculation over his disappearance and the identity of the muse. Elia always found sanctuary within the pages of great books and raised Beck’s work into that pantheon, memorizing every verse by heart.

But her love life pales in comparison to the great romances of literature, and she sets off in search of Beck hoping to finally leap from the page and unveil the secret to love incarnate. What she doesn’t know is that as her quest begins, Beck is perched atop a cliff on a remote Caribbean island and about to attempt suicide. Decades earlier a Spanish shipwreck entombing mystical Aztec relics was found off that same island. Elia must win her way through Beck’s protective circle: Isabella, a robust island matriarch with heavy voodoo juju, Paco, a local fisherman and cantina owner, and Fatty, a burnt out, transplanted New Orleans crawdad of a doc. What Elia cannot fathom is that Beck’s secret will change both their lives forever.

This fascinating Q&A was brought to you by Kenneth Zak and PR By The Book!

Watch the book trailer here:

What inspired you to write The Poet’s Secret?

At the time I wrote The Poet’s Secret, I was on a personal pilgrimage. I essentially took a threeyear sabbatical, sort of an adult “time out,” and embarked on a new path. I dedicated myself to explore the meaning of life and love and particularly the arc of passion. I became consumed by the idea of living in the present, honoring the “now” as the only real moment in time, the only authentic eternity, which allowed me to both disconnect and connect like never before and let go of the constructs of past and future as fictions created by the mind. I gained a new appreciation for relatively brief moments and encounters as having potentially profound effects. I was living abroad, reading, writing, surfing and slowing down my existence.

The tale that became The Poet’s Secret was conceived in a hovel perched atop a onetable taverna in the hillside village of Avdou, just a scooter ride from the blue waters of the Aegean Sea on the island of Crete. I was sequestered alone, halfway around the world from my home, and recovering from a life, and a relationship, that had left me hollow, or at least I thought at the time. But it turned out words kept flowing out of me, first in raw, chunky verse that faintly resembled poetry and then in images and scenes that bore an even fainter resemblance to a novel. For months I wrote, swam in healing waters and disappeared into this remote, antiquated Greek village. I had never done anything like that before, but at the time it was the only existence that made any sense.

So many miracles happened during those months. I experienced a cleansing, a healing and an awakening, and I began to perceive light and water and imagery and words and the souls around me like never before. I eventually returned to California, and then traveled to Bali, Mexico, Costa Rica, Thailand, Cambodia and South America, following the sea and surf with laptop in hand and continuing to write. The backstory to writing The Poet’s Secret is a story in itself.

How did you select the locations for the novel?

It was tempting to set the bulk of the novel in Greece, a country I adore. However, as the story evolved the compass for the island setting spun toward the West Indies, and the story’s life raft washed ashore on the fictional island of Mataki. I was fortunate to spend a good part of my sabbatical on tropical islands and coastal villages that certainly informed the setting. As for the early campus setting, I based it on a fictionalized version of my beloved alma mater, The Ohio State University.

What was your particular process in terms of plot, outlining and character?

I essentially began the novel with two scenes that were haunting me. First, I had a reclusive poet on a remote island cliff about to attempt suicide. Second, I had a bookish young woman captured within the confines of the great romances of literature. I really had no idea about their connection, if any, but those two images would not let go of me. As I began to write, the concept of the woman yearning for what nearly kills the poet began to take hold.

The process was fairly organic. I let the characters breathe and lead me into the story. I wasn’t even sure whose story it was until shortly after the first draft. Once the closing scene appeared to me I realized that it was really Elia’s story. I then just had to navigate getting there. While I did not develop any formal outline, I downloaded scenes as they appeared, stockpiled them and later wove them in when they seemed to make sense. It was a bit like swimming across a sea, not sure which direction land might be but hoping that if I kept going I would eventually find my way.

Stumbling, a bit blindly, through this creative process was both exasperating and exhilarating. As I was working on revisions, I attended several writers’ conferences that stressed the necessity of thorough plotting, which made me feel a tad vulnerable. I later read an interview about Michael Ondaatje’s process in writing The English Patient and realized I was in good company.

The novel is filled with excerpts of poetry, which came first, the poetry or the narrative arc?

Most of the poetry was written before any narrative took form. The poetry came in often painful and soul searching flourishes, and then was revised over time. There is a line in The Poet’s Secret where Dean Baltutis refers to the poet’s inspiration being “survival.” That is precisely how it felt at times. I also wanted to combine both poetry and prose into one novel and attempt to slow down the reader a bit at the beginning of each chapter to contemplate and absorb the poetry, to be in that moment so to speak, before continuing on the narrative journey.

What in particular surprised you about the process of writing The Poet’s Secret?

I didn’t want to force plot twists or preconceived outcomes. I let the characters find the story. I let go of expectations and trusted the story to evolve. Tapping into this creative process was freeing, exhilarating and challenging, sort of like jumping off a cliff into the sea for the first time. I had never done anything quite like it, but this particular process for me felt authentic. I certainly was surprised how well the early drafts of the poetry and manuscript were received, which bolstered my confidence to pursue the project through publication.

Water imagery is abundant throughout the novel, what is the particular connection for you with water and particularly with respect to this novel?

I was thrown onto a swim team at age 8 even before I passed beginners swim lessons (I was terrible at the back float). But water soon became my life and in many ways my salvation. Throughout my youth I swam, played water polo, lifeguarded and hung around Lake Erie in northeastern Ohio. Somehow, I didn’t even see an ocean until I was 18. But I recall climbing out of the backseat of a Datsun 210 hatchback (or what they claimed to be a backseat) after driving for 22 hours to Ft. Lauderdale for spring break and telling my college buddies to just pick me up in a few hours. I was mesmerized. I sprinted into the Atlantic Ocean and swam and bodysurfed until dark. Today, I surf or swim almost every day. I feel like I am about eighty percent water, the remaining twenty percent made up mostly of curiosity and mischief.

Much of the water in the universe is said to be a byproduct of star formation. I’m no scientist, but I like the way that sounds. Because when I look up at the night stars it feels a lot like gazing west an hour before the sun dips into the sea, at least at my secret little spot by the water. Flickering diamonds scatter everywhere along the surface, and if I squint just right, I forget the sea is even there. Instead, it looks like a galaxy of stars shimmering right into me, washing across my heart, reflecting off my smile and filling me with the belief that I can just float away into the universe. So I often do.

Spiritually, water often represents purification and healing. To me, water represents so many things, perhaps most importantly love and life and the sacred feminine. I once nearly died underwater while surfing in Uluwatu, a place few have ever heard of and even fewer have visited. But I know on so many occasions water has saved me, water has healed me, and water has reset my compass when I have been spinning in some uncontrollable vortex. So for me, my life and my love seem to be tied to returning to the great aquatic source, again and again, maybe just to fill the chasm that still exists in me, and maybe to some degree still exists in all of us.

I have been fortunate to swim with sea turtles and dolphins in the wild on many occasions. When I stare into the eyes of a sea turtle or a dolphin I cannot help but believe that they understand this great aquatic connection, a connection beyond humanity, beyond species, beyond even the stars. So when I am writing about passion, heartbreak, healing, life and love, it is only natural for me to write in a particularly aquatic language and style.

Where is your favorite place to write?

My favorite place to write is on that squeaky metal spring cot in that hovel above Mihalis’ taverna in Avdou, Crete. After that, any place as long as I have my noise cancellation headphones. I’ve written and revised all over from kitchen tables to airplanes.

How long have you been writing?

I’ve been writing over thirty years now in one form or another. I wrote a bit of poetry in high school and then did a bunch of required writing in my legal profession. It was sometime after law school that I penned my first novel (unpublished), and then about ten years ago when the idea for The Poet’s Secret first took flight. I also have some published short fiction and poetry.

Who are some of your favorite authors?

Pablo Neruda, Gabriel Garcia Marquez, Haruki Murakami, Carlos Ruiz Zafon, Paulo Coehlo, Milan Kundera, John Steinbeck, Michael Ondaatje, Jorge Luis Borges, Rumi, A.S. Byatt, Carl Safina, Tom Spanbauer and so many more.

How did those authors influence your work?

My favorite authors inspire, entertain, challenge and provoke me. I don’t try to write or emulate any particular style. But when I read the opening of Cannery Row time stops.

How did you become affiliated with the Romance Writers of America?

Someone recommended I send an early draft of The Poet’s Secret to the RWA. While The Poet’s Secret is by no means a traditional genre romance, it was selected an RWA Golden Heart Finalist in romantic suspense. I was the only male nominated that year (attending the national conference and award ceremony is another story altogether). When my face went up on the Jumbotron in front of thousands of mostly female authors at the award ceremony it was a bit unnerving. Writing anything can be fraught with selfdoubt. The RWA could not have been more welcoming and supportive and certainly gave me a bolt of confidence to continue writing and revising, as did the nominee class from that year, the appropriately named Unsinkables.

How did your professional career as an attorney influence your writing and how do you balance the two careers?

I think practicing law actually spurred my interest in creative writing. While I was in private practice, I felt constrained by the form restrictions requisite within the legal profession. I also felt a lot of legal writing often served more to obfuscate than illuminate and writing poetry and fiction allowed me the freedom to explore and express myself in a different medium. The Poet’s Secret is not “another lawyer’s courtroom thriller” in any respect, nor am I particularly drawn to that genre since I’ve lived it. Nonetheless, my legal career (now as General Counsel for a large private brokerage company) is both fascinating and challenging. I draw some inspiration from the poet Wallace Stevens who for years continued his vibrant writing career while an executive for an insurance company. As far as balance goes, my evenings and weekends are spent around the keyboard as much as possible.

Tell us about your involvement with 1% for the Planet and The Surfrider Foundation.

Perhaps only a poet would give away money before it is even earned, but that is what I felt compelled to do given my love of the ocean and conservation causes. In addition to ocean swimming, free diving and water polo, I have been an avid surfer for nearly two decades and have surfed around the world. Subtle conservation themes are laced through The Poet’s Secret, but my love of the ocean and our planet is anything but subtle. I hope to leave this world and particularly our oceans better than I found them. Penju Publishing’s membership with 1% For the Planet and my pledged donations to The Surfrider Foundation are an effort to spread awareness, give back and pay it forward.

Breaking the Silence – Guest Post by author Maria Nieto

August 20, 2015 / Kyle Wendy Skultety / 1 Comment

On a sweltering summer day, the streets of Old Madrid that once resonated with the laughter of children playing are empty and silent. But inside the apartment buildings there is life as families faithfully wait for updates about an army uprising in Spanish Morocco. Before long, their greatest fears come true. As rebel troops storm Madrid and chaos fills the streets, six-year-old Mari wonders why she cannot go outside to play. Unfortunately, she has no idea she is about to be trapped inside the abyss of what is rapidly becoming a ruthless civil war. Already emotionally wounded by the absence of her mother, Mari attempts to go about her fear-filled days living with her father’s family, which includes a grandfather who lovingly teaches her about the history leading up to the conflict. As she embarks on a coming-of-age journey submerged in the darkness of war, Mari somehow stays alive despite the decisions of an intimidating, ruthless dictator, starvation, and brainwashing by the new Fascist regime. But when circumstances lead her to inadvertently commit the ultimate betrayal, Mari must face the horrifying consequences of her actions. Breaking the Silence shares the compelling tale of a little girl’s experiences as she attempts to survive amid the horror and death surrounding the Spanish Civil War.

Gimmethatbook had the privilege of communicating with author Maria Nieto and discussing her book BREAKING THE SILENCE. We are proud to present her guest post, as she discusses why she wrote the book and the meaning it holds for her. If you are interested in having your own copy, you can get it [easyazon_link identifier=”1491761016″ locale=”US” nw=”y” tag=”gimmethatbook-20″]here[/easyazon_link].

My name is Maria Nieto, and people have been questioning why, at the age of 85, I wrote a book called Breaking the Silence.

It is a book describing the pain and the horrifying days of a small girl´s life during and after the Spanish Civil War. There are moments of humor in the book, but mostly it deals the devastating effects that war creates for children. The book goes a little further into Spain´s post war years under the yoke of a fascist dictatorship using ruthless mind altering techniques on children in order to assure their total loyalty to the new order. Mari, the child in the book, ends with the terrible decision she must make to atone for an act of treason she innocently committed.

The book is written as a novel, a work of fiction, but fiction is often impregnated with truth.

Why did I write the book, and how did I write the book?

Please allow me to go back in time just a little.

I was born in New York City in the middle of the Great Depression. Just a year later, the laws that rule the universes (I do not believe in coincidences), transported me to Madrid, Spain. Two years later, the same universal laws took my mother away from me . I do not remember the days after she disappeared, but I do remember that even though I forgot how to speak English, at stressful times the sound of strange sounds would almost sing inside of my mind. Sounds like “mommy”, “daddy”, “Teddy the bear”, and sometimes I could hear the soft voice of a woman whisper something that sounded like, ”you are my princess”. Nothing more.

Three years passed and I suddenly found myself in the middle of falling bombs, crashing buildings and the passing of marching tanks in the night making cracking noises on the street cobble stones as they passed by the house.

Spain was at war. A war of brother against brother, and father against son: The Spanish Civil War. I lost most of my childhood friends who died torn to pieces under the explosions of bombs, the fire of machine guns, or the falling of mortar shells. I survived day after day holding on to the image of a dark haired woman who held me in her arms in times of danger.

After the war, Spain fell under the tyrannical fascist dictatorship of Francisco Franco, the Spanish Army officer who initiated the revolt against the Spanish Republic.

People were imprisoned and killed by the thousands. All freedoms were forbidden. Children marched in the streets dressed in Nazi-like uniforms with extended arms in a Nazi salute singing fascist songs to the beating of drums and the waving of flags. Soon I too became one of those children.

Some years passed and during my early teens, I was found reading a Reader’s Digest (in Spanish). That type of reading was forbidden. Nothing foreign was to be read in Spain, and no listening to radio stations from other countries was allowed. Because I was an American Citizen, I did not go to jail . Instead, my father was ordered to have me out of the country within three days. An uncle in New York who had converted into Judaism arranged for a Jewish organization helping children out of Nazi Germany, to look over me in Portugal as I waited for a ship to take me to the United States.

Franco died and Spain’s new monarchy passed a law of silence, “a pact of silence”, as it was called. The people of Spain were not to talk or act on any issues that incurred during the war or during the dictatorship after the war. Franco’s murderers never went to trial for their crimes and continued to flourish and continued to use their money to hold on to power. After that, when I visited Spain, neither my family nor my friends would talk about or mention the terrible years. During a visit to my grandmother’s village, I came upon a group of older women in the town’s plaza seated in a circle noisily and happily talking as they did their sewing. I introduced myself and told them that my grandmother was born in the village. They recognized her name, but when I told them that I had lived in the village for a short time during the war, the women looked at me, and one of them clipping her words almost yelled, “ Ah, that was a long time ago.” All the other women went back to their sewing in silence.

That was the beginning of the heavy weight in my chest that made me write Breaking the Silence.

After four years in the Navy, the GI Bill helped me to finish nursing school and after graduation I was able to work during the day and go to school at night. It was years before I finally gathered enough diplomas to teach me how to help emotionally wounded persons identify their pain, and hopefully resolve it.

When my working days ended, the heavy weight in my chest returned, and strange rumblings again woke me at night. As time passed, the weight got worse, the rumblings got louder.

Finally, it became clear to me what was happening: I was choking on Spain’s silence denying me of my childhood, as well as my childhood friends not being recognized and remembered.

That is why, very slowly and in silence, I began to write Breaking the Silence and no one, friends or family, knew about the book until it was published. My family in Spain received it well, and now the rumblings and the weight in my chest are gone, and I can again sleep through the nights.

I hope people will read it. I hope that in some way it may help people throughout the world and the United States reject any further war suggestions from their leaders.

I started another book. Maybe I can finish it before the laws of the universes take me away from this planet and I begin to use my experiences on earth elsewhere.

Guest Post by Stephen Heubach, author of Strike of the Cobra

November 30, 2014 / Kyle Wendy Skultety / 0 Comments

[easyazon_image add_to_cart=”yes” align=”left” asin=”1861510764″ cloaking=”default” height=”500″ localization=”yes” locale=”US” nofollow=”default” new_window=”default” src=”http://ecx.images-amazon.com/images/I/51zqBnY%2BIdL.jpg” tag=”gimmethatbook-20″ width=”312″]

Mr Heubach was kind enough to write this guest post for us, talking about his book:

Strike of the Cobra is based on true events. A few of the names and locations have been altered due to the story culminating in a trial at The Old Bailey. It is a thrilling tale of crime, subterfuge and drug smuggling in Britain, Turkey and Singapore.

It all began in early January at an evening of the International Boat Show at Earls Court in London. Stephen was approached by a well-dressed Mediterranean looking gentleman. He was alone on the booth, quietly closing up, the crowds had long since dispersed and his colleagues had headed to the bar. This was just the moment he had been waiting for.

He was polite and took a false interest in the five small sailing craft on show that my business partner and I had spent years perfecting. He asked if we would be interested in manufacturing our boats for a more reasonable price in his own factory in Turkey. I was sceptical but mentioned that we were actively looking for small sports/recreation boats. He said that they made just the thing and would come back to see me the following day with details.

Arranging to visit the factory was difficult; they could not accommodate Stephen for at least a month. The Turkish gentleman showed Stephen to his car at the airport, supposedly his own, but the carpets had recently been wet vacuumed; there was condensation on the inside of the windows, only one key on the fob, no personal effects at all. Stephen was sure the Mercedes 200 was a rental, the Turkish gentleman was lying; alarm bells were already ringing. Stephen thought about getting the next plane home.

They travelled towards the factory the following morning but he would not give any detail of its location. Stephen was becoming increasingly troubled by the lack of forthcoming information, there was not even a map in the car for reference, nobody on the planet, not even Stephen knew where he was and he’d broken his mobile phone by dropping it at the airport. After 2 hours they were off onto unmade, unmarked roads. The Turkish gentlemen sensed his apprehension, and objected to his questioning, eventually telling Stephen with pride that he had kidnapped him. This did not seem ridiculous at that moment as none of the pieces seemed to fit together, Stephen’s anxiety grew.

Is your curiosity piqued? Want to read this true story? Click [easyazon_link asin=”1861510764″ locale=”US” new_window=”default” nofollow=”default” tag=”gimmethatbook-20″ add_to_cart=”yes” cloaking=”default” localization=”yes” popups=”yes”]here.[/easyazon_link]