Discover the inspirations behind Simon’s evocative tales of outsiders and misfits
Steven W. Simon discusses his focus on outsiders, his independent author journey, and his creative process, offering insights into his evocative storytelling and
genre-defying works.
Steven W. Simon is a literary force whose work resonates deeply with readers who have ever felt like outsiders. His evocative storytelling and poignant poetry capture the essence of those who exist on the fringes of society, offering a voice to the misfits and the misunderstood. Simon’s ability to weave complex characters and vivid settings into his narratives is nothing short of masterful. His novellas, such as “Red as Apple” and “Into the Fracking Fields”, are testaments to his skill in creating immersive worlds that linger in the minds of readers long after the final page is turned. With a unique blend of raw emotion and insightful commentary, Simon’s work challenges conventional storytelling and invites readers to explore the depths of human experience.
In this exclusive interview with Reader’s House Magazine, Steven W. Simon delves into the themes that define his writing, his journey as an independent author, and the creative processes that fuel his diverse body of work. Through candid reflections and thoughtful insights, Simon shares the inspirations behind his stories and the personal connections he forges with his characters. Join us as we explore the mind of an author who dares to defy genre constraints and embraces the complexities of the human condition.
“I’ll never feel like I’m good enough. I’ll never call myself successful—but that drive to write, to create, is omnipresent.”
S.W. Simon
You describe your writing as stories about outsiders, misfits, and those who have never fit in. What draws you to these themes, and how do they manifest in your books like Red as Apple and Into the Fracking Fields?
I wrestled in high school. They gave us school-issued headgear to protect our ears from cauliflower ear. Freshman year, I took off my thick glasses and put on the headgear for the first time. I got down into a wrestling stance and squinted.
“Mole,” our assistant coach said. “He looks like a mole.” You know, those small, mostly blind mammals that live underground. From then on, that was my nickname, and I’ve continued to feel like that goofy, weird, short kid all these years later. I’ll never feel like I’m good enough. I’ll never call myself successful—but that drive to write, to create, is omnipresent.
Michael in Into the Fracking Fields is me as an adolescent. Unsure, wanting desperately to fit in. Ansel in Red as Apple is the adult me. Quiet, worn down by failures, yet dedicated to his child. His brother, Keenan, is another part of me, and their sister is who I wish I was—life would feel so much simpler if I was. I wish I could be satisfied as a mid-level marketing manager and fall asleep on the couch with a ball game on the television.
“As an independent author, I have complete control of my work and marketing. I still work with an editor and cover artist, but I’m able to write without the constraints of ‘marketability.’”
S.W. Simon
You are an independent author. Why did you choose this route?
As an independent author, I have complete control of my work and marketing. I still work with an editor and cover artist, but I’m able to write without the constraints of ‘marketability.’ The downside, of course, is that it’s all on me. Or maybe I chose this route due to insecurities. Perhaps I’m not that great of a writer. In the end, time makes all of this irrelevant and nothing really matters, and that’s okay.
In Into the Fracking Fields, the setting plays a crucial role in the story. How did you research and develop the setting, and what impact do you hope it has on readers’ understanding of the characters and their struggles?
Into the Fracking Fields straddles two worlds. The first, a destitute town in middle America. I took inspiration from the coal mining towns of Appalachia and the Rust Belt. Here, there was no need to investigate anything. I’ve seen cities in disrepair, the palpable hopelessness, and that sense of abandonment.
The latter, the uninhabitable section, required researching how plausible the world I imagined was and where it would be located. I needed to study hydraulic fracking and gas drilling accidents and find a location in a seismic zone with shale deposits near a nuclear reactor.
In the book, the uninhabitable zone, or, The Fields, is located in the New Madrid Seismic Zone, which encompasses Arkansas, Kentucky, Missouri, and Tennessee. Within The Fields, there’s a direct reflection on American disparities, either racial or sociological. While the prison camps are dystopian, are they really that different from many American experiences today? Is the “normal” town much better?
You write stories that do not necessarily fit into specific genres. How do you approach writing without the constraints of genre, and what challenges or freedoms does this offer you as an author?
I hope I write stories that are interesting. I want my readers to see themselves in them, to take something away. Most of what I write could be considered “general fiction.” It’s more than that, but I don’t know what to call it. Maybe “Americana?” Think John Steinbeck mixed with Jack Kerouac. I would never portray myself as being on their level, yet stylistically that might be accurate. In terms of finding an audience, being “genre-less” can be challenging. Digital marketing is a requirement and our internet is built on keywords, compartmentalization, and associations. If I were a horror author, there would be a more streamlined path to online success.
Balancing different types of writing, from novels to poetry, requires versatility. How do you transition between these forms, and what techniques or practices help you maintain your creative flow across different projects?
There is a break between writing processes, usually several months. I’m not writing a narrative at the same time as poetry.
Novels, or more accurately, novellas, always start with a scene. Once that scene is set, it evolves into the characters and plot. I’m a notetaker as I write. What’s organically driving the story? What challenge is next? What would this character do?
Poetry originates from an observation. Is what I’m seeing absurd? Is it mundane? Or it starts with a feeling. Situational awareness and critical thinking is a priority when I write a poem.
