Joe Kilgore Weaves Suspense and Masterful Storytelling into Unforgettable Fiction

Exploring the Depths of Character and Consequence

Joe Kilgore shares insights into his writing process, the influence of advertising on storytelling, and crafting compelling characters. He discusses suspense, moral dilemmas, and offers advice for aspiring fiction writers.

Joe Kilgore is a name synonymous with gripping narratives, sharp storytelling, and an undeniable mastery of suspense. An award-winning writer of novels, novellas, screenplays, and short stories, Kilgore has carved an impressive literary path, blending his extensive background in advertising with his innate ability to craft unforgettable characters and unpredictable twists. His most recent novel, Twelve Palominos, a crime-mystery that showcases his signature tension-building and masterful pacing, is a testament to his talent for drawing readers into vividly realised worlds where every decision carries weight and consequence.

From the psychological complexity of his characters to the moral dilemmas that underpin his stories, Kilgore’s works resonate with those who appreciate depth, nuance, and a touch of the unexpected. His short story collection, Insomniac, explores themes of karma and fate with a compelling intensity, while his critically acclaimed Carrion Moon has left readers stunned with its shocking revelations. Beyond his own writing, Kilgore’s keen eye for storytelling extends to his work as a professional novel reviewer, offering insightful critiques that reflect his deep understanding of the craft.

In this exclusive Reader’s House interview, Kilgore opens up about the intricacies of his writing process, the influence of his advertising career on his narrative style, and the art of keeping readers on the edge of their seats. His thoughts on character development, storytelling transitions between screen and page, and the delicate balance between structure and spontaneity provide invaluable insights for aspiring authors and seasoned writers alike.

A literary force who understands both the mechanics and magic of fiction, Joe Kilgore continues to captivate audiences with every story he tells. It is with great pleasure that we present this conversation with a writer who truly knows how to keep the pages turning.

Joe Kilgore masterfully blends suspense, character depth, and sharp storytelling, creating gripping narratives that captivate, surprise, and leave readers enthralled.

How has your extensive background in advertising influenced the pacing and structure of your novels, particularly in creating suspenseful narratives?

Writing advertising requires precise discipline in space and time. Often you have only thirty seconds or less to make someone aware of what you are selling as well as providing the attributes of your product or service persuasively. Writing novels gives you the luxury of more space but is even more dependent upon holding reader interest. My technique for maintaining the attention of the reader is to borrow the use of brevity that advertising requires, while simultaneously sticking to prose, plot, and character arcs that always move the story forward. As famous novelist and screenwriter Elmore Leonard once advised, simply “take out the parts that readers will skip over anyway.”

“My technique for maintaining the attention of the reader is to borrow the use of brevity that advertising requires.” – Joe Kilgore

In your short story collection, “Insomniac,” you explore themes of karma and consequences. How do you decide which themes to delve into?

I follow the maxim, write what you like to read. I’ve always been drawn to literature and film that highlights individuals’ capacity to function under pressure. Often, I try to develop situations and scenarios that give a protagonist multiple ways to deal with trouble. Some good ways, some bad. Then I’ll frequently have he or she make an even worse decision than was made before, escalating the degree of angst. Reading about terrible things in other peoples’ lives makes folks even more sanguine that they are in their shoes and not the characters. 

Your novels often feature complex characters facing moral dilemmas. What draws you to these characters, and how do you develop them?

Complex people are simply more interesting than dullards. As a reader, I’d rather spend time with a highly accomplished sociopath than an everyday pensioner. Unless of course, that pensioner happens to be a closet serial killer. People with lives particularly unlike my own are the ones I find most interesting. So I often go out of my way to create characters that feel real, but are laden with poor judgement, quirks, and peccadillos that constantly intrude on their ability to avoid misfortune. I enjoy creating men and women who are active participants in their own demise.

Given your experience writing screenplays, how do you adapt your storytelling techniques when transitioning from screen to page?

One can be more expansive on the page than on the screen. You can dive deeper into what one is thinking rather than simply what one is doing. You don’t have to worry about the increased time and additional cost of a relevant flashback or a Daliesque dream sequence. But one should still keep the techniques that add to involvement. When appropriate, show rather than say, dramatize rather than describe, choose illustration over exposition. Rely on a book reader’s imagination. It’s frequently more involved than a movie goer’s.

Carrion Moon has been praised for its shocking twists. How do you craft these twists to maintain reader engagement and surprise?

Think of what the initial answer to a question would be and provide a different one. Consider how a logical progression would be used to solve a problem and provide a perhaps less logical but more interesting evolution. When the villain is to be unmasked, make sure it’s not the one most readers would assume it to be. Don’t forsake credibility for shock or surprise, but don’t let the reader know exactly where you’re going until you get there. Always come up with a compelling reason for him or her to turn the page.

As a professional novel reviewer, how do you balance critical analysis with your creative writing, and does one influence the other?

A review should be written as interestingly as the novel it’s reviewing. The more stylish the review, the more interested one will be to pick up or pass by the tome. When engaged in reviewing, discuss content, plot, characterization, etc., by elucidating what is done well or ill by dissecting the author’s words rather than his or her intent. When writing creatively, paint the word picture you want to show, but leave it to the reader to supply his or her own interpretation. In my particular case, I believe my reviews are influenced more by my creative writing than the other way round.  

What advice would you offer to aspiring authors aiming to transition from a successful career in advertising to writing fiction?

For most, the answer can be found in the wise counsel of he who first said, “Don’t quit your day job.” If you can do both, do both. Advertising often proceeds at warp speed. Writing fiction is more akin to glacial melting. Not necessarily in the writing itself, but in the submitting, the acceptance or rejection, the frequently enormous amount of time that transpires between the time you finish writing something and someone tells you he’s willing to publish it. Writing advertising is almost always more lucrative as well. But if you have stories in you that simply must be told, write them. Then to borrow a phrase, stick your perseverance to the sticking place. You’ll need all of it you can muster. Of course, as many assume, if you have only one life to live, and you feel that you must live it as a writer, by all means, do so.