la_fields: (Nathan Leopold)
There is a new Leopold and Loeb website! I could have used this while writing Homo Superiors, but the next author of an L/L representation will have it all at their fingertips. I'm the most recent feature at the end of the fiction page . . . for now.

la_fields: (Nathan Leopold)
A fellow Leopold and Loeb devotee/fan of my interpretation, Homo Superiors, has put together a playlist. From the title's song origin to the list content, I agree! Here are the fan-songs, plus a secret blog-bonus Easter egg below them (the songs I listened to while writing the book in the first place):

Such Strange Little Birds
(title from "Even Though Our Love Is Doomed" - Garbage)

"Oh! You Pretty Things" - David Bowie

"That’s My Boy" - VAST

"Perfect" - Alanis Morissette

"Paper Planes" - M.I.A.

"Add It Up" - Richard Cheese

"Rich Kids Blues" - Lykke Li

"I Think I Found the Culprit" - Jack White

"Lurk" - The Neighbourhood


"Oh, You Pretty Things!" is where the book's title came from (you know, Nietzsche by way of Bowie), so that's a crossover tune, and the ones on repeat as I wrote:

"Birds of Hell Awaiting" and "Killing Strangers" - Marilyn Manson

"Pups to Dust" - Modest Mouse

SO: now I have a few new songs to go interrogate until they're memorized. What a wonderful chore!
la_fields: (L.A. Fields)
A new review of my short story collection Countrycide has gone live! My thoughts:

- You can shrug more than shoulders, you can shrug eyebrows, and hands, but I've taken enough creative writing classes to know that a lot people are insisting on grammar rules that don't need to be insisted upon, so c'est la vie.

- The order of the stories has turned off more than one reader, this is true, but I like to lead with my strongest (i.e. most disturbing) foot.

- In grad school an interconnected short story collection is called 'a novel in stories.' Regarding this book, by whatever name we call it, the reviewer says, Fields’ ability to write these little vignettes with the same men and women popping up here and there and allowing personal growth is incredible. I agree, I'm a huge fan of myself.

- The reviewer has picked an excellent favorite line, go see what it is! It sums up the feel of the collection pretty well; that line is what it's all about.
la_fields: (L.A. Fields)

Repression is available to get through the Rebel Satori website. It's my fifth book overall, third in the Disorder Series, and I'm still at work on these. Both of my short stories for class this semester are coming out of this, the fourth book is halfway done, and I'm so not even remotely over these characters.
la_fields: (L.A. Fields)
About seven months after the release of My Dear Watson, here comes Dysfunction, the second book in The Disorder Series. (That temporarily out of stock just means the books aren't there yet, but screw it it's announcement time--there will be an e-book version at some point too. When? Soon! Think of it as a coy little mystery.)

I should have two more books coming out next year at some point, a third Disorder Book and a collection full of short stories about Marley, Jesse, and company (including a gap-filler that takes place between Maladaptation and Dysfunction).

This makes three books published by age 25, and yes, I'm extremely pleased with myself.

dys. cover

Dys. Cover

Jun. 13th, 2013 08:53 pm
la_fields: (L.A. Fields)
Coming out this year, the sequel to Maladaptation in The Disorder Series: Dysfunction.

dys. cover

Description of Dysfunction, by L.A. Fields:

Recent runaway Marley Kurtz is back home in Florida after a long road trip. He and his boyfriend Jesse get jobs, move into a loft above a mechanic’s garage, and start living the good life. They don’t stay free for long however; Marley is eventually pressured into reuniting with the family that sent him away. Far from being disowned, Marley soon finds himself pulled in too many directions at once.

Along with his sister, Lindsay, and his boss’s new foster son, Tristan, Marley must figure out what kind of family he’ll choose to call his own. Will it be the parents who raised and abandoned him, or the friends and adults in his life who have proven they really care? It should be an easy decision, but letting go is never easy.
la_fields: (L.A. Fields)
In my Short Story class I got to pick an author to do a presentation on, and I picked Keith Banner (1) because I want my fellow classmates to experience the treat that is reading "Holding Hands For Safety" and (2) because I am Facebook friends with Keith and he very kindly agreed to answer some questions, which are now posted on his blog, 2+2=5.

My first online publication ("Walls") happened because I was following Keith's work around the internet, and "Exit Signs" happened because I couldn't not imitate him, so it's been really cool to ask him about his writing.

I'll post the questions here too, so that I can look at them here too.

I looked up the anthology where I first found “Holding Hands For Safety” (in Men on Men 7) and found a review calling your story “fierce and funny,” which is not at all the impression I got (it seems very quiet and serious to me). How would you characterize this story? Or at least what is the impression you hoped to give with it?

It’s both funny and sad to me, and I don’t think you can have either in a story like that without both humor and tragedy working at the same time together to get you through. That said, I also think the class aspect of everything I write can sometimes be misinterpreted as insouciance and “black comedy,” when really it’s just the way people live, point-blank. Poor people, like rich people, have beautiful idiosyncrasies – it’s just that rich people often have more elaborate and intricate ways of hiding those idiosyncrasies, or to transform them into sweet little eccentricities. When Flannery O’Connor talked about why many of her stories featured “white-trash” people, she said something about how many of her characters are stripped of manners and decorum, and that allows the reader to look into their souls. I’m paraphrasing, but that’s the gist. And I think in “Holding Hands for Safety,” all the characters are stripped down to their essences to the point you have access to their souls, and while those souls might be a little ugly and a little worn out, they are beautiful souls none-the-less, especially the souls of the three main characters: the teenaged gay narrator, his punk step-cousin, and the six-year-old girl the step-cousin kills.

You said in an interview with Donald Ray Pollock that you’ve written another novel since The Life I Lead—would you mind telling me what it’s about, and if it’s any closer to finding a home?

Actually it’s Holding Hands for Safety turned into a novel, funny enough. I opened up the story to include many other points of view (including Courtney and Troy), and what happens after the murder. It’s going around now to different places. No good news, yet. Or maybe ever. But I keep trying. That’s the essence of all this stuff: you can’t get deterred. I have a draft of another novel I’m working on now called Johnson City Divas. It’s a homage to James M. Cain and other noir writers. It’s kind of like Mildred Pierce spliced with Jean Genet. A middle-aged drag-queen who lives in Johnson City, Tennessee is one of the central characters. I liked the idea of going with a plot-driven gig for a change. In The Postman Always Rings Twice and Double Indemnity, Cain’s plots have both an artificial dexterity and a weird existential necessity. It’s the nexus between reality and phoniness where murderers live. A lovely place for a story.

Having written both novels and short stories, which do you enjoy writing best? Are there differences in how you approach long and short pieces of fiction?

I like writing short stories, but then I get sick of them because I want the terrain of a planet instead of the intimacy of a condo. But they go well together, and most of the novels I write come from the short stories. They intermingle. And some of my favorite novels, actually, read like collections of interrelated short stories. The best I’ve read recently: A Visit from the Goon Squad by Jennifer Egan.


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