Interview with Eric D. Goodman, Author of Tracks
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Tracks by Eric D. Goodman (my review) is one of the best novel in stories I've read in a long time, and it will likely end up on my best of the year list. It not only reads like separate short stories, if you just want to read something satisfying in a short slot of time, but also is a connected story by the train, the conductor, and the mystery/action storyline. In many ways, I've thought about how it reminds me of Agatha Christie's Murder on the Orient Express, but the reader is the detective. However, there also are deeper themes at work of feeling stuck and unable to move on or wanting to change, but unable to accomplish that goal because of an inability to take a risk or the inability to let go of the past. I digress, just go read the review, you'll see what I mean.
I've got a great treat for my readers today, as Eric agreed to an interview about his book and his writing experiences. Please give him a warm welcome.
1. Since Tracks takes place on a train traveling between Baltimore and Chicago, it is clear that trains are important to you. When did you first realize that you loved trains and what do they mean to you?
As a child, I think I had a love of trains that many children share: toy train sets, a need to watch trains as they passed by, an urge to place coins along the tracks to be warped and smashed by the locomotives. And there was always a spirit of adventure involved with coming across a line of tracks and walking along it.
I was probably about six when I took my first trip on Amtrak. It was exciting, an adventure, and much more fun than the usual cross-country driving trips my family took. But then there was a long period of no trains. Unfortunately, trains seem to be underfunded in our country and, therefore, are sometimes more expensive than planes and certainly cars and busses.
It was when I was a college student traveling in Russia that I rekindled my interest in trains. Trains were a popular and inexpensive way to get around. I took sleeper cars on overnight trips often while in Russia. Sometimes, that was the most fun part of a trip.
2. Baltimore is almost like its own character in the book, looming ominously over some of the characters while anchoring others to a sense of home. Was it hard to show both the darker and lighter sides of Baltimore given its reputation as a high-crime city? And how do you view Baltimore, as a resident and a writer?
Baltimore is a wonderful place to live if you’re a writer or an artist. The literary community is tight knit and most of the writers I know are very supportive of their fellow authors. As far as the crime goes, I think Baltimore is a lot like any other large city: there are areas with high crime, areas with virtually no crime, and much of the violent crime exists in its own little sub-culture. I’ve lived in Ohio, California, Rhode Island and lots of places in between. I won’t pretend they’re the same, but I will say that I’ve personally encountered no more crime here than in the other places I’ve lived. In other words, it exists, but it’s easy to avoid.
Baltimore has a lot of character; it was easy to set certain scenes from Tracks in rich locations with exciting backdrops.
3. When writing Tracks did you find that one scene or character surprised you? If so, which one and how so?
My writing tends to be inspired by an idea or theme or some nugget of conversation that I found interesting. It doesn’t begin with plot; the idea comes first, then the character, then the plot. So my characters surprise me often. I know what I want the theme or idea to be, when I begin writing, but not always exactly what they’re going to do.
The Conductor, Franklin, sort of surprised me. His two stories were actually the last two I wrote. In the original manuscript, he didn’t even have his own stories. He appears in everyone else’s story and always seems like such a nice, chipper, friendly guy. And he is. But when I began to dig deeper and write about him in his own stories, I discovered that he had another side.
4. The conductor and the Amtrak train tie the stories together, but the stories also could stand on their own. Was there any point in the process where you thought that Tracks should just be a short story collection and not be a novel in stories? What convinced you to stay with the novel in stories format?
I had written three stories individually before I decided that I should make this a collection. Then, as I continued to weave the stories closer together, I thought it would be nice to create a sort of hybrid—to write a novel and a set of stories at once. Part of it was with the goal of both working on a novel and having stories to submit to journals at the same time. But part of it was just out of curiosity—could I pull off a “novel in stories?”
Coincidentally, by the time this went to print, there seemed to be a revival in the format: A Visit from the Goon Squad, Olive Kitteridge, Later at the Bar, The Civilized World. But I wasn’t riding a wave; I was doing my first draft before it started!
5. From first draft to publication, how long did it take to complete Tracksand find it a home on bookstore shelves? Have you had any champions behind the book that spurred you to get it published and who have helped hand-sell (I use this term lightly -- noting that social media and the Internet could help spread the word) copies?
It’s been a long line of track. I think it was back in 2006 when I wrote the first draft. I tend to write a manuscript, then put it away for a year or longer, then rewrite it. So although I didn’t spend time each year working on the manuscript, about five years passed from first draft to bookshelf. During that time I wrote a couple other book drafts (one of which is with my agent now) and did a lot of tinkering and polishing. I had it ready to submit to agents in 2009, got an agent in 2010, and secured a publisher later that same year. Then it was released in 2011.
I’ve been overwhelmed by the kind reception Tracks has received from other writers. Some of the biggest include Madison Smartt Bell, Thomas Steinbeck, Bathsheba Monk, Jessica Anya Blau, Rebecca Barry, and Victoria Patterson. I even got notes of congratulations (but not official blurbs) from Jonathan Franzen, Jennifer Egan, T.C. Boyle, and Junot Diaz! It’s felt good to be noticed, even if sometimes only as an insect. Thanks, Eric for answering my questions. If you are in the Washington, D.C., area and interested in reading Goodman's book, he'll be reading at the Open Door Series at the Writer's Center in Bethesda, Md., on Feb. 12 at 2 p.m. Register for the event.
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Additionally, this is a stop on The Literary Road Trip since Eric is a local author in Baltimore, Md.