Writer Unboxed

After I trapped three scientists in a fire I set in a brothel, enlisted them in the theft of a stampeding wagon, got them arrested by the French secret police, and then mired them in a mystic mission for Bonaparte, they began to question my judgement.

It’s a helluva hook, isn’t it? And William Dietrich keeps the surpises coming in The Barbary Pirates, the latest installment in his popular Ethan Gage historical adventure novels. Pulizer Prize recipient, journalist, adventurer and novelist, Dietrich is masterful at meshing historical detail with breakneck pacing and high stakes, narrated by his hero Ethan Gage, rougish anti-hero who has a penchant for getting in trouble. 

Dietrich’s novels have been widely praised in Publishers Weekly, Booklist, the New York Daily News and USA Today. He’s also been canny about using new media to reach fans and new readers. Watch Dietrich talk about The Barbary Pirates in a promotional video for Harper Books (novelist take note!), and listen to his interview with PBS affliate KCTS TV. 

In part one of our two part interview, Dietrich reveals his approach to crafting compelling characters and how to artfully use historical detail to serve the plot of the novel without letting it overwhelm the narrative. We think you’ll enjoy part two of our interview with William Dietrich just as much.

Q: The research you’ve done in this series is impressive, involving disparate myths like the Little Red Man and Archimedes’ “flamethrower” invention. How much research do you do before you begin drafting your novel, and when do you know when to stop. Can writers get too caught up in that sort of time suck?

WD: The Ethan Gage series is chronological, so the first question is what was going on historically when the action takes place. In THE BARBARY PIRATES it is 1802 and America’s war with the pirates was just getting underway. So, that sets the research direction: I’m sending Ethan where the action is. Then I read quite a bit to do an outline, construction a timeline and finding real-life people whom I can weave my fictional characters through. In the early stages I might read a couple dozen books. Then as I write I hunt for specifics of what I’m writing about and read more. You stop when you have what you need to tell the story, not when you know everything there is to know. No one is going to give you an exam, and no reader wants to learn everything you’ve learned. They just want a good story. 

Q: THE BARBARY PIRATES is an historical adventure novel with tons of humor, tidbits of historical insider info and unfolds at a cracking pace. Do you plot it all out in advance or let the story unfold? Do you also have a master plan for the series or do you take the series trajectory on a book-by-book basis?

WD: Why, thank you. Yes, I outline the plot, because a historical thriller is plot-dependent and it’s too easy to write yourself into a corner if you haven’t thought out where you’re going. I find plenty of room for creativity within that outline. The series, however, does not have a master plan – in fact I didn’t set out to write a series at all, I was just curious what happened next and so had to write a second book to find out. 

Q: You also teach writing at Western Washington University. What sort of advice do you give your students about the craft of writing that you can share with our readers? What mistakes do you see new writers do over and over? 

WD: Except for a class on getting published, I teach journalism, not fiction writing, so bear that in mind. But I stress storytelling: I believe that in both fiction and non, the ability to tell a good story trumps style, which is different than the emphasis in some creative writing courses. For both I would also say, ‘What is the problem you’re writing about, and what is the solution?’ In other words, make it as simple in possible in your own mind: most great stories are simple. You need a compelling protagonist, obstacles, and a way they overcome them. That’s the human condition, and that’s why readers respond. 

Q: Are there any essential craft books you recommend for aspiring novelists? 

WD: For commercial fiction, I recommend “The Writer’s Journey” by Vogler or “Story” by McKee (they cover some of the same ground) “The Successful Novelist” by Morrell and “Writing the Breakout Novel” by Donald Maass. “Thinking Like Your Editor” by Fortunato and Rabiner is aimed at non-fiction, but is invaluable for helping see things from a publisher’s perspective. “How I Do It” books by any favorite author, like Stephen King, Janet Evanovich, Ursula LeGuin, Elmore Leonard, etc. are instructive. Yes, read, read, read about your craft. Everyone thinks they can write a book, and yet it’s the hardest thing in the world to master. 

Q: What are you reading now? 

WD: I’m working on “Wolf Hall” by Hilary Mantel, which has won every prize in the world, but I find it kinda slow. Also “A Secret History of the World,” by Mark Booth, which is wacky, sloppy, but intriguing fun. Recent fun fiction reads have been “Altar of Eden” by James Rollins, “Killing Rommel” by Steven Pressfield, and “The Paris Vendetta” by Steve Berry. Plus the non-fiction for my own latest novel!

Q: What’s next for you?

WD: I’m taking a break from Ethan Gage and writing a thriller set in the 1930s and the present day in Tibet, Europe, and the Pacific Northwest. Nazis, Buddhists, a lost city, romance – it’s intricate to construct and fun to work on. Hope it works!

Nazis, Buddhists, and a lost city? Kathleen swoons again.

The Barbary Pirates is available everywhere books are sold. Thank you, William!

Kathleen Bolton is co-founder of Writer Unboxed. She has written two novels under the pseudonym Cassidy Calloway: Confessions of a First Daughter, and Secrets of a First Daughter--both books in a YA series about the misadventures of the U.S. President's teen-aged daughter, published by HarperCollins.

Kathleen Bolton

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