This interview was previously published at Thomas Drinkard's blog http://brinson1.wordpress.com/
I’m pleased, today, to introduce you to Julian Gallo. He’s not only a poet and writer, he’s also a musician. I’ll let him tell you the story.
T. Hello, please give us a bit of biography to start.
J. I was born and raised in
T. When did you start writing?
J. I’ve been writing since I was a little kid but I mainly did it for myself. I was more involved in music over the years. I came to writing pretty late in the game, really. It wasn’t until that I was 30 years old that I began to write seriously and it was primarily poetry. My first chapbook of poems, Standing on Lorimer Street Awaiting Crucifixion came out in 1996 through a great small press called Alpha Beat Press. That was really the encouragement I needed. Since then my poems were published in over 40 small press magazines & journals throughout the
T. Was there a favorite writing teacher or mentor? Tell us about him/her.
J. I never had any real writing teachers or mentors and have pretty much struck out on my own. However, there are a couple of writers and small press publishers who were very kind in offering feedback, encouragement, criticisms, etc over the years. The first being Dave Christy from Alpha Beat Press, who was one of the greats in the small press world. He offered some really excellent advice, especially when I got into publishing my own literary zine for a while. The other is a
T. Please tell us about your current book; genre and blurb.
J. My current novel is called Nadería. It’s a departure from my first novel in the sense that it’s a more straightforward, linear narrative. I wanted to concentrate more on the story and less on the “experimental” aspects, meaning, I wanted to strip it down, to make it very simple. I wanted to get away from the experimental devices and just write a simple, straightforward story but at the same time to try to make it interesting. After writing November Rust, I spent a couple of years struggling with what to do next. It took a while but I realized that I was just getting in my own way and the trick was to get out of my way and just let the imagination go and go for the story. It’s about many different things but it mainly concentrates on the idea of “meaning”; how people tend to flounder around searching for this one all encompassing “meaning of life” when there may not actually be one that is the same for everyone; that a lot of things we do in order to find it are trivial and unimportant; that we lose sight of what’s really important to us individually because we’re too busy looking “out there” for the answers to things.
T. Do you have a sequel or prequel in mind or in progress?
J. No, not at all. Originally Nadería was conceived as a sequel to November Rust, which is why this novel is also set in
T. What are your writing habits? Are you an outliner or do you write “by the seat of your pants?
J. I definitely don’t outline. I think outlining a novel is restricting. I think it’s better to let the story bring you rather than the other way around. I think outlines are great if you have a very definitive story you want to tell, where you know exactly where it’s going to go from beginning to end. I never did it that way. I usually start of with an idea of some kind or a situation and then just begin and see where it goes. I sometimes plot out some scenes, what I want to happen next, but it’s a very rough idea. Sometimes, once you begin writing it, it may take you to a place that you initially didn’t think of. That happened a lot with Nadería. How it was originally conceived and where the story eventually wound up going was far removed from what I initially intended. However the themes are still there. That I try to keep intact.
T. What are your ideas about the future of digital publishing?
J. I think it’s great. I think there’s no shame in self-publishing. As I said, I came out of the whole DIY thing in the 1980s, where musicians released their own records, started their own labels, tried to forge their own niche in the glut of material that is out there. For some reason, there is still a stigma attached to novelists. Poets seem to get away with it but for novelists, self-publishing always had this stigma attached to it. My reasoning is that musicians self-release their own music, filmmakers self-finance, produce and release their own films and no one bats an eye over it. But I think that’s beginning to change now and digital publishing is one way that’s going to change things, especially for those who chose to go independent. If you’re asking about whether or not I think digital publishing will replace hard copy books, I don’t think so. I think there will always be physical books but it’s yet another option for a writer to consider. With the rise of Print on Demand publishing, the idea of putting out your own work has become much easier than it was in the past, where you’d have boxes and boxes of books to try to move. With this technology, it’s now available as a print edition as well as a digital one. For me, personally, I don’t care which one someone wants to buy. Either one is fine by me. I think the publishing field is beginning to reach the point where music and film reached nearly 20 years ago. It’s all good.
T. Anything else to share?
J. I’m a big believer in following your own muse. Write what you enjoy writing and don’t worry about what’s popular or “cool”. We all have a story to tell in our own unique way. Read a lot. That’s important too. There’s never too much to learn. Keep your mind open and definitely do not fall in with cliques. Do your own thing, whatever that may be, and just be true to yourself.
T. Thank you.