Jeremy Robert Johnson is quick, funny, and lethal when given kid's toys that emulate any kind of weapon. Prior to the release of his debut novel, his fiction appeared internationally in numerous anthologies and magazines, and in 2008, he worked with The Mars Volta to tell the story behind their Grammy Winning album The Bedlam in Goliath. He's been blurbed by Jack Ketchum, Chuck Palahniuk, John Skipp, and David Wong (just to name a few). He's a man of many accomplishments, and I am honored to be able to share this interview you today. Ladies and gents, say hello to Jeremy Robert Johnson.
Tiffany Scandal: Skullcrack City is your first novel. Prior to that, you had a few short story collections published. How long did it take you to write your novel and what was the process like for you?
Jeremy Robert Johnson: I was plugging Skullcrack in Cemetery Dance magazine all the way back in 2006, and I even included an ad for the novel in the back of the print edition of my novella Extinction Journals, so it was a long time coming. My goal back then was to produce a book per year, but after the unexpected success of Angel Dust Apocalypse I kind of choked and got sidetracked taking these big steps into domesticity. Corporate gig, house, dog, kid, pants that fit, all that. So the original ideas and outline I had for Skullcrack went into cryo-stasis and little pieces got cannibalized into other works and other parts were identified as rotten and fell off, but I never stopped wanting to write the thing.
Much later I got an email from a publisher who had noticed my book We Live Inside You was selling alongside their most popular books, and they asked me if I had anything longer to send their way. So I said sure and signed a contract and within around 24 months I had a much larger, crazier novel than I’d ever planned. The first draft was written in fits and bursts, with the work being done whenever I wasn’t slammed by my primary and totally unpredictable role as a stay-at-home dad.
Process-wise, it wasn’t too glorious—a lot of time sitting in my office or hotel room chairs typing while in a fugue state, or wondering what my family and friends were doing, trying to remember what the sun looked like, realizing how batshit insane the book was, saving the Word file, and then drinking myself to sleep wondering how to make all the disparate elements of the book fit together as one big story.
Sometimes I had pizza and donuts. But not enough of the times.
TS: Skullcrack was originally slated to be released on a much larger press. But after some things fell through, it ended up finding a home through Indie Lit powerhouse Lazy Fascist Press. What are your views on small presses versus large presses? Any advice to writers contemplating where to sub their work?
JRJ: The first publisher I was working with had a flashy salesman who convinced me they were much larger than they really were, that they were headed into big box distribution and working with film reps in L.A. and all that, but when the curtain was drawn back it turned out I’d have been better off just self-publishing. And I feel very lucky that I was able to extricate my book from that situation.
So I guess I don’t have enough real large press experience to be able to pin down the differences, but I do know that on the publishing front it’s helpful to be pragmatic about the nature of your book and its potential audience. I had a very smart friend in NY who read Skullcrack and told me, “We sell squares and circles here, and you sent me an octagon. The Big Five publishers won’t know what to do with this. The book’s going to do well, but you have to go indie.”
I think it’s wise to take a serious look at each of your works and say, “Who publishes this kind of thing? Who’s their general audience? Do they treat their authors well with respect to the work itself, royalty rates, and publicity? Do I love this publisher and read multiple books from their press? Does their distribution mode match what I believe this book can accomplish in the marketplace?” All of which sounds a bit cold and sociopathic, but when you talk about publishing itself, that’s a business. They’re not benefactors of the arts. They’re selling product. There are obviously a lot of indie presses in it for more than that, running in the red for work they believe in, but I wouldn’t say that’s the predominate mode. So you should always be checking off more positive fields than just, “Willing to Publish My Book.” And I was very excited about what I’d seen Lazy Fascist do with books from Sam Pink and Stephen Graham Jones and Brian Allen Carr, so I was over the moon about working with them, and they’ve been totally cool. They even gave my son a ridiculous armless dinosaur doll for Christmas. Lazy Fascist is great.