lipstick sunglasses     photo
Photo by onkel_wart (thomas lieser)

“I am concerned with blood and tissue, not with showroom dummies. I can give my signature French kiss to a dummy, but it won’t soften up. Or get harder than it already is, if you care to know what I mean. Plastic will become animated if it’s powered by batteries. Then they’re drained. That’s low tech. Not my cup of tea. My smear of lipstick on a real man or woman will leave tread marks in the flesh, like tires in the snow. They all respond to me, and that’s what matters because my writing is about interaction. It has to be. Everything I write down has reality as its source. So in this sense, you can call my style realism. I change some of the names because some of my subjects insist on anonymity. Others insist on using their full names. Everyone is different and that’s what I find thrilling. I take the initiative for the meek and overwhelm the arrogant. It’s the same thing I have to do with words if I want the stories to work. Being bound and gagged by words can be a pleasure and a true pain. You know where your limits are, so you have to make do with what you have. Language is not infinite and sex isn’t, either. I can stare two hours on end into the eyes of my partners or take a shortcut and box them in the groin, if that’s what they are asking for. I have no problem laying bare my innermost emotions. It’s the compromise you make for good reading.” Galina Zorn, author of the upcoming erotic thriller Butterflies and Bruises


dark alley photo

“You need sources. A writer needs many sources, otherwise the story is not authentic. You don’t have  to be a rocket scientist or Joyce to know that. And not all the sources will fall into your lap like a TV dinner, with a can of beer to go along with it. You have to go after them.
The milkman. Sure, why not. We don’t have a milkman around here anymore, but there’s everybody else. The mailman, for example. Just the other day I asked him whether bank account statements or packages get lost along the way. He personally doesn’t lose them, of course, but obviously it happens. You can take a peek inside the mail and see if someone’s stashing away piles of money, and only pretends to play it safe and modest with a seven-year-old Honda, or if someone orders dildos by mail. And, wow, there you have a frame for your story’s plot: A sexually neglected woman who either is or isn’t aware of the money on her husband’s account! When I was alone with him, I asked my barber if he ever had the urge to stab one of his customers with the razor blade because he was such a mean, insufferable prick. He didn’t say anything, but I saw it in his eyes that people like that came into his shop. Last spring my manager finally confessed to cheating on his wife. I immediately used him as fodder for my next novel and changed the names. My father-in-law remains secretive about his sister’s death in a kitchen accident, and quickly changes the subject, but I haven’t given up because the story smells of family intrigue, and they’re never disappointing. Writing is a 24 hour job.” Tim Klaponte, author of the forthcoming thriller Maniac’s Hymn