| The Odd Ramblings of AJ Brown |
| Visit his BLOG here! |
If you haven’t heard of AJ Brown, then you haven’t been reading Independent and
small-press books. The small-press is the chosen fallow ground for the big boy
publishers. It’s been said that the big publishers—who have the luxury of throwing
hundreds of thousands of dollars behind their catalogues’ authors—often check the
small press for talent. Who’s been accepted in anthologies? Who’s making a name
for themselves? Whose name keeps popping up?
If you have been reading e-zines and anthologies, chances are you’ve come across
a story by AJ Brown. And if you’ve read his work, chances are you did so during
the daytime, or at least turned the light on, because he scared you. From “The
Horror Library” to “SnM Horror Magazine,” one cannot help but notice—
everywhere one turns, it seems—the name of AJ Brown.
Because of this, one cannot help but consider the next big name; one cannot help
but consider AJ Brown.
For those of you living under a rock, let’s get to the meat of this interview. The
meat will be bloody and raw, of course, as if coming strait out of one of AJ Brown’s
horror stories.
Who is AJ Brown?
Haha. When I figure it out, I’ll let everyone know. Who am I? Should I talk in the
third person like the Rock?? He’s the guy on the corner that looks a little shady
and talks to himself and the street lamps.
Seriously, I’m just a southern boy trying to find his way in the writing world. I’m
somewhat temperamental but I also have a sense of humor. I view things a little
differently than some folks do but I guess that’s part of what makes me me.
I have a beautiful wife and two great kids. Beyond that I’m just a normal person
with normal issues.
small-press books. The small-press is the chosen fallow ground for the big boy
publishers. It’s been said that the big publishers—who have the luxury of throwing
hundreds of thousands of dollars behind their catalogues’ authors—often check the
small press for talent. Who’s been accepted in anthologies? Who’s making a name
for themselves? Whose name keeps popping up?
If you have been reading e-zines and anthologies, chances are you’ve come across
a story by AJ Brown. And if you’ve read his work, chances are you did so during
the daytime, or at least turned the light on, because he scared you. From “The
Horror Library” to “SnM Horror Magazine,” one cannot help but notice—
everywhere one turns, it seems—the name of AJ Brown.
Because of this, one cannot help but consider the next big name; one cannot help
but consider AJ Brown.
For those of you living under a rock, let’s get to the meat of this interview. The
meat will be bloody and raw, of course, as if coming strait out of one of AJ Brown’s
horror stories.
Who is AJ Brown?
Haha. When I figure it out, I’ll let everyone know. Who am I? Should I talk in the
third person like the Rock?? He’s the guy on the corner that looks a little shady
and talks to himself and the street lamps.
Seriously, I’m just a southern boy trying to find his way in the writing world. I’m
somewhat temperamental but I also have a sense of humor. I view things a little
differently than some folks do but I guess that’s part of what makes me me.
I have a beautiful wife and two great kids. Beyond that I’m just a normal person
with normal issues.
AJ was one of the Terrible
Twelve at Mr. Cavender's
"The Horror Library!" Mr.
Cavender's latest
Twelve at Mr. Cavender's
"The Horror Library!" Mr.
Cavender's latest
Last I knew you had over seventy publishing credits. What's the latest number?
Hmm . . . I’m going to have to look that answer up. Seriously, hold on. 88 at the
moment. I've got acceptances for eight more waiting to get published but actually
published, it's 88.
The term “liquid imagination” denotes imagination that liquefies, that fits the need
of the moment, becoming exactly what is needed at that specific moment in time.
It can be a horror story, a love story, or perhaps a humorous article. Can you
explain how creativity initially sparks for you? From the moment inspiration hits,
to getting the story written, and finally working that story into a polished piece of
fiction that makes you proud—how does it work for you?
Probably just like anyone else. I just tend to write whatever comes to my mind.
If I see something that makes me think of a story I usually jot it down if I don’t
actually have the time to write. If I have time to sit and write then I just kind of
let it go, let the story tell itself. Sometimes it works and the story just comes out.
Other times it’s a struggle.
The key for me is not to get bored with the story I’m working on. It’s not that a
particular story would be considered boring but I get three or four or five ideas a
day and some of the stories want to be written more than others. If I start on the
wrong story then my mind starts to wander and that's always a bad sign for both
the story and myself.
But, man when the right story hits, like “Where Colors Go To Die,” then the story is
so easy and fun to write. It’s those stories that are easier to get published without
fifteen re-writes.
It’s a normal process, I think, except I don’t tend to over analyze a story as I’m
writing. I just let the stories write themselves—I’m just along for the ride.
You’re being interviewed now. But who are some of the famous people YOU have
interviewed?
Garry Charles, Brian Keene, Fran Friel, Gary Bruanbeck, Brandi Schwan.
Of these interviewees mentioned, what was the strongest impression made upon
you, and by whom? Perhaps something you learned? Perhaps something you
noticed?
Gary Braunbeck. He was so generous with me. His interview was so revealing
and his answers so much part of himself. The way he went about becoming a
writer and even a professor was impressive. I found him to be a breath of fresh
air and a really nice guy.
I have to say also that my interviews with Fran Friel were fun. I may be a little
partial here because Fran is such a special person, but I enjoy her sweetness. To
talk with her you would never know she wrote Mama’s Boy.
Who is your favorite author?
From the big publishers it’s always been Stephen King. From the smaller ones,
that’s easier than naming King: Fran Friel all the way. Dameion Becknell is
awesome, too—he just hasn’t been published that much and that’s a shame.
I have a hard time narrowing my favorite writers down to just one or two or three,
especially since I like short stories more than anything and there are a lot of really
good short story writers out there. John Peters, Erik Williams, Kurt Dinan. Jason
Ridler is going to be big. So is Cody Goodfellow. There’s talent in those folks.
Petra Miller. Man, this list could go on and on and on. Sunil Sadanand is insane
good and his stories just suck you in. Ian Rogers is amazing.
The WOW moment. I’d like you to discuss that for just a moment. Now people
can quote me as saying you are, undoubtedly, the most creative person I know.
You have said you can sit down and write 10,000 words at the drop of a hat. So it’
s obvious that you are creative—you’re “muse” is ALWAYS turned on and ready to
go. Despite that, do you ever have a WOW moment above and beyond your
normal bouts of creativity? Moments in which your inspiration is supercharged?
An inspiring idea that is like… WHOA! And I can imagine writers as fishermen,
casting their lines. Those lines get tugged by ideas. Some go taunt, and prizes are
reeled in. If you have a WOW moment, I can imagine a whale surfacing and
swallowing you and your boat, and ten or twenty others.
Interesting that you bring that up. My wife knows ‘the look’ as she puts it.
Catherine tells me she knows when my ideas are going to be really good because I
get this look on my face, this grin that’s mischievous. She usually tells the kids to
leave me alone and they walk off—even if we are out in the woods or at a park.
“You’ve got an idea, don’t you?”
“Oh yeah.”
That’s the conversation usually.
I often get up early on Saturdays and go driving around my old stomping grounds.
Occasionally I’ll take the camera with me and take pictures of dilapidated houses
or creeks in the woods or rusted out cars. Sometimes while on those little
ventures I have those moments where I’ll stop and pull along the side of the road
and jot down a bunch of stuff in a notepad and then go home and write.
There’s rarely a place or a day that goes by that I don’t get some sort of an idea
from something but there are those times . . . those times when something will
come on so strong that from the first word to the last it’s easy writing and my mind
is moving and my fingers are hitting that 80 words a minute stride—I sometimes
feel like I can keep up with the images.
I think I’m fortunate that I’ve always had a vivid imagination so the little things set
my mind off. It also helps that I don’t write for a word count. I just write . . . or,
rather, the story writes and I tag along. I think a lot of writers limit themselves
because of word count and that’s understandable—if the word count is too high it
will be near impossible to get the story published. So, they limit themselves. I
don't do that. If I go over the word count, I finish the story and start another one.
I once wrote four stories for one anthology and all four of them went over the word
count. Sometimes my muse likes to mess with me.
Besides truly frightening horror stories and your creativity, you are known for
something else: mentoring. You have helped young writers with advice, helping
with their stories more than anyone I know. And while you’ve taken a step back
and no longer workshop stories, you’re still there with a helpful word or guidance
for new writers. Why is AJ Brown the man, the writer, this way?
I still workshop but not as much. I do have a lot going on and time gets tight but I
still enjoy workshopping and, really, it’s all about someone asking, ‘hey, if yah
have a moment, can yah?’
I find it interesting that so many folks talk about the mentoring aspect of it—I’ve
never felt like I’ve done that much to help. If anything, I’ve always felt like I don’t
do enough.
When it comes to mentoring, it’s all about encouraging people for me. I was
intimidated when I first started to take the writing beast by the horns. I got
discouraged and, if not for Catherine telling me to stick with it when I was down, I
probably would have quit a long time ago. So I use that discouraged feeling I had
and I take it into consideration when dealing with young or new writers.
I’m also of the mindset that no one gets anywhere without a little bit of help along
the way. Here we go, let’s play six degrees for a minute:
I subbed my story The Woodshed to a publication over three or four years ago. I
got a rejection from Boyd Harris with Cutting Block Press. The rejection was
detailed with the good and the bad and he suggested joining +The Horror Library+
workshop. I did and, man, let me tell you, I felt like I was a freshman in high
school again and everyone else in there were seniors with their act together. I
met Fran there and Erik Williams. Now, Erik read a lot of the crap I put on paper
at the time and he really helped me out by encouraging me with his reviews—he
was on the money with the flaws in my stories but he always said something
positive in the end.
That encouraged me.
Erik went on to hook up with some pretty good writers, John Mantooth, Sam
Anderson, Kurt Dinan, Petra Miller and Kim Despins. They formed a group called
Snutch Labs. All of those guys and gals are great writers. A few of them had
something to do with +The Horror Library+ for a short while before moving on.
Their success is also a driving factor for me. But, I guess that's a little off topic.
I worked on The Woodshed for a while, editing it and sending it out. It got
rejected several times. I was about to give up on it until I met Molly Feese. I sent
her the story and she liked it. We worked on it together for a while until it became
a really great story. She accepted it and it appeared in Dark Distortions not long
after that. At that point I probably let out a triumphant battle cry—one of my
favorite stories had finally gotten published. It was at that point that it really hit
me that the business is tough, but it was something I was capable of actually
making a dent in.
I became more encouraged.
And things have just gone on from there. The Woodshed garnered a couple of
Stoker recommendations—not enough to get a nomination, but enough for me to
think I can really, really do this.
This is all due to one editor taking the time to help a nobody out.
That’s actually a trimmed down version of the story, but the point is we all have
help along the way. Boyd helped me and then so did others. I, in turn, help as
many of the young or new writers as I can by encouraging them but being honest
in the process. That little bit of encouragement can go a long way in making or
breaking a writer.
What projects are you working on now?
I've always got something going on. Lots of different stories, just too many to go
into. I'm stoked about working on an idea for a novel a came up with years ago. I
just redid the outline for it and it may not end up being a novel but slightly
shorter, but I'm still excited about it.
I'm working with 2M Magazine put out by Dark Myth Productions. It's a print
magazine that's about to debut. It's a bit of work but, like all processes with me,
it's a new learning experience and I'm happy to be helping out there.
Where will you be in five years (or will do you wish to be)? In ten years?
I don't know to be honest with you. I have goals and ambitions like everyone
else. I want to be more published, more recognized for my writing. 2009 will
decide what I do in 2010. I set 2009 as a turning point for my 'writing career.'
I've set lofty goals for this year, ones that are going to be really tough to meet.
So, we'll see. That question will have to answer itself a few years on down the
road.
As a fan of your writing, when I find your name in an e-zine or anthology, I often
read that story first. Why is this? Not just me, but other readers do this, too.
What makes the stories of AJ Brown different than other stories?
I wish I knew. If I did I would point this out to all the editors out there that I
submit to. You know, honestly, I think it's about personal tastes. I like to try to
write stories that folks can believe in with characters they can believe in and a
mood they can feel. I don't accomplish that nearly as often as I'd like to.
Really that’s what reading and writing is about: tastes. One editor may hate a
story while another one absolutely loves it. Readers are the same. Fifty folks may
love a piece that someone has written while another fifty may not feel it’s fit to see
the inside of a toilet.
Take for instance, H.P. Lovecraft. There are a lot of readers who believe he was
one of the greatest horror writers, while there are an equal number of people who
believe who overwrote things and never really got to a point in quite a few of his
stories.
To each their own and I hope the number of readers who enjoy my stories
continues to grow.
Besides the Great American Novel, what is the ultimate goal you’d like to someday
reach?
I would like for people to want to read more and I don't mean those quickie stories
either. I would like to change the way short stories are viewed and even some of
the rules that we have to live by in order to get published.
I like stories that build up, that unfold. I like the little promises given in the
foreshadowing and then seeing them pay off later on in the story. I like for writers
to actually write a story where we get to know the characters and scenery instead
of just the action. I would say changing the view on the short story is what I would
like to accomplish.
I'm a LONG way from that—I'm still learning right now.
If editors or publishers would like to contact you, do you have a website or blog
available?
Unfortunately, I'm one of those poor writers and I don't have a website right now.
I had tried Freewebs but didn't care much for it so I shut it down. Hopefully one
day I'll be able to put something together on a website.
Until then there is always my Blog, The Odd Ramblings of AJ Brown and my
MySpace page. There's Facebook, too, but I don't use it too often.
AJ Brown 360
AJ's Facebook
The Odd Ramblings of AJ Brown
Thank you VERY much, AJ Brown!!!
Hmm . . . I’m going to have to look that answer up. Seriously, hold on. 88 at the
moment. I've got acceptances for eight more waiting to get published but actually
published, it's 88.
The term “liquid imagination” denotes imagination that liquefies, that fits the need
of the moment, becoming exactly what is needed at that specific moment in time.
It can be a horror story, a love story, or perhaps a humorous article. Can you
explain how creativity initially sparks for you? From the moment inspiration hits,
to getting the story written, and finally working that story into a polished piece of
fiction that makes you proud—how does it work for you?
Probably just like anyone else. I just tend to write whatever comes to my mind.
If I see something that makes me think of a story I usually jot it down if I don’t
actually have the time to write. If I have time to sit and write then I just kind of
let it go, let the story tell itself. Sometimes it works and the story just comes out.
Other times it’s a struggle.
The key for me is not to get bored with the story I’m working on. It’s not that a
particular story would be considered boring but I get three or four or five ideas a
day and some of the stories want to be written more than others. If I start on the
wrong story then my mind starts to wander and that's always a bad sign for both
the story and myself.
But, man when the right story hits, like “Where Colors Go To Die,” then the story is
so easy and fun to write. It’s those stories that are easier to get published without
fifteen re-writes.
It’s a normal process, I think, except I don’t tend to over analyze a story as I’m
writing. I just let the stories write themselves—I’m just along for the ride.
You’re being interviewed now. But who are some of the famous people YOU have
interviewed?
Garry Charles, Brian Keene, Fran Friel, Gary Bruanbeck, Brandi Schwan.
Of these interviewees mentioned, what was the strongest impression made upon
you, and by whom? Perhaps something you learned? Perhaps something you
noticed?
Gary Braunbeck. He was so generous with me. His interview was so revealing
and his answers so much part of himself. The way he went about becoming a
writer and even a professor was impressive. I found him to be a breath of fresh
air and a really nice guy.
I have to say also that my interviews with Fran Friel were fun. I may be a little
partial here because Fran is such a special person, but I enjoy her sweetness. To
talk with her you would never know she wrote Mama’s Boy.
Who is your favorite author?
From the big publishers it’s always been Stephen King. From the smaller ones,
that’s easier than naming King: Fran Friel all the way. Dameion Becknell is
awesome, too—he just hasn’t been published that much and that’s a shame.
I have a hard time narrowing my favorite writers down to just one or two or three,
especially since I like short stories more than anything and there are a lot of really
good short story writers out there. John Peters, Erik Williams, Kurt Dinan. Jason
Ridler is going to be big. So is Cody Goodfellow. There’s talent in those folks.
Petra Miller. Man, this list could go on and on and on. Sunil Sadanand is insane
good and his stories just suck you in. Ian Rogers is amazing.
The WOW moment. I’d like you to discuss that for just a moment. Now people
can quote me as saying you are, undoubtedly, the most creative person I know.
You have said you can sit down and write 10,000 words at the drop of a hat. So it’
s obvious that you are creative—you’re “muse” is ALWAYS turned on and ready to
go. Despite that, do you ever have a WOW moment above and beyond your
normal bouts of creativity? Moments in which your inspiration is supercharged?
An inspiring idea that is like… WHOA! And I can imagine writers as fishermen,
casting their lines. Those lines get tugged by ideas. Some go taunt, and prizes are
reeled in. If you have a WOW moment, I can imagine a whale surfacing and
swallowing you and your boat, and ten or twenty others.
Interesting that you bring that up. My wife knows ‘the look’ as she puts it.
Catherine tells me she knows when my ideas are going to be really good because I
get this look on my face, this grin that’s mischievous. She usually tells the kids to
leave me alone and they walk off—even if we are out in the woods or at a park.
“You’ve got an idea, don’t you?”
“Oh yeah.”
That’s the conversation usually.
I often get up early on Saturdays and go driving around my old stomping grounds.
Occasionally I’ll take the camera with me and take pictures of dilapidated houses
or creeks in the woods or rusted out cars. Sometimes while on those little
ventures I have those moments where I’ll stop and pull along the side of the road
and jot down a bunch of stuff in a notepad and then go home and write.
There’s rarely a place or a day that goes by that I don’t get some sort of an idea
from something but there are those times . . . those times when something will
come on so strong that from the first word to the last it’s easy writing and my mind
is moving and my fingers are hitting that 80 words a minute stride—I sometimes
feel like I can keep up with the images.
I think I’m fortunate that I’ve always had a vivid imagination so the little things set
my mind off. It also helps that I don’t write for a word count. I just write . . . or,
rather, the story writes and I tag along. I think a lot of writers limit themselves
because of word count and that’s understandable—if the word count is too high it
will be near impossible to get the story published. So, they limit themselves. I
don't do that. If I go over the word count, I finish the story and start another one.
I once wrote four stories for one anthology and all four of them went over the word
count. Sometimes my muse likes to mess with me.
Besides truly frightening horror stories and your creativity, you are known for
something else: mentoring. You have helped young writers with advice, helping
with their stories more than anyone I know. And while you’ve taken a step back
and no longer workshop stories, you’re still there with a helpful word or guidance
for new writers. Why is AJ Brown the man, the writer, this way?
I still workshop but not as much. I do have a lot going on and time gets tight but I
still enjoy workshopping and, really, it’s all about someone asking, ‘hey, if yah
have a moment, can yah?’
I find it interesting that so many folks talk about the mentoring aspect of it—I’ve
never felt like I’ve done that much to help. If anything, I’ve always felt like I don’t
do enough.
When it comes to mentoring, it’s all about encouraging people for me. I was
intimidated when I first started to take the writing beast by the horns. I got
discouraged and, if not for Catherine telling me to stick with it when I was down, I
probably would have quit a long time ago. So I use that discouraged feeling I had
and I take it into consideration when dealing with young or new writers.
I’m also of the mindset that no one gets anywhere without a little bit of help along
the way. Here we go, let’s play six degrees for a minute:
I subbed my story The Woodshed to a publication over three or four years ago. I
got a rejection from Boyd Harris with Cutting Block Press. The rejection was
detailed with the good and the bad and he suggested joining +The Horror Library+
workshop. I did and, man, let me tell you, I felt like I was a freshman in high
school again and everyone else in there were seniors with their act together. I
met Fran there and Erik Williams. Now, Erik read a lot of the crap I put on paper
at the time and he really helped me out by encouraging me with his reviews—he
was on the money with the flaws in my stories but he always said something
positive in the end.
That encouraged me.
Erik went on to hook up with some pretty good writers, John Mantooth, Sam
Anderson, Kurt Dinan, Petra Miller and Kim Despins. They formed a group called
Snutch Labs. All of those guys and gals are great writers. A few of them had
something to do with +The Horror Library+ for a short while before moving on.
Their success is also a driving factor for me. But, I guess that's a little off topic.
I worked on The Woodshed for a while, editing it and sending it out. It got
rejected several times. I was about to give up on it until I met Molly Feese. I sent
her the story and she liked it. We worked on it together for a while until it became
a really great story. She accepted it and it appeared in Dark Distortions not long
after that. At that point I probably let out a triumphant battle cry—one of my
favorite stories had finally gotten published. It was at that point that it really hit
me that the business is tough, but it was something I was capable of actually
making a dent in.
I became more encouraged.
And things have just gone on from there. The Woodshed garnered a couple of
Stoker recommendations—not enough to get a nomination, but enough for me to
think I can really, really do this.
This is all due to one editor taking the time to help a nobody out.
That’s actually a trimmed down version of the story, but the point is we all have
help along the way. Boyd helped me and then so did others. I, in turn, help as
many of the young or new writers as I can by encouraging them but being honest
in the process. That little bit of encouragement can go a long way in making or
breaking a writer.
What projects are you working on now?
I've always got something going on. Lots of different stories, just too many to go
into. I'm stoked about working on an idea for a novel a came up with years ago. I
just redid the outline for it and it may not end up being a novel but slightly
shorter, but I'm still excited about it.
I'm working with 2M Magazine put out by Dark Myth Productions. It's a print
magazine that's about to debut. It's a bit of work but, like all processes with me,
it's a new learning experience and I'm happy to be helping out there.
Where will you be in five years (or will do you wish to be)? In ten years?
I don't know to be honest with you. I have goals and ambitions like everyone
else. I want to be more published, more recognized for my writing. 2009 will
decide what I do in 2010. I set 2009 as a turning point for my 'writing career.'
I've set lofty goals for this year, ones that are going to be really tough to meet.
So, we'll see. That question will have to answer itself a few years on down the
road.
As a fan of your writing, when I find your name in an e-zine or anthology, I often
read that story first. Why is this? Not just me, but other readers do this, too.
What makes the stories of AJ Brown different than other stories?
I wish I knew. If I did I would point this out to all the editors out there that I
submit to. You know, honestly, I think it's about personal tastes. I like to try to
write stories that folks can believe in with characters they can believe in and a
mood they can feel. I don't accomplish that nearly as often as I'd like to.
Really that’s what reading and writing is about: tastes. One editor may hate a
story while another one absolutely loves it. Readers are the same. Fifty folks may
love a piece that someone has written while another fifty may not feel it’s fit to see
the inside of a toilet.
Take for instance, H.P. Lovecraft. There are a lot of readers who believe he was
one of the greatest horror writers, while there are an equal number of people who
believe who overwrote things and never really got to a point in quite a few of his
stories.
To each their own and I hope the number of readers who enjoy my stories
continues to grow.
Besides the Great American Novel, what is the ultimate goal you’d like to someday
reach?
I would like for people to want to read more and I don't mean those quickie stories
either. I would like to change the way short stories are viewed and even some of
the rules that we have to live by in order to get published.
I like stories that build up, that unfold. I like the little promises given in the
foreshadowing and then seeing them pay off later on in the story. I like for writers
to actually write a story where we get to know the characters and scenery instead
of just the action. I would say changing the view on the short story is what I would
like to accomplish.
I'm a LONG way from that—I'm still learning right now.
If editors or publishers would like to contact you, do you have a website or blog
available?
Unfortunately, I'm one of those poor writers and I don't have a website right now.
I had tried Freewebs but didn't care much for it so I shut it down. Hopefully one
day I'll be able to put something together on a website.
Until then there is always my Blog, The Odd Ramblings of AJ Brown and my
MySpace page. There's Facebook, too, but I don't use it too often.
AJ Brown 360
AJ's Facebook
The Odd Ramblings of AJ Brown
Thank you VERY much, AJ Brown!!!