Human Trial

Posted By timothy on December 3, 2009

AN INTERVIEW WITH TIMOTHY STELLY, SR. – AUTHOR OF “HUMAN TRIAL” In a nutshell, tell me what your book is about?

While the book is labeled “sci-fi,” it is less about technology and the future, or even extra-terrestrial beings for that matter. The book discusses how man has used technology for profit rather than the good of the species, and how our human traits—greed, envy, racism and thirst for power are probably bigger detriments to our survival than other worldly beings. However, it also raises the question of what if we aren’t alone in the universe, and what if mankind was exploited by alleged superior beings?

Who are the central characters and what do you like most about them?

The cast of characters — and I prefer that term because I have a screenwriter mentality — is an eclectic mix. The core characters, Daron and Regina, represent not only trust, love and friendship, but I liked contrasting the ways they dealt with their fears. Furthermore, they manage to expand the sphere of their love and trust—initially to Gordon and Melvin. Finally, Daron isn’t a perfect leader. He feels as if he was forced into that role, but he accepts it believing he is the person best able to hold the group together. He is pessimistic and trigger-happy, which doesn’t bode well with a group of people forced together due to harsh circumstances. On the other hand, Regina is not only his confidante, but she is his conscience.

You mentioned writing this as a screenplay. Have you started work on it yet?

Formally, no; but what I usually do when I finish a story, is I convert it to the screenplay format, then begin cutting and revising and whatnot. I like to think this will save me time when Hollywood comes calling. (laughs)

How did you come up with the idea for the book?

This story came when I was in the midst of what I call a “creative blitzkrieg.” During the twelve months preceding the writing of Human Trial, I must have penned 5 or 6 novels and twenty screenplays. I was literally writing 14-16 hours daily, at all hours. As far as this book is concerned, I’d always wanted to write a story centered on group dynamics and power struggles; I also wanted to offer my interpretation of the battle between good and evil.

Tell us about yourself. Where are you from?

I was born on a farm way back in the woods,; and I was so ragged folks use to call me ‘Patches’…just kidding. That’s my homage to Clarence Carter, author of the hokiest song ever. Anyway, I was born in Hastings, Nebraska—the town where Kool-Aid was invented. My family moved to California when I was six. With the exception of a two-year stay in Omaha, I’ve been in California all my life. I grew up in a small unincorporated area then known as West Pittsburg. I love it there, especially since I’m a fisherman and I’m but a stone’s throw from the California Delta.

How and why did you start writing?

Everyone in my family was an avid reader and writer. My parents—Matthew and Clariece Stelly—provided the ideal environment in which to create: We had a draw in our kitchen filled with pens, paper, color pencils, felt pens, construction paper, writing tablets, scissors—everything a kid could want. I grew up with nine siblings, and we did a myriad of things—from writing our own anthologies, to designing our own board games, to teaching summer school in my parents’ garage. I started writing in the third grade, mostly jokes, because I was a classroom cut-up; a smart aleck. My teachers saw my wit and writing skill and helped me hone it. I was blessed because throughout my school years I had wonderful teachers, and was also in the gifted and talented programs.

So what made you want to write novels?

I started out writing short stories, but I knew nothing of the craft. I could spin some tales and leave you cracking up, but I relied more on raw talent than real craftwork. I was like the young slugger who hits fifty homeruns in a season, but bats only .220 with runners in scoring position. I had to learn how to maximize my skill. Later, I chose novels because it allowed me to take my time and flesh out my characters. In my early efforts, I relied too heavily on narrative.

How did you overcome that?

Believe it or not, learning various poetry styles helped sharpen my narrative skills and understand the rhythm of language. I was always good at writing dialogue, so I needed to learn how to blend the two without bogging down the story in minutia.

How long did it take you to write the book?

The first draft was done in about three weeks. I then set the book aside for a month or so before I did my first rewrite. I corrected the obvious errors and made notes as to what parts needed to be bulked up and which scenes to cut. That first rewrite took about two weeks, and I added about 150 pages. I submitted the work as weekly excerpts to my writer’s group members—the ProlificWritersNetwork. There I got a lot of editorial feedback. I again set the book aside, this time for a couple of months and went on to something else.

10. Why?

I wanted to forget about the characters and I certainly didn’t want their names or personalities popping up in other work. After that rewrite, I submitted the finished product and the publisher advised that I do more “showing” than “telling,” but even after I did, they rejected the manuscript. I did yet another rewrite, which was followed by another rejection slip from an editor who didn’t feel the book was “quite write” for his company.

After outing in so much work, how did you feel about getting those rejection slips?

By this time I had 21 rejection slips for various projects. I read somewhere that Stephen King’s book Carrie, was rejected 31 times, so I didn’t feel too bad, but I knew I had to step-up my game. The only time I ever gave up on my writing was when an ex of mone, who felt writing was a waste of time, threw away ten years of my work. losing all that work sent me into a funk that lasted nearly a decade. I’m surprised I didn’t catch a case. I didn’t write anything—poetry, essays, novels, thank-you notes—nothing. She had the distinction of being an illiterate critic, which is much like being a one-armed prizefighter: You’re in no position to beat up on anyone.

What is the biggest challenge you face as a writer?

Being understood by my audience. My true love is what I call ‘hip-hop political satire,’ and I touch on some sensitive issues, like race and politics. Oftentimes people don’t understand it. I believe that humor is exaggeration of reality, and when people understand the exaggeration and see your point, you hope they’ll do more than say, ‘Hmmm,’ but also find it funny. It’s a pretty tricky thing to pull off.

But you stated that there are three parts to Human Trial, and it’s sci-fi, so how do you define your writing?

Human Trial was just one of those things. I got such a positive response from the initial readers, one of whom advised me that most successful sci-fi franchises are written as a trilogy. But most of my work is humorous—from novels, to screenplays to television series’ I’ve developed. I like to say my writing is part Richard Pryor, part Richard Wright. Being that I enjoy writing screenplays, I sometimes dream of movie executives standing outside my house with pitchforks and torches.

So why didn’t you write Human Trial as a comedy?

I was, but the theme was just too serious. Second, no way could it get a lot of laughs.

What is it about your book that differentiates it from other sci-fi works?

Well, the protagonists are primarily black. There isn’t much of what one might call ‘urban sci-fi,’ especially after the passing of Octavia Butler. Second, in it I try to tackle serious issues such as racism and people being forced to modify their behavior for the greater good of the group. One such example is the character of Melvin. He is a young man who is trying to find himself after leaving the gang life. At the start of the book he is distrustful of authority—meaning Daron and Regina, because they are parole officers. Second, he is distrustful of white people, but he later softens his views and becomes one of the strongest spokes in the wheel.

How do you feel about what has been called ‘street lit/, and how does it differ from your work?

My writing definitely reflects my black state of mind. Second, one of my favorite writers was Donald Goines, but as black writers of that genre began working with mainstream publishers, it seemed it no longer focused on keeping it real and redemptive; it became about getting paid—period. I’ve written a few books in that genre and I got two rejection slips. I not only want to tell a story, but give the reader a message as well. Often times the message is serious, but it’s wrapped in a humorous, candy-coated shell. I can write any kind of story, except romance, and be satisfied with the result.

Why not romance?

My poetry is sweet and simple, but I can’t do that throughout an entire novel. It would come off as phony. I always thought my love scenes were kind of corny because I don’t see the need to be graphic. Though I do have one novella that combines humor, poetry and graphic sex scenes, it has a controversial theme: The central character is a sixteen-year-old boy who gets turned out by his best friend’s mother. Go figure.

We often hear of writer’s block as something all writer’s go through. How do you deal with it?

I write haiku and tanka; browse through the phone book or an encyclopedia for a word or phrase to jump start my brain. I write puns and do anagrams; or I’ll write in my diary. Sometimes I’ll write about something that’s happened and I’ll have a bunch of jokes in it and it will evolve into an idea for a short story or novella. Most times I can shake writer’s block by sitting in a dark room, sipping on some gin and grapefruit juice, and bobbing my head to a little smooth jazz.

What is your writing environment like?

Quiet—meaning I’m writing either when the kids are at school, outside or during the wee hours of the morning when they’re asleep. That’s when some of my strangest ideas break out.

20. Who are some of your influences?

It’s an eclectic mix: Richard Wright, Stephen King, Donald Goines, Guy De Maupassant and Claude McKay. I like Tzynyz Pinchback’s style, too. People forget that comics are writers, so I dig Dick Gregory and Richard Pryor, too. Literature also has a musicality to it, so I have to throw Smokey Robinson and Lamont Dozier into the mix.

What are some of the books you have read lately? What other pop influences do you like?

I usually read the paper and magazines like Time, ESPN, People. The last book I read was The Hot Zone, by Richard Preston and Mel Helitzer’s Comedy Writing Secrets. I started Bill O’Reilly’s Culture Warrior, but the prologue was so overblown I put it down. I might pick it back up again, maybe the next time I’m inebriated. I’ll start on the Gotham Writers’ Workshop’s Writing Fiction.

So is Human Trial the only sci-fi work you’ve done?

There are three parts to Human Trial. The second story is sub-titled Adam’s War; and the final segment as of now is untitled. I’m about 10% of the way finished with it. I wrote another sci-fi piece with humorous overtones, so I guess you could call ita “dramedy.” It’s titled, A Junkie’s Paradise: The Crack-Melanin Factor. It’s the story of a bird virus that jumps species and the rest of the world has to depend on crack addicts to save them. Is that a frightening prospect, or what?

How and when did you know that you actually had something salable?

When I got the contract offer from All Things That Matter Press. Don’t get me wrong, I had two previous novels in print, but the publisher has a reputation as an author mill, and they lied when they promised “line-by-line editing” and professional marketing. Those books are far below the skill level I now possess, so I plan to reissue them at a later date—revised, retitled and elongated into stronger stories.

How would you feel if your book got overall bad reviews? I don’t expect that to happen, but if by some chance it did, of course I would be disappointed. If the reviews were honest, however, and not a personal attack, I might not feel do bad. Of course, there are some people who just won’t get it, and others who will skim the jacket notes, dismiss it, and then sell the review copy on e-bay.

What was the hardest part of writing the book? Was research required?

The research was hard, but fun. I also had the assistance of a another sci-fi writer and friend named Claxton Graham, whose scientific know-how was invaluable. The other hard part about Human Trial, the same as with any novel, is trying not to rush to the finish as you reach the final third of the book.

What is the most significant thing you’ve learned about your craft?

Patience. Rewriting once is never enough. Second, never try and edit your own work. If possible, seek feedback from multiple sources. Reputable sources– other writers and editors—not family and friends.

What do you want to accomplish as a writer and how will this book help you achieve that?

Hopefully Human Trial will get my name out there and I’ll sell hundreds of thousands of copies. Eventually, I want to get into Hollywood as a screenwriter for both movies and television.

What advice would you give a fledgling writer?

Write, and be confident doing so. At one point, even the greatest writers were unkowns. Write whenever you have the time to, and read a lot of books on writing.. I recommend you start with Bernstein’s The Careful Writer, a subscription to The Writer magazine, and taking as many college or online writing courses as possible. Also join a writing, reading or crit group. The reading group will help you understand how to develop subtext.

Do you have any other books planned?

My baby is a near 600-page coming-of-age tale set in the 70’s. It’s titled, Darker Than blue. The title was influenced by Curtis Mayfield song, We The Ppeople Who Are Darker Than Blue. The work is based loosely on a true story, of how a group of black kids had to endure overt racism and violence at an integrated high school in the 70’s.

30.What’s in the foreseeable future?

A double-novella, God willing. The book will consist of two of my more hard core stories: Thick As Thieves—a guns and gangsters story; and Drownin In A Sea Of love, a tale of love gone horribly wrong. Maybe I’ll get a chance to do a book tour. I’ve been doing a lot of interviews, so I’m hopeful good things are on the horizon.

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