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Off/Kilter: Interview with Paul Butler
Author Paul Butler enters the dark recesses of the Off/Kilter realm to discuss his newest book Mina’s Child (Inanna Publications), a dark, refreshing extension of the beloved classic Dracula that pulls some of it’s main characters and their offspring into the 20th century. In our chat below, Paul shares more about the novel in parallel to examining the Victorian Gothic of the 18th century and some of the underlying and dated themes around women’s sexuality and gender roles that cling to Stoker’s iconic work. He also shares his fave scene from Francis Ford Coppola’s cinematic adaptation and offers one key tip for any writer looking to breathe a little life into their characters…even the undead…Stay weird and stay well.– Your Off/Kilter Host, Leyla T.
A few of Paul’s Gothic faves
The ghost story as full length novel seems to me the most courageous literary form as it means the writer has to make the reader believe in a scientific ‘impossibility’ while at the same time sustaining every other expected novelistic element. I would recommend all these novels to anyone, whether you think you have an interest in the genre or not. LT: I love to ask this question in interviews because every writer’s response is so different: one of my favourite articles from art critic Jerry Saltz, (How to Be an Artist) includes a lesson (Lesson 11) that calls for developing one’s own School of Athens: “A team of rivals, friends, famous people, influences dead and alive.” Who would make the team in your own School of Athens and what does each team member bring to your work?PB: Ghost story writer M.R. James would tell me when I am giving too much too quickly and preventing the effective suspension of disbelief. Sarah Waters would identify when I am simplifying a human emotion too much (every emotion in her work has realistic complexity, internal contradictions etc). Thomas Hardy would remind me that we need to know about the landscape and its history as well as its look and feel (whether or not there is time in a modern novel to explore this on the page). Jane Austen would remind me that there is the apparent meaning in a line of dialogue or description and then there is the actual meaning. Ira Levin would remind me to think big in terms of concept and not to underestimate the intelligence of the reader when it comes to seeing the satirical and socially challenging aspects of a fantasy. LT: I’ve read that your background is in teaching creative writing workshops. What is the best advice you can offer to someone looking to really bring their characters to life–particularly if they are characters set in a historical past?PB: It may seem simplistic and obvious but the most important single aspect of breathing life into a character is to make sure they want something. It is easy to find your creative wheels spinning if you create a character (especially a protagonist) without a desire or series of desires which relates to the plot you are constructing. What people want often becomes the engine driving the plot and keeping the readers’ (and the writer’s) interests. This want may also be a fear they wish to escape from, but it will help bring that character to life and form them as the scenes unfold, as a character only becomes entirely real to most writers when we start to see what they say, do and feel in certain situations. During the first draft we are essentially finding out who they are, then in subsequent drafts we have the luxury of already knowing. The historical part doesn’t really change this principle except that if your protagonist is a woman or other marginalized person then, depending on the era, they may have a great deal less freedom to explore their wants, desires and ambitions, and this helps to define their struggle. The other, related, piece of advice is really to make sure the characters experience the world through all the senses, as the senses have a conduit to the readers’ emotions that no amount of explaining what a character is feeling could ever have.LT: You know we have to ask…favourite scene in Bram Stoker’s Dracula?PB: My favourite scenes in Bram Stoker’s Dracula are the ones nearest the beginning when Harker is journeying at dizzying speed through the strange landscape towards Dracula’s castle. The story at this point is so open to infinite possibilities and the writing itself is magically gothic. Stoker draws from the folklore of the Balkans which he had never visited but where his younger brother had served as a military doctor. He also draws from his native Ireland with talk of suicides at crossroads and strange blue flames rising in circles over buried treasure. Jonathan Harker, our narrator here, talks of the Carpathians as being an “imaginative whirlpool” drawing in many superstitions, and Stoker, of course, was doing the same.* * *
A special thank you to Inanna Publications and to Paul Butler for taking us deeper into the gothic realm of Mina’s Child. Grab you copy on All Lit Up!Explore the strange and surreal with more from All Lit Up’s Off/Kilter column >>Tagged: