Interview questions for Gary Schanbacher, author of Migration Patterns: Short Stories
Migration Patterns: Short Stories
Gary Schanbacher, author
Fulcrum Publishing
(Read English Professor Nick Capo’s review on our site)
Q: Gary, please tell us about your collection of short stories, Migration Patterns. Perhaps you can share the common theme of the stories.
A: In Migration Patterns, the stories are set in total or in part in the modern American West and are populated by characters who find themselves in circumstances they’d not necessarily have foreseen or chosen. Their reaction to these circumstances moves them from one state of being to another—sometimes geographically, but more often than not, spiritually and emotionally. A migration of sorts takes place. So, in a sense, the stories are all about moving on, getting by, and searching for home.
Q: Selling a collection of short stories is difficult. Was that difficulty a consideration when you began writing?
A: No. I began writing to explore themes that interested me without thinking about the market. Selling short fiction is tough, but for an unknown writer, selling any fiction is difficult. In a seminar I once attended, Kurt Vonnegut advised all would-be authors to write for the sheer pleasure it gives because the chance of ever actually selling anything is very small. It seemed like sound advice, so that’s what I did.
Q: Do you prefer writing short stories over novels? If so, why?
A: Initially I preferred short stories because of my own reading schedule. Like most of us, work tends to be hectic, and I really enjoy being able to sit down for an hour’s worth of reading and actually work through an entire story or two. It drives me crazy when I have to put down a novel partway through and may not have an opportunity to revisit it for several days.
Similarly, with an uneven writing schedule, I found the short form more accommodating to my time allowances. A twenty-five-page story seemed within the realm of possibility when I had a two- or three-week window where work demands didn’t seem too great. Even then, most of my stories ended up taking months and months to complete.
And as a beginning writer, I was terrified at the thought of investing years on a project that may not end up being any good. With the seasoning of time, and a little positive feedback, I now feel confident working on a longer piece and find I am enjoying it a great deal.
Q: What do you think is the major difference between the short story and the novel?
A: Well, I think the scope of a short story has to be more limited. There should be a certain sense of urgency in all story forms, but even more so with short fiction. I think the cast of characters necessarily needs to be limited and the major themes focused and condensed. I love the distillation of short stories-the “world in a teacup” feel of them.
I think the novel has more room to explore side rooms in the mansion, as well as secondary characters and motivations.
Q: Where did the idea for the theme of your short stories come from?
A: I was participating in a Lighthouse Writers workshop in Denver. One exercise involved renaming the story we were currently critiquing. “Migration Patterns” was suggested for the story I had circulated. (In the book, this story is called “The Sea in These Hills.”) I thought the title was intriguing and realized I had several stories that examined the theme of migration in its broadest context (i.e., moving from one place to another). So the idea of a collection began to take shape. Of course, I had no idea what to do with such a thing.
Q: This is your first fiction debut. Do you have an agent? Do you believe an agent is necessary for fiction writers?
A: I do not have an agent, so I don’t think one is absolutely necessary. I have mixed feelings. On one hand, I can’t see any downside of having an additional advocate in your corner during the marketing process. And an agent might assist with the business end of writing. On the other hand, some publishers seem put off with having to deal with agents, especially when they represent unproven writers. And some oversubscribed agents seem less than committed to selling little-known authors. I think it’s a “gut feeling” kind of decision as to whether to have an agent represent you.
Q: Tell us how your book found a home with Fulcrum Publishing.
A: Honestly, I think it was a combination of a little talent and a great deal of good fortune. I attended a marketing seminar with editors, publishers, and agents sponsored by Lighthouse Writers. As part of the seminar, I met with Sam Scinta, the publisher of Fulcrum. I was aware that Fulcrum had a long history as a publisher of nonfiction, but had no idea that Scinta had recently committed to launching a Western-themed fiction line. I’d just finished compiling the Migration Patterns collection, so, as it turned out, I had a relatively complete book available that proved to be a very good fit for what Scinta was looking for.
Q: Did you choose the title for this collection? How did the title come about?
A: During the editing and layout process, I had second thoughts and tried to suggest several alternative titles, until my editor, Katie Wensuc, finally gently but firmly told me to concentrate on the copyedit and leave the cover and layout to them. I’m grateful they stayed with the title because I think it works on several levels.
Q: Over what period of time were the stories in Migration Patterns written?
A: Four of the nine stories appeared in slightly revised form in literary journals, so the body of the book was not written as a whole but as separate stories over the course of perhaps six years and then selected for the collection as they fit the theme. The novella, “The Sea in These Hills,” was completed just on time for inclusion, which pleased me a great deal.
Q: You’re an economist who loves fly-fishing. Where did your literary interests come from?
A: I attended a small liberal arts college in Virginia, Randolph-Macon College, and although I was an economics major, a well-rounded liberal arts curriculum was required of all students. I was introduced to the great thinkers in literature, philosophy, and art, as well as in economics. So, although I practiced economics and finance professionally, my literary interests have always remained keen.
Q: Are you working on anything else right now? If so, could you share a bit about what you’re writing?
A: I am currently at work on a novel set during a time and concerning events about which I know next to nothing. Sound enticing? I’ve spent the past year filling three notebooks with historical facts and fictional characters to populate that time and place. I’ll let you know what happens as soon as I find out! I’m hoping for something exciting, but making no promises.
Q: What were the primary obstacles you experienced in getting Migration Patterns published?
A: Again, I count myself exceptionally fortunate. I had a stack of stories with the intention of continuing to circulate them to the literary journals (by the way, it is extraordinarily satisfying to place a story in one of the well-respected journals; the competition is fierce) when I stumbled on a perfect opportunity. Of course, I do think the ability to take advantage of that opportunity was the result of years of hard work, with late nights and early mornings spent working on the craft.
Q: Do you have a favorite story in your collection? If so, what is it and why is it your favorite?
A: I think my favorite is “Regaining Flight,” not so much for its craft, but because it first appeared in a special issue of Colorado Review that also contained pieces by Kent Haruf (the opening to Eventide), Mark Spragg (an excerpt from An Unfinished Life), and Alberto Rios. I remember thinking, That’s pretty good company to be in. Maybe I should call it quits right now.
Q: Where can readers find your book, Migration Patterns?
A: It can be ordered from Fulcrum’s website, or from Amazon. It is available in selected Barnes & Noble stores, as well as in Borders, and on their websites. For people in the Denver area, The Tattered Cover has it in stock, as do independent bookstores across the West, including, I believe, Powell’s in Portland.
Q: Do you have a website? If so, what is it so our readers can visit it?
A: I do not have a website. Reviews and other biographical information can be found on the Fulcrum website, and there are tentative plans to establish a writer’s blog, so readers may want to check it periodically.
Armchair Interviews says: Thanks Gary Schanbacher, author of Migration Patterns for such interesting answers to our questions.