Gary Morgenstein is the critically acclaimed author of The Dark Depths series (A Mound Over Hell, A Fastball for Freedom, A Dugout to Peace). An award-winning playwright, his work includes A Black and White Cookie, A Tomato Can’t Grow in the Bronx, Dancing on Glass, and Walking Charlie. Morgenstein’s work has been featured in The New York Times, Entertainment Weekly, Parade Magazine, the New York Post, Sports Illustrated, Fox News Radio, and NPR. He enjoys sports, yoga, and taking care of his beloved pug. Gary lives in Brooklyn, New York with his wife.
Hello Gary, welcome to Brand Education! Can you share some insights into your creative process?
I’m very disciplined and not very organized. When I was working on the second book in my trilogy, my wife Marcina created a creative board for me. I spent an entire afternoon putting up post-its about characters and plot – and never looked at it again. But I usually write six days a week, beginning in the morning after yoga class, with my beloved pug Tiger on my lap. He’s my muse. Now I generally know where the story is going, I have an ending somewhat in mind, but how I get there is the joy and the adventure. I don’t believe in many preconceived notions because that stifles creativity. And you must listen to your characters. I know, that sounds trippy, but I let them take over the writing whenever they want. It’s always wise not to piss off your cast.
How do you develop your characters? Do you draw inspiration from real characters or experiences?Writers are invariably more sensitive than other people, more attuned to others, which is why we do what we do. So it’s natural that, like sponges, eavesdroppers, we will soak up the world around us. Sure, real people and experiences have inspired me, but I think it’s dangerous to fictionalize reality too much because then you’re devoted to portraying the real person correctly, or camouflaging events, rather than just letting it take you where it must. Our lives are creative foundations, but it’s way more fun and inspiring when a world opens up that has nothing to do with anything you’ve ever experienced, like my dystopian trilogy which begins in 2098 with book one, A Mound Over Hell.
What role do you think literature plays in shaping society and culture?
For thousands of years, writers have held up mirrors to society and said, “This is wrong. We need to do something about it.” But how do you go about that? In our polarized world, it’s easy to rant and rave. Turn on the news, Listen to our politicians. We need to do better. That requires honesty in your writing. You can’t pull punches. I’m not talking about gratuitous violence or sex or language to shock the readers. I’m talking about honestly portraying the flawed world populated by flawed characters without inserting a specific agenda. Or suppressing one. Let the reader judge. If they’re smart enough to buy your book, assume they’re smart enough to understand it. Writers must look beyond the divisiveness. We need to show society as we see it, often ugly, with complex and contradictory characters. But we must give hope and show a way forward, a lightness in the dark, however much it flickers.
How has your writing evolved or changed over the course of your career?
I edit way way way more than I once did. I used to think, first draft, well, that’s pretty good. The hubris of the young. Now I edit relentlessly, challenging myself unceasingly and am rarely satisfied that I got it right until I do. My most recent novel A Dugout to Peace, the last book in my The Dark Depths trilogy, ran over 900 pages in word document form. I edited it ten times, not counting the daily edits. Something I always encourage aspiring writers is that a novelist must be prepared to devour their young. No matter how much it hurts.
Can you discuss the role of research in your writing? How do you ensure accuracy in your work?
I did extensive research for my trilogy, which eventually goes global, from Spain (Barcelona) to Malta, England, France. Since the trilogy is set in the aftermath of World War Three after America and the West have lost to the Islamic Empire, I wanted to make sure my depictions of Islamic culture, even down to foods, was accurate. I’m very proud that over three books totaling some 1600 pages only one reader accused me of Islamophobia, which is remarkable given that someone will call you names these days if they don’t like your choice of pizza toppings.
Where do you find inspiration for your works?
There is nothing more powerful than touching a reader. When you write novels, you don’t have the immediate connection. I’m also an award-winning playwright and I can tell you there is nothing to compare with having an audience listening, laughing, moved by your story, words, character. Now I’m not talking about changing the world. I’m talking about, for the time they read or hear your words, you have touched them. Perhaps you brought laughter into their world, or they might even see an issue a different way; at least, they consider another point of view. That you have, in some way, made this world a slightly better place. What more inspiration do I need than that?
What challenges do you face as a writer and how have you overcome them?
I don’t write novels nor plays according to the prevailing societal narrative. I swim against the tide. I like to stand things upside, sideways, take cliches and tear them apart, surprise the reader and audience. But that’s challenging for some, heck, for many, because people prefer the comfort of familiarity. I overcome this by plowing ahead and doing what I feel is right in my gut. By being honest to myself because if I’m honest to myself, I will be honest to my readers. They deserve that, not writing which is crowd pleasing, instead of thought provoking.
Do you have any upcoming writer projects or future writing plans?
As well as having written seven novels, I’m also an award-winning playwright. There will be reading of my drama Dancing on Glass, which takes on antisemitism at a private school in Brooklyn, at The Lambs Club in Manhattan on November 18, and a reading of my sci-fi musical Mad Mel Saves the World on November 25 at Ripley-Grier Studios, also in Manhattan.
How do you handle writer’s block or periods of low motivation?
I’m always highly motivated, but sometimes the magic doesn’t happen. I don’t think you can force it. You just have to wait for the door to the other side to swing open and in they come. I will say that the best tip I ever read about writing, and most of them are nonsense, came from Philip Roth, who suggested not writing yourself out at the end of the day, but leaving a paragraph, even a few lines, to start the next day so you don’t have to confront the Evil Blank Page.
What do you enjoy doing when you’re not writing?
I’ve been a student of yoga for fifteen years, I’m a huge movie buff and I read read read, from history and politics to science fiction. I don’t understand how a writer can write and not read. Course, there’s a lot in our world which currently baffles me, but that’s another panel!
Find out more at https://www.instagram.com/garymorgenstein/