Interview with author, Culley Holderfield (part 3)

Q. Are you working on something now or have a new release coming up? If so tell us about it.

CH. My debut novel, Hemlock Hollow, is forthcoming from Regal House Publishing on December 6 of this year. It’s a historical, Appalachian novel about a college professor who inherits a cabin and with it the ghost who haunted her childhood. In the process of renovating the cabin, she uncovers a journal written by Carson Quinn a hundred years before, and she can’t square the boy’s voice in the journal with the murderer he became. 

One of Culley’s writing spaces. Albemarle Sound in eastern NC

My work in progress is a historical novel set in Western North Carolina during the Civil War. It involves the Red String Order, also called the Heroes of America, which was a secret organization in North Carolina that opposed secession.

Q. When did you begin to write seriously?

CH. I started to write seriously in college. I crafted my college career around becoming a novelist. I started at Wake Forest, then transferred to UNC-Chapel Hill. At UNC, I completed the undergraduate creative writing program, studying with Bland Simpson and Doris Betts. I finished my first novel shortly after graduating college. It was okay for a first novel, but it was a first novel, and needed a lot of work. I rewrote it seven times over fifteen years, all the while marketing it to agents. Despite some close calls, no one ever picked it up, so I set it aside. When that didn’t sell right off the bat, I realized that my path to success wasn’t going to be Garp’s path to success. I tried freelancing. Interestingly enough, freelancing wasn’t great for my fiction. I changed tactics and found a good, meaningful day job that has left enough time for me to continue to write. Five years or so ago, I was fortunate to find Writeaways, which is a unique writing workshop model run by Mimi Herman and John Yewell. They are great mentors and pals. Being immersed in a community of like-minded and supportive writers has made a huge difference in both the quality and volume of my work.

Carl Sandburg Home in Flat Rock, NC, ‘ a place that never fails to inspire me.”

Q. Do you think we will see, in our lifetime, the total demise of paper books?

CH. No. Not in our lifetime. I think we’ve seen and will continue to see a resurgence in paper books as people realize how much damage staring at screens does to our emotional and mental health, and how utterly addictive the virtual world is. Maybe this is wishful thinking on my part. I may be the only serious reader remaining who doesn’t own an e-reader.
I do think eventually, if we figure out how to survive climate change intact, we will eventually wind up reading entirely on Star Trek-like tablets. While we clearly have the technology to do that now, I think it won’t be ubiquitous until long after we’re gone.

Q. What makes a writer great?

CH. I think there are a lot of different ways for writers to be great. Ernest Hemingway is great differently than Margaret Atwood is great. But the kind of great writing that moves me and that I aspire to write is work that creates an authentic narrative experience for the reader. In The Art of Fiction, John Gardner describes the fictive dream that readers enter into when reading good fiction. The writer can get away with pretty much anything as long as she or he doesn’t wake the reader from that dream state. So, I think at a minimum, a great writer entrances the reader into this fictive dream state. There are writers who can do that by spinning a great yarn and others who do it by turn of phrase, but the best writers do both well without one overwhelming the other on the page.

Q. and the all-important: What does the process of going from “no book” to “finished book” look like for you?

CH. It starts with an inkling, a voice calling out, begging to enter this world, then a blank page that in its blankness contains infinite possibility. Each word inscribed on that page constrains those possibilities exponentially. Eventually, with enough words comprising enough sentences composing enough paragraphs, a story emerges. If I’m successful, that story holds me for the year or more it takes to build a first draft. Once the draft is complete, the work begins. Now I have the clay with which I can mold my novel into something coherent.

Watch for the conclusion to this wonderful interview next week.

Did you miss part of it? Click here

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