Sherri Lupton Hollister’s Creekside Cafe visitor today is an interesting man and writer who will pull you into his story with quiet ease. He seems introspective by nature, but once you get to know him it’s quite apparent he’s mainly just being observant. The first novel of his I read had a photo of a rattlesnake on the cover, so I asked him how he came to find the photo. He said he and a buddy were up in the Great Smokies when they came across the snake dead on the road, but not too badly smooshed by whatever had killed it. Phil took his trusty camera, posed the snake, and took the picture. Voila!, his next book cover. The book, Diamondback, was as compelling as the cover. Enjoy Sherri’s interview, and we hope to see some of you at our Authors Sunday event in 3 days. We’ll be at the New Bern Farmers Market, 421 S. Front Street from 1 to 4, with the heat on and hot coffee, cider, and possibly hot chocolate to go with your hot dogs. Aside from visiting with Phil, be sure to browse through the books presented by our other 35 or so authors.
| Sherri Nov 16 Bio: A lifelong freelancer, Phil Bowie earned his chops selling 300 articles and short stories to magazines. One article, about deaf Hollywood stunt woman Kitty O’neal, came out in The Saturday Evening Post and was reprinted in Reader’s Digest, reaching 26 million readers in 23 languages. Several of his short stories have won awards, including a first-place contest winner, “The Cat From Hell,” a yarn begun by Stephen King. Phil began writing novels in the 2,000s. His debut, GUNS, about the world black-market weapons trade, earned Honorable Mention at the London Book Festival among 400 entries, and was endorsed by Lee Child, number one NY Times international best-selling author of the Jack Reacher series. (One hundred million copies sold to date.) Three more novels in Phil’s suspense series have followed: Diamondback, about a lost Great Smokies Cherokee gold mine, KLLRS, featuring a deadly outlaw motorcycle gang, and Deathsman, set against the illegal synthetic drugs trade. Phil also has two stand-alone thrillers: Killing Ground, about African elephant poaching, and Dawn Light, starring a yacht delivery captain and his rebellious teenage mentee aboard a boat carrying a lethal secret in her belly. Phil has been a pilot with his own Cessna, a Coast Guard-licensed boat captain, a draftsman, co-owner of a graphics business, a fiddler, an inventor, and a motorcycle rider. He lives with his partner, Naomi, and their cat, McKenzie, in a cottage he restored on a shore of the Neuse River.|
Sherri: Welcome Phil, it’s great to have you on my virtual café. I wish it was a real place we could hang out and have a drink, talk books and writing but maybe someday that will happen. It sounds like you have had a fun and interesting life so far and I’m excited to learn more. In your bio you said you were a lifelong freelancer; did you make your living as a writer? How did you get started writing? Have you always written? Was there a point in your life when you said, this is what I’m going to do or did you just kind of fall into it?
Phil: Thanks for having me, Sherri. I like your café atmosphere. It’s been a somewhat checkered life, some would say, but yes, fun and most interesting. I went to a rural high school in the Berkshire village of Williamsburg, Massachusetts. There were only 22 in my class, so we got spoiled. My English teacher, Lulu Smith, I guess saw a spark in me and offered lots of encouragement. My mother, Edith, an excellent newspaper reporter who once interviewed Eleanor Roosevelt, instilled in me the power and beauty of the language. At Clemson, I was fortunate to have a tough creative writing professor we called Flunking Felder, who got my first short story published in the college literary magazine, and I’ve been writing on and off since, most often as a sideline to a variety of bills-paying jobs.
Sherri: In your article about Kitty O’Neil, did you get to interview her? What is your process for writing articles and how does that differ from writing novels?
Phil: I’d long been interested in the World Land Speed Record, so in the late seventies, when I heard of an upcoming record attempt at Bonneville in a three-wheeled rocket vehicle, I raided my meager savings, grabbed my photo gear, and, on pure speculation, drove a borrowed tin-can Fiat 2,400 miles to cover it. I was the only journalist there, because historically most attempts had failed, and nobody else was going to cover it until it looked like a record might actually be broken as the hydrogen peroxide-powered rocket car built up speed in ever-faster trial runs over several days. Kitty was going for the female record and stunt man Hall Needham (who wrote the Smokey and the Bandit script), a buddy of actor Burt Reynolds, was driving for the male record. Although she was deaf, Kitty had already been an Olympic diver and a motorcycle racer and had set several records like water skiing at 104 miles per hour. She’d stunted as Wonder Woman and in several other movies. She was part Cherokee, beautiful, and fearless, the first woman admitted into the Hollywood Stunts Unlimited organization. I interviewed and photographed her at length and wrote a piece for the Post, which was reprinted in Reader’s Digest. I like to think I gave her career a modest boost. No record was set during that attempt for technical reasons, but she did later set the female record at five hundred and twelve miles an hour on a dry lakebed in Oregon. They eventually did a movie about her called Silent Victory. She’s gone now, but it’s no coincidence that the love interest in my suspense series is beautiful, part Cherokee, and named Kitty.
All riveting fiction and non-fiction is based on conflict, and the more intense the conflict, the more interesting the story, real or imagined, will be, so the basic approach for either articles or stories has always been similar for me. I mostly look for subjects with an unusual aspect of adventure or danger or human endeavor against odds. In articles, I’ve covered everything from angling for blue marlin in the Gulf Stream, to a jet-powered show truck called Shockwave (which I took a 200 mph ride in at Cherry Point) to bottlenose porpoise communication research, to the last builder of wooden Chesapeake Bay sailing Skipjacks, to Dolly Parton and her Dollywood, to how to pilot a plane for skydiving. Short stories have varied widely in a variety of magazines, and a while back I put out a collection of 17 of them called Dagger and other tales.
Sherri: Your debut novel, GUNS, was endorsed by Lee Child? Now that’s impressive. Did you get the opportunity to meet Mr. Child? Do you feel his endorsement has helped your sales? How can an author set themselves up for such an endorsement or other opportunities that would aid in their marketing?
Phil: Yes, the Lee Child endorsement was a nice boost. He’d been an idol of mine, so I sent the raw manuscript to him through his agent. Lee read it, liked it, and got back to me. On their dime, my then-publisher, Medallion, sent me to the Sleuthfest conference in Fort Lauderdale to meet him. He was the guest of honor and keynote speaker for the 500 attendees. Like his protagonist, Jack Reacher, Lee is a big guy, six-five. He came up to me and shook my hand, which made my year. That night, we sat out by the Hilton pool talking about life and writing into the small hours. I’d advise any budding writer to try for best-seller author endorsements through their publishers or literary agents. Nothing to lose by trying. I’ve garnered endorsements from best-sellers Ridley Pearson and Stephen Coonts (Flight of the Intruder) using the same approach. The top gun authors I’ve met at conferences like Killer Nashville and Bouchercon in Baltimore have been gracious and friendly. At that same Sleuthfest, for example, I had breakfast with the prolific and enchanting best-seller Heather Graham and her pleasant daughter.
Sherri: Do you read the reviews of your books, if so, do you learn from them, or do they affect your attitude? As creatives, it’s often difficult to separate ourselves from our work. On days I feel objective I can read my reviews and say, okay, I need to work on this, or I can see why they said that and it’s fine, it’s how I do things, but there are other days when they can be a boost or a devastation depending on the review.
Phil: Reviews from respected sources like Publishers Weekly, newspapers, magazines, and some of the online bloggers and critics are well worth soliciting, and they’ve certainly helped me by giving me a boost and occasionally by stinging me. A Publishers Weekly review of GUNS, for example, did both. While praising the book warmly overall, the reviewer berated me for including pages of lyrical material that did not advance the plot, so I hung my head and revised an updated version of the novel to tighten it up. You’re always going to hear from those few who roam the Net putting everything and everybody down while never accomplishing much of anything themselves, so you can’t ever let those people get you down. You’re less likely to hear from those readers who’ve liked your work (except through respectable royalty figures), though it’s always nice to get an email or a website note from somebody who does like your stuff. I admit to keeping a file of those and it’s thick enough to be of some comfort on a dark winter night when doubts assail. I’ve always just tried to concentrate on researching and writing the absolute best I can, and that seems to have paid off okay over the years.
Sherri: From some of your reviews one of the comments was your political bias showing in your stories, especially GUNS. We as writers often have a difficult time taking our own voice out of the story and letting the characters’ point of view shine. Do your characters represent or echo your own voice, or do they vary in their opinions? When choosing the characters, themes and topics for your novels, how much of real life enters into your work? What influences or inspires your stories?
Phil: You’re right that we should be invisible to readers. The story is always paramount, and the trick is to immerse readers in it thoroughly while staying behind the scenes, much like a movie director. I suppose some of my political feelings have bled into my fiction at times, but it’s never a good idea to let that happen, because no matter what your views are, you’re going to make enemies. I do firmly believe it’s important to write what you know, thus much of my work is themed on some conflict or other I’ve been somehow involved in or am at least familiar with, and I’ve drawn on my own sometimes crazy experiences—piloting, parachuting, riding motorcycles, and so on—to lend realism to plots and characters. The protagonist in my suspense series and in one of my stand-alone novels is a pilot, for example. An elderly couple in the series is based largely on my maternal stonemason grandfather (one of my enduring idols) and his good wife, and readers seem to especially like the couple. Other characters in any novel or short story may begin as ethereal figures, but they soon become as real to me as anybody I’ve known, and they can only perform on my stage as who and what I’ve molded them to be. I also use story settings that I’ve either spent a lot of time in, like the Great Smokies, or that I’ve researched extensively enough to give me confidence, as in the novel about African elephant poaching.
Sherri: When you are writing, do you plan or plot your books ahead of time or do you just sit down and write? What is the most difficult part of writing and how do you overcome it? Where do your ideas come from?
Phil: Each short story or novel begins with a theme that I think has enough inherent conflict to build an engaging story on. GUNS, for example, is about the black-market trade in weapons. I had a friend who’d spent a career in naval intelligence, and he helped fill me in on that. For a novel, I’ll spend weeks just digging and jotting the occasional plot idea. Copies of all my research materials go into a dedicated file box for easy reference. I’ll sketch out a rough plot longhand on a legal pad (old habit), and then launch into the story on the computer with some intense and vivid scene meant mostly to hook the reader. Then I’ll just forge on, letting my characters guide me. If I get stuck along the way, I’ll often take a long walk, which seems to break up the logjam. I rewrite and revise a lot as I go. This is a tough, solitary business, as I’m sure you know. Weeks and months of sitting behind the screen trying to fill those blank pages with a hundred-thousand-word story that will engage and reach out and touch a reader. It’s at once a long, long slog and a wonderous and rewarding experience. I’m hopelessly hooked on it.
Sherri: I saw your publisher was listed as Bowker. Are you independently published or is this a small publishing company? What has publishing been like from the first book to the most recent? How have things changed? What do you wish you’d known in the beginning?
Phil: That’s an Amazon glitch I need to fix. Bowker was only the provider of that book’s bar code. Over the years, much of my article and short story writing has been on pure speculation. I’d write something and then try to sell it. Early on, my work was rejected a lot, but accepted and paid for just enough to keep me plowing onward while learning and honing the craft. That led to working on assignment for several magazines at much better pay and without the marketing hassle. If I had it to do over, I think I’d have a lot more confidence in myself and would be more aggressive. Writing has changed in many ways since I began decades ago. I once had to research laboriously through libraries, write on a typewriter, and take photos on several kinds of expensive film with a whole heavy bag full of gear, never knowing what exactly I had until the transparencies came back from the lab. It’s so much easier now to research, write, edit, and correspond on a computer, and my digital Canon camera is amazing. The advent of the Net, of course, has changed the whole business profoundly. Back in the day, editors filtered submissions, only buying and publishing those books they figured would earn their way. Now millions of books get published on Amazon, and it’s easy for your work to get buried in that constant avalanche. A whole generation of readers expect to get Kindle books dirt cheap or even free. Many out there are lost in Smartphoneland and don’t read books at all. I sold my first three novels to Medallion Press under traditional advance/royalty contracts. They treated me well, but lack of distribution became an issue, so I finally asked for all rights back, added a fourth novel to the series, and self-published as Proud Eagle Publishing, which comprises me, my best friend, editor, incisive critic, and life companion, Naomi (who is also part Cherokee) and our cat, McKenzie. I write and edit, rewrite, create my own covers, put everything up on Amazon myself, promote myself, and sell through a number of indy stores I’ve set up. The six novels have sold more than 150,000 copies to date in print and Kindle, so people seem to like them. As long as they do, I’ll keep on writing.
Sherri: Phil, it’s been a pleasure having you at Creekside Café. If you all enjoyed our interview you can learn more about Phil from his links below, order his books or come out to our Book Festival at the New Bern Farmers Market, Sunday, November 20th from 1 to 4 pm and meet him there. Remember, books make great holiday gifts, and they can even help you survive them. We hope to see you there.Visit him at www.philbowie.com He’ll be signing all six of his novels at Author Sunday. * * *Website: www.philbowie.comFacebook: https://www.facebook.com/phil.bowie.1Buy links (in the order of publication):GUNS: https://www.amazon.com/Guns-John-Hardin-Phil-Bowie/dp/1514256290DIAMONDBACK: https://www.amazon.com/Diamondback-John-Hardin-Phil-Bowie/dp/1514347172KLLRS: https://www.amazon.com/Kllrs-John-Hardin-Phil-Bowie/dp/1514354713DEATHSMAN: https://www.amazon.com/Deathsman-John-Hardin-Phil-Bowie/dp/1514397609KILLING GROUND: https://www.amazon.com/Killing-Ground-Phil-Bowie/dp/1079131795DAWN LIGHT: https://www.amazon.com/Dawn-Light-Phil-Bowie/dp/B09XZMDXWQ