Past Due

Acknowledgments

For their generous help with this manuscript, I wish to thank a number of persons. Barry Cosgrove, one of Cardinal Spellman’s most illustrious alumni, gave me an intimate tour of his hometown, Brockton, Massachusetts, bought me a beer at the Lit, and told me all the lore surrounding Dee Dubs. John Pomerance hung around and was a general nuisance during our time in Brockton, especially in the bar, so I thought I’d mention him, too. Barry Fabius, M.D., examined, diagnosed, and treated Jesse Carl for me before he transferred the patient to Dr. Hellma

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Question: How do you come up with your ideas?

Lashner: Ideas are easy to come by, they tumble out of the newspaper, they fall out of the sky. Almost every day I get an idea for a story. The trick is finding an idea that can sustain a year or more of work, that can grow and mutate into something compelling enough to be the center of a novel. So the real question is: how do I know if an idea is worth working on for a couple months to see if I might want to use if for a book? That’s not so easily answered. The idea has to speak to me somehow, it has to contain within it the characters that can bring it to life, and it has to embody a pair of contrasting ideas that can fight it out over the course of the story. This last bit is crucial. Every story has a main idea and a counter idea. Both ideas should be strong and have merit and the way they battle through the course of the book is what gives the novel its power. In Past Due, the ideas that are fighting it out through the book are all about how we can avoid becoming slaves to our pasts, whether it is better to put it behind us and move on or to fight to understand it and embrace it, with all its pain and failures.

Question: How do you turn an idea into a novel?

Lashner: For me it’s a three-part process. First I work with the idea, build it into a story, outline as much as I can. I don’t really do any of the hard work of writing until I have a begi

Once I have the basic outline, I begin the hard part, the first draft. I have kids and I spend the weekends with them, but five days a week I’m in my office, outlining and writing. I like to do between four to six pages a day. If I do much more, the writing is usually flabby. If I do much less, there’s no momentum to the pages. It is slower in the begi

After the first draft comes the most crucial part, the rewrite. I take what I have and then I imagine it all over again. What if this happens? What if that happens? How can I make it stronger, more structured, more interesting? It’s like I’m back to the first part, the outlining part, but this time I have a lump of prose to work with. When I figure out how to make the changes, then I go through it again and again until it works. Hostile Witness took ten rewrites, but I had never written a mystery before and so I left out some crucial stuff the first time through, stuff like suspects. In my rewrite for Past Due I emphasized some characters and themes that hadn’t been given enough attention in the first draft. For instance, the picture of Joey Cheaps is much more in depth after the rewrite; before he was just a petty hood who gets himself into trouble, but after the rewrite he became a more tragic figure, a guy who wasn’t smart enough or good enough and who let one failed crime, and the lie behind it, ruin his entire life.

Question: Do you write on computer?

Lashner: I’m not sure why this question comes up so much. Every writer has to figure out his own process and so you should end up doing what works for you. I write on a computer because I rewrite as I write, rearranging sentences, chopping clauses, and it makes the process go more smoothly. Also, I can type almost as fast I can think and that helps getting out ideas when I’m in the flow.

The interesting thing about process, however, is that the tools you use to get the words down do make a difference. When I write in longhand my sentences are sharper, terser. Maybe that is why I write a lot of dialogue out longhand. On the other hand, the ease of writing on computer gives my sentences a rhythm and tone that I don’t get writing longhand.

Question: What writers have had the most influence on you?

Lashner: One of the best ways for a young writer to get a hold on their own style is to start by writing like the authors they most admire. It’s an amazing thing, you start out by sounding like someone else but as the words pile up something slowly changes and after a couple of hundred thousand words you end up sounding like yourself. It’s a lot of work, and a lot of words, but it is worth it. By the time I started Hostile Witness, my first published novel, I had written close to half a million words of unpublished stuff and so by then I had a sense of my own style, but before then there were a number of writers I had spent time copying.