Q: What was the process of writing a novel in flash fiction like? How does it compare to writing a traditionally styled novel?

A: I was writing the book, a flash fiction book, as a kind of side project next to writing The Hundred Year Flood. I had been working on The Hundred Year Flood for seven years at that point, and it just seemed interminable–I had to do something that was going to end soon. I had been asked to contribute one flash story to a series of flash fiction posts on a website called jmww, so I sent a first chapter as a stand alone. When I was getting tired of the The Hundred Year Flood, and had to write something else, I had to think about what I had to work on, and remembered that first chapter was unfinished. I started writing more one page stories with the same character. When I had about twenty, I started sending them out in chunks. One magazine asked for twenty of them. The original twenty had already been accepted so I just wrote twenty more and sent them those. Then I had forty. Then my publisher asked for a novel. So I had 40 of those chapters and they asked me to write 120 of those chapters for them to look at. I wrote another 100 for them.

Q: Did that affect your sense of narrative?

A: Yes. Because each one of them was a standalone, you could take any one of them out, and hopefully they could stand as a small story. I had enough movement in each of them. And when I was going back and trying to figure out how they’d fit into a larger narrative, I started looking at how those movements added up to a greater movement. I spread them out on the floor. My daughter was a baby at the time and would want to walk all over them, so my wife had her go up into a separate room. I was moving around the stories by hand.

Q: Was the revision process more difficult because each piece is a stand alone, but still only one part of an entire story line?

A: I would write one every morning when I got to work, and was doing so by looking at my surroundings. I’d find a single object, write it into the stories (so that I had something to kind of anchor the piece), and then I would spend the night revising it. The thing about them being so short, is that you can do them quickly. I was basically doing one a day, everyday. And when I sold the book, I had to look at them as a whole so I could find a bigger arc to the story. I just repeated too much. I was explaining things multiple times for the sake of the story’s arc. I didn’t need all those. I cleaned language for just the book itself.

Q: Do you usually use objects or metaphors as the basis for your characters?

A: No, not usually. I like to set myself little challenges. When I was doing a flash story, I was thinking, can I do this all in one paragraph stories based off of everyday objects? I don’t usually do that.

Q: Do you find that challenges make for a better story?

A: I don’t know what is better, but I think taking a challenge is more interesting. I think if you think of writers who write basically the same thing over and over again, it doesn’t seem that fun.

Q: Did you use aspects of your own life to help the storyline of I’m Not Saying, I’m Just saying develop? Is any of it nonfiction?

A: Almost none of it is nonfiction. What I did use was the fact that my daughter was so young and I had a fear of how she would grow up, but I think pretty much everything else was all made up. I was using my fears in a kind of ‘what if’ situation. Like what if your kid shows up one day, and they’ve been formed by your absence. For me, parenting is a lot about how your child comes out perfect, and then you try very hard not to screw her up. There is this sense that there’s a point where she will get screwed up and how do you help that?

Q: Many of your flash fiction pieces are very poetic. What determined which pieces leaned more towards prose poetry than flash fiction? Did it depend on what part of the storyline the piece was focused on?

A: I think of them all as mostly fiction. They could all be prose poetry I suppose. I wasn’t trying to make some more poetic than others, although there was the list that might be more prosaic. What probably makes them seem more poetic is that they’re operating on the same level of sentence, and that’s what I was trying to do with all of them, to have the plot happening in each sentence, one that starts in place and goes until the end of it.

Q: Why did you call it I’m Not Saying, I’m Just saying?

A: I thought it was funny. I had that title as one of pieces. It makes me think of this story “Dogs I Have Known,” which is all centered around dogs. Each section is about a different dog that the narrator has known in his life, and one section that anchors the piece and is about dogs in general. Dogs don’t have anything to say except “I have things I need to say!” Maybe that’s what I was thinking about. That the narrator didn’t have anything to say except to say something. There’s a lot stuff built in around that.

Q: Why did you choose to only use nicknames like, “the wifely woman” instead of real names?

A: I wanted to be really close to the narrator’s head, but also I think that the length or the brevity really means that you have to characterize people more quickly, and names don’t do that much characterization work. They do a little, but I feel like the name of the relation does a lot more. Like “mother” does a lot more for the relationship than “Joan.” Mother plays on archetypes. So the ‘wifely woman” is kind of playing on what a wife is and cultural conceptions. The narrator is trying to think of the boy as a son; it didn’t seem right to call him the son.

Q: Do you find that your voice resembles the style used in I’m Not Saying I’m Just Saying, as well as other pieces? Or did you particularly develop the voice for the narrator in I’m Not Saying I’m Just Saying? (Do you vary your style?)

A: Yeah I do, I think it’s very good for me to change it up. I also think it’s harder, like right now I’m working on a novel with a very different voice. A very disaffected narrator. The novel itself is a lot about voice, so I feel like I need a lot of time developing it before I can work on the book. It requires a lot headspace, which I don’t really have right now. Which is why I keep throwing pages out.

Q: Would you classify yourself based off of your voice or based off of your content?

A: I don’t know. I think the content is more consistent. There’s a lot about parenting, adoption, race, masculinity. I think that’s usually how I’m characterized.

Q: When and why did you start writing?

A: I wrote a book about the sting ray who wanted to find the shine of his teeth in elementary school. My teacher, who was a great teacher, said that I didn’t write description well. I still don’t write description well. But it was always something that stuck with me, something for me to be like “I’ll show you.” I think she knew what to say to me. Why did I become a writer? In part I think it’s kind of the same as what I often write about. What is one way of learning to be who you are in a world that doesn’t value that? Writing has been a large part of that for me.

Q: How does your culture affect your writing?

A: I’m often writing characters who are very far from accepting who they are, whether or not they even know who they are. And that’s an experience that seems very close to mine. I get this feeling that the great American arc is denial. It’s this person who refuses to accept whatever is the truth and that’s an experience that resonates very strongly with me and my history.