A Conversation With Martin J. Smithby Claire E. White
The Internet Writing Journal, October 1998 Award-winning journalist and author Martin J. Smith, 42, is a veteran journalist and magazine editor. He has won more than 40 newspaper and magazine writing awards, and four times was nominated by his newspaper for the Pulitzer Prize. Born in Birmingham, Alabama, and raised in Pittsburgh, Pennsylvania, he began writing professionally while a student at Pennsylvania State University in the late 1970s. His
How did you get your start as a journalist?
When I was a sophomore poli sci major at Penn State University in 1975, I stumbled into the offices of The Daily Collegian, the student-run daily newspaper, and submitted a column I'd written. I don't remember what it was about, or why I thought I could write, but I'll never forget the sights, sounds and smells of the place. Old teletype machines clattering away in the wire room. Chain-smoking news editors barking at underlings. People talking about the world in a way that seemed so connected and important. I changed my major to journalism the next day and never looked back. After graduation, I worked at a small paper north of Philadelphia, The Express in Easton, Pa., then moved to The Pittsburgh Press a year later. There, I covered a little of everything, from night cops to courts to politics and the state legislature. My final job there was writing for the paper's Sunday magazine, and that was the time I discovered my love for longer, more narrative writing. I later moved to The Orange County Register in Southern California and worked another nine years before returning to magazine work as editor of Orange Coast, the monthly lifestyle magazine of Orange County. I feel privileged to have made a living for so long as a newspaper reporter. That career took me all over the world, taught me all sorts of survival skills, and forced me to overcome my natural instincts to be an introvert. It also exposed me to people, places and ways of life I would never have seen before.
As a journalist, you did a lot of traveling. What was the most affecting or moving story you covered?
My favorite moment was probably calling my wife, Judy, from the Mustang Ranch bordello in Nevada (where I was working on a story, really) to wish her a happy Valentine's Day. But the most affecting story, I think, was the chance to be in Manila during the People Power revolution of 1986. How often does one get the chance to see millions of brave souls rise up and seize destiny? The government of Corazon Aquino may not have lasted, but the way she ascended to power seemed rare and pure and wonderful. At that moment, anything seemed possible.
How did you first get interested in writing fiction?
In the early 1990s, after maybe 15 years in newspapers, I began to realize there were big stories that needed to be told, but which couldn't be told effectively in a newspaper or even a magazine format. Sometimes fiction is the only way to get your arms around an issue as complex as the one that intrigued me most back then -- the phenomenon of so-called repressed memories. That's what led me to write Time Release, which was conceived in 1991-1992.
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How has your journalistic background affected your fiction writing?
Journalism gave me a license to ask questions, to pursue my obsessions, to draw conclusions based on reported facts and telling details. I use all of those skills in writing novels, and I hope they add to the depth and clarity of the stories I tell.
What has surprised you most since you first published Time Release?
I wasn't totally prepared for the overwhelming need to support the book in the marketplace. At my level, an author that simply writes books won't last long. The beginning crime-fiction author today has to solicit cover blurbs, develop mailing lists, promote the work to booksellers and generally handle all aspects of marketing, media and public relations. None of that was part of my author fantasy, but it's reality for most anyone who wants to make a career writing novels. Early on, I adopted a no-whining rule and decided to cheerfully pitch in to support my books. But that sure does cut into my writing time. I also was surprised by reader reaction to the product-tampering aspect of Time Release. I thought I'd written this rather nifty book about the unreliability of memory as a gauge of truth. Turns out, I also wrote a scare-the-bejabbers-out-of-you-when-you-walk-through-the-grocery-store book. I intended the product-tampering stuff only to support the bigger story about memory, but it apparently succeeded as a plot unto itself.
Let's talk about your new book, Shadow Image. What was your inspiration for this story?
When Time Release was done, I felt like I'd opened a door into an issue -- how memory is used and abused in criminal justice -- that had
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The book gives a lot of detail about Alzheimer's Disease and painting as therapy for the disease. How did you go about researching this issue?
I spent several days with an art therapy class at the John Douglas French Center in Southern California. I wanted to see firsthand what an Alzheimer's day-care facility was like, and to spend time with the patients so my Floss Underhill character wouldn't come off as a stereotypical "victim." I also wanted to understand the role of caregivers in families affected by Alzheimer's. Finally, I drew upon the research I did while working on newspaper and magazine stories about an art program called "Memories in the Making," which uses art to help Alzheimer's patients reconnect with lost memories. What researchers have discovered through projects like "Memories in the Making" is that art enables Alzheimer's patients to reconnect with memories which the patients no longer can articulate. Language is the brain's most highly evolved form of communication. But with a second-stage Alzheimer's patient like Floss Underhill, for example, the brain doesn't reliably process the information she needs in order to carry on a conversation. Alzheimer's has left her brain this weird jumble of disconnected wires and phantom thoughts. It has devastated her short-term memory and she has no context for a lot of her long-term memories. She remembers things, the emotions still exist, but she doesn't know what they mean. Art, on the other hand, is a much simpler kind of communication. It doesn't rely on short-term learning and memory. It taps directly into motor skills and emotions. Images bubble up randomly and find their way onto the canvas. Sometimes they have deep meaning, sometimes they don't mean anything. But when you understand those images in the context of the patient's life, the messages often are profound.
Shadow Image raises some really controversial issues (such as the rage of a long-time caregiver), yet manages to avoid preaching - was that intentional? How did you approach writing about these issues?
I try to develop stories that first entertain, and then illuminate. Crime novels that never flirt with life's Big Questions don't interest me much. In the same way, novels that are overly preachy and obsess about the Big Questions don't interest me much. The trick is finding the right balance between drama and social significance. Your question underscores one of the pitfalls of writing this kind of book: There's a real danger of falling in love with your research and social insights and losing sight of your mission -- to tell a story in which the suspense rises steadily and dramatically until the climax. If you bog readers down in information or heavy-handed preaching, you jeopardize the pace. So I try to slide information and commentary into the story in the most entertaining way possible.
The character of Carrie Haygood , the chief investigator for Pittsburgh's Child Death Review Team was very interesting. How did you create Carrie? Do you think we'll see her again?
Carrie is an up-from-nothing, Oxford-educated, middle-aged black woman who has what she calls "the worst job in the world" -- reinvestigating child deaths in Allegheny County, Pennsylvania, to make sure the "accidental" death of certain children were not actually the result of abuse or neglect. Her mission is pretty dramatic, and is based in part on the work of a similar task force in Los Angeles County. I loved her character from the moment she appeared on the page, and would love to someday build an entire book around her. My challenge right now is this: Have my skills as a writer evolved enough that I can credibly write Carrie Haygood's point of view for 500 pages? If I do that book, it'll be a special challenge for me. I want to make sure I'm up to it.
Pittsburgh, Pennsylvania really comes alive in your books. What do you find most intriguing about the city?
I know Pittsburgh very well, having grown up there since age 7 and worked there as a newspaper reporter for seven years after college. It's one of those indelible places that I will always carry around in my head, so it
|"You'll never find the time to write fiction. You have to make the time. The only difference between writers and aspiring writers is that writers write."|
Let's talk about the hero in both Time Release and in Shadow Image: Jim Christensen. How did you create Jim?
By accident. The original main character of Time Release was a cop named Grady Downing, who was obsessively trying to solve a decade-old product-tampering case. His theory was that the youngest son of his primary suspect was repressing critical memories of the crime, and he kept going to this memory expert, Christensen, for advice about how to get the memories out of the kid's head. But Downing was a tricky character and not well-suited for the hero's role. I needed a more sympathetic main character, and Jim fit the description. He's a single father of two daughters who lost his wife to tragedy. He struggles with life's daily aggravations and his own sense of loss, while at the same time trying to build a healthy relationship with another woman. I think those aspects of his character are just as important as his expertise. Once I switched their roles and put Christensen in the lead, the story fell into place.
Jim's relationship with live-in love Brenna Kennedy plays a key role in Shadow Image. How do you see their future together? It seemed a bit unclear at the end of Shadow Image.
I left their relationship somewhat unresolved at the end of Shadow Image because the book tested them both. Jim suddenly saw a side of Brenna that seemed unforgivably selfish, and he forced Brenna to confront that in herself. If she hadn't done so, she would have been unredeemable and readers could fairly question Christensen's judgment for staying with her. In the final chapter, I wanted to show them licking their wounds, but both having grown through the experience. Brenna has resisted all of Jim's overtures toward marriage even though she agreed to move in together and combine their families. That issue probably will come up more forcefully in the third book as I explore Brenna's personality in more depth. It's a complicated relationship, and I think it requires a complicated resolution. What that'll be, I'm still not sure.
Tell us about your tour this summer. What was the strangest thing that happened to you?
The tour become known as the Dads Tour, and it was wonderful. I spent four weeks on the road with my two kids, and with fellow author Philip Reed and his two kids. We rented a couple of really obnoxious minivans and drove 6,500 miles in a counterclockwise loop around the West, hitting bookstores, doing newspaper and radio interviews, generally trying to make as much noise as possible about our second books, my Shadow Image and Phil's Low Rider. We met a lot of booksellers and fans, generated a lot of interest and pretty much had a blast. The strangest thing? It was pretty strange the way bugs and wildlife all over the West considered my minivan a great place to commit suicide. The front grille started to look like a Jackson Pollock masterpiece even after my 6-year-old son Parker pried the dead hummingbird from the headlight. Although he washed his van twice, Phil refused to let me wash mine. "You can't wash it now," he said near the end of the trip. "It's like folk art."
What prompted you to shift from being the Editor of Orange Coast magazine to writing novels? How did you make the transition?
It was a gradual transition. I started toying with fiction while
|"The beginning crime-fiction author today has to solicit cover blurbs, develop mailing lists, promote the work to booksellers and generally handle all aspects of marketing, media and public relations. None of that was part of my author fantasy, but it's reality for most anyone who wants to make a career writing novels."|
What do you like most about living in Southern California? Do you ever miss the East Coast?
For me, the cultural diversity of Southern California is endlessly fascinating. I'll never forget my first lunch here during my job interview at The Orange County Register. I went with another reporter to a taco stand near the newspaper. A kosher taco stand. Run by a Vietnamese family. I was hooked. I miss the sense of permanence I had in Pittsburgh. I miss the old bathroom fixtures in the ancient house we had there. I miss the row-house front porches there that allowed you to see what everyone was doing all up and down the block. I miss having a spooky old basement. I miss working in a city and feeling it move all around me. I miss people who have a strong sense of where they belong in the world.
What are your favorite ways to relax?
A moonlit walk on a deserted beach. An invigorating run followed by a hot-oil massage. Good conversation with positive people. What's that? No centerfold in the Internet Writing Journal? Never mind. Just give me a hammock where I can spend some time with the kids.
Who are some of your favorite authors?
There are so many good ones I hate to exclude anyone, and my tastes often run to literary fiction. But I'll name a few crime writers from whom I've learned specific lessons. I admire James Ellroy for the sheer power of his writing. I know we write in the same language, but reading him is like reading English on steroids. Thomas Harris does psychological suspense better than most. Mary Higgins Clark is great at pacing. No one can touch Elmore Leonard for dialogue. And I love the depth of Michael Connelly's characters. I still consider myself a student of the genre, and I try to learn from the best.
Do you participate in any writing groups? How helpful are they?
I'm in two different groups. One group is made up of the people with whom I took my very first short fiction class at the University of California, Irvine, in 1988. We stopped paying tuition 10 years ago, but we still meet once a month. That group includes school teachers, a retired aerospace worker, a publishing executive, a playwright -- a very diverse group of mostly nonprofessional writers. But they're wonderful readers. The other group is mostly former journalists with whom I've worked in the past. The feedback I get from each group is invaluable, as well as the mentoring I get from my agent, Susan Ginsburg. When I turn in a book, I feel that it has been well-vetted by readers whose opinions I trust and respect.
What is your advice to aspiring journalists?
First, get it right. That takes solid reporting, which takes hard work and considerable skill. Second, make it fair and compassionate. That comes with experience.
What is your advice to aspiring fiction writers?
You'll never find the time to write fiction. You have to make the time. The only difference between writers and aspiring writers is that writers write.
What is the greatest challenge you have faced in your career as a fiction author?
I struggle constantly with plotting, which probably seems odd for someone who writes fairly complex plots in a plot-intensive genre. But while writing is a natural process for me, plotting isn't. It's work, and it doesn' t get any easier. My goal is to become invisible; I want to write books that flow so effortlessly for the reader that they don't seem plotted at all.