1. Elizabeth, please tell us a bit about you. What were you doing before you started writing professionally?
I’ve been telling and writing stories ever since I was a little girl, so it’s always been a part of my life. At the same time, I always kind of turned up my nose at the thought of writing a book because being in the spotlight never really appealed to me. So, instead of being a journalist, I went to school for national security, and then, instead of working in Washington, DC, I went back to my roots to focus on small-town living and a miscellany of jobs that gave me practical life experience — and lots of ideas for more stories! Fast forward to 2021, I started using my writing and editing skills more professionally, and then that got me into the publishing world. However, I think I’ll always see my storywriting side separate from my writing career.
2. Did you recently write these 14 shorts, just for this book, or were they a group of stories written over the last few years?
I wrote a number of short stories over a period of about eight years and then later went back, cleaned them up a bit, and decided to publish the best of them according to two different themes. These thirteen stories fell naturally into the action and adventure theme, so that’s how this book came together.
3. What inspired you to write Adventures Are Everywhere, and why this specific title? How did you decide which genres and themes to include in this short story collection?
As I thought about the arrangement of this collection, I wanted something that would appeal to others like me who see the world as a place full of possibility, where anything can happen to anyone in any place. Whether for good or for ill, we all have the ability to make an impact, and we also have no idea what might happen on the road just ahead of us. Going along with that theme, I named the collection “Adventures are Everywhere” to give a more optimistic and lighthearted feel, even though some of the themes are a bit weightier. The stories that fit into this collection went along with this theme and have the ability to inspire, amuse, or warn others who are out living their own adventures.
4. What was the purpose of publishing this collection of short stories?
Quite honestly, I published this book simply to relieve myself from the incessant demands of others to get my stories out there in the world (you know who you are!). Now, seeing what it takes, I am only slightly motivated to finish up some other unfinished business in terms of publication. I’d rather take the time to write more stories!
5. Why did you decide to write a collection of short stories rather than a single novel?
Writing short stories and writing novels are two completely different things. For anyone to compare them is akin to comparing cooking to baking, or walking to running, or swimming to rafting. A lot of the same elements are involved, and I have done both, but it simply takes a different focus. For the matter of this publication, it was simply the closest thing to being finished, and so I went with these short stories for my first book.
6. How do you balance the diversity of genres in Adventures Are Everywhere while maintaining a cohesive feel?
I looked at the whole collection in a couple of different ways, including chronologically and culturally. I also imagined the book as one very long story and patched them together while alternating shorter and longer stories to keep the reader interested.
7. Which authors have influenced your writing style the most?
I honestly don’t know, as I’d need someone outside of me to analyze that. Some of my favorite authors are Sir Arthur Conan Doyle, Mark Twain, C.S. Lewis, and Herge, but I don’t think I could imitate any of them. In general, I find that if I immerse myself in a certain style of reading for too long, then I start to write that way, so I try not to read a lot when I’m writing.
8. How do you think short stories engage readers differently than novels do?
In the same way that writing short stories and writing novels are two completely different things, reading them also requires a very distinct mindset. For short stories, the reader has a lot of freedom in imagining the characters outside of the scene but is also constricted to understanding their world according to the narrow confines of those limited pages. It takes a lot more dedication and focus to both read and write a short story, but it can stick with you just as long as a novel does.
9. What advice would you give to readers unfamiliar with short story collections?
Give it a try! You have nothing to lose and everything to gain.
10. How does the title, Adventures Are Everywhere, tie into the themes and purpose of your collection?
The theme and the purpose are the same — to encourage others to live life to the fullest and see the opportunity around each corner.
11. "The Robbers of Doonesville" vividly portrays themes of morality and consequences—what inspired this story?
One boring Sunday morning, I was chained to my usual pew in the middle of the church sanctuary, listening to the sonorous tones of the organ during the offertory and wondering, as usual, where God was in all that pomp and circumstance. As the organist began to tickle the keys in the most dreadful of manners, I exchanged a few horrified looks with some of my brothers, and a sudden flash of inspiration came upon me. This was no worship service! This was the soundtrack for an old Wild West mystery! Chuckling to myself rather irreverently, I took up the remainder of the morning to scribble down the entirety of the story, feeling rather pleased with myself. Whatever readers may gather from the tale is up to them, but the main point that gave me much relief that day was that all that appears religious is not necessarily holy!
12. How did you create the unique and authentic dialogues in "The Robbers of Doonesville"?
For all my stories, I simply put myself in the frame of mind of the characters and imagine exactly what they would say and how they would say it. Another way of explaining it is that these characters actually exist independently of me and that I simply encourage them to come to life on their own in the most natural way possible. I’m simply telling their tale, not trying to create or recreate them.
13. “We’re All Going to Die” is a harrowing tale about war—what message did you hope readers would take away from this story?
This piece is actually more like a scene rather than a short story, but I included it anyway. It originated from a dream, and it had me puzzled for a while until I decided to write it down. From there, I shared it with some friends, and they liked it as a more dramatic flash scene, as morbid and hopeless as it felt to me. To this day, having never feared for my life in such a manner, I’m still not sure what to make of it, but I hope that readers will recognize the fragility of humanity in whatever way they need to feel that and then live in the best way possible to redeem whatever time we all have left.
14. Can you tell us more about the inspiration behind "Lord Leo and the Violoncello"? It’s such a charming and uplifting piece.
This story was originally written as a birthday gift for one of my brothers, who is a natural musician. It also includes quite a few of my other family members since all of us grew up rather musical, and I enjoyed thinking outside the box when it came to adding in some family humor and musical references. I think this story, more than any others, can be compared to a piece of art where the photograph shows caricatures rather than the actual subjects. It is indeed a fun story.
15. What informed your vivid descriptions of the Wild West in some of the stories?
I suppose I mostly watch Wild West shows and read books about cowboys and Indians. Overall, I’d say the Wild West is such an integral part of American history that it’s hard to get wrong. Some depictions are way over-exaggerated or nauseatingly stereotypical (IYKYK!!), but in general, it just feels completely American and natural.
16. Which story in this collection was the most enjoyable to write, and why?
So many of these stories were written from a fun place to the point where I would simply be giddy and chuckling to myself as I wrote them down, trying to capture them accurately as quickly as the inspiration came. Two examples would be “An Olden Tale of Heroism” and “The Young Fellow and the Hermit,” which were written in honor of two young men that I worked with who brought much joy and courage to our mutual colleagues. My best stories are written for me to remember those who strike me in one way or another.
17. Were any of the characters or settings drawn from your personal experiences?
Every story I write is personal to me. On the one hand, the characters are similar to real people, but they end up being completely different caricatures altogether. As for the settings, they can be anywhere, but most often, they are either places I have been or have imagined that I traveled to.
18. "We're All Going to Die" dives into the psychological impact of war—how did you research and prepare to write such a raw and emotional tale?
I’ve read a lot about war and watched quite a few movies about war. So, when this dream came, it was pretty vivid and the scene flowed straight out of that. I don’t often research when going into a short story. I may edit a story with facts and figures in mind, but in general, I don’t think readers care about the finer points when diving into fiction. Nonfiction and historical fiction are another story altogether.
19. Did you write any stories in this collection specifically to evoke joy and levity, like "Lord Leo and the Violoncello"?
Yes, Lord Leo’s story was to make the readers laugh, as were the two stories about the dogs at the hardware store. In general, I like to write pleasant things, so I hope that all readers enjoy the stories as much as I felt satisfied in writing them.
20. If you could expand one of these stories into a full-length novel, which one would it be and why?
I really wouldn’t expand any of these stories into a novel, but The Gold Maps and the Sheriff’s Discovery could be expanded into a longer series since it kind of ends on a cliffhanger. I always intended to write at least one more story, which might come sometime. As for the others, they really serve their purpose better as shorts, and I feel that it would be very tiresome to make a whole world when it’s not needed.
22. What challenges did you face in ensuring each story felt distinct and unique?
Every story was distinct and unique because I wrote ten independently of each other.
23. How do you approach writing dialogue that authentically captures different time periods and settings?
A good writer understands that characters are, by and large, autonomous beings. One can attempt to create a mashup of other people who are known to his or her own world, but that might turn into a weird lab experiment. The best thing to do is to set the exact stage in a specific timeframe and then wait for the people to show up and let them say and do what they’re going to say and do. Depending on your own frame of mind, they will act accordingly, but they are still independent. For example, since I am a pleasant and peaceful person, even my gruffest of characters are rather tame. A violent and cruel writer will more often welcome rather gruesome characters to their stage. But it all comes down to the ability of the writer to correctly imagine and accurately portray the right setting for the characters to be genuine.
24. Did you write these stories in chronological order, or did you focus on stories as inspiration struck?
The stories all came out at different times and places, and I arranged them mostly chronologically, depending on the setting.
26. What role does research play in your writing process, especially for historically inspired stories?
While research certainly does play a distinct role in certain types of writing, I do not see short stories as the place to exercise a great amount of technical prowess toward dates and times or facts and figures. My point is not to be completely accurate but to tell a good, moving, and well-rounded tale. For those who feel the need to have every point of history checked, stick to nonfiction, as it will serve you better!
27. Were there stories or ideas that didn’t make it into the final collection? If so, why?
Yes, I’ve written quite a few stories that didn’t fit into either the adventure theme or the romance theme and were just things that I needed to write but not necessarily publish. In fact, I’ve probably written and burned more than I’ve written and kept, which I imagine is normal for most authors. It’s just a fact of life that everything written does not need to be published, just like everything thought of does not need to be spoken aloud, and everything spoken aloud does not need to be written down, and so on.
28. Do you find writing uplifting stories or darker, more emotional tales easier?
I suppose writing uplifting stories is easier in the same way that facing a sunny day is easier. However, sometimes, it’s those gloomy November days that bring forth the darker emotional tales that speak louder to a larger audience.
29. How do you approach balancing action, emotion, and descriptive elements in your stories?
I do what feels natural. Does it make sense to have a group of people run through the scene and start yammering at each other or to have a solitary figure begin pondering the complexities of life? Does the reader need more context in this part, or would they be better served by getting straight to the point? It is a balancing act for sure and takes time, practice, and learning by living life, observing the world, and reading good stories.
30. What do you hope readers feel as they move from one story to the next?
I hope they take the time to read and don’t read everything at once like a novel, or it might make their head spin! Reading short stories often requires more reflection since there is more going on in less time and a lot to think about off the page.
31. Who do you think will connect most with Adventures Are Everywhere?
I think practical people who are active, imaginative, and humorous will enjoy this book. I didn’t write it for everyone, but I think anyone who is up for an adventure can enjoy at least one story.
32. Were there specific types of readers you had in mind while writing this book?
Since I wrote the stories individually, I did have certain people in mind for each tale. Sometimes, it was for friends and family. Other times, I simply wrote for myself — my past self, who still had much to learn, my present self, who needed some kind of outlet, or my future self, who would have a better perspective on current life. When putting together the collection, I wondered who else would appreciate it, since it often surprised me that people very different from myself enjoyed my stories on their own. To this day, I’m still discovering (and somewhat avoiding) my audience.
33. What do you want readers to learn or take away from these stories as a whole?
I want readers to see their lives as full of possibility and not settle for anything boring or humdrum. Much of modern life is very dull, but it doesn’t have to be. I hope that others are inspired to live life to the fullest.
34. How do you think readers will respond to the wide range of genres in the collection?
Since it has a wide range, readers can either pick and choose their favorite or get overwhelmed and toss the whole book. The choice is theirs.
35. Which story do you think will surprise readers the most, and why?
I don’t know, but the story that surprised me the most was “The Nobleman’s Conflict,” which I wrote in response to the passing of my paternal grandfather. I didn’t expect to process death by facing anger and frustration instead of sadness and loneliness. To this day, it is still an odd story to me.
36. What would you say to readers who feel more drawn to novels and are hesitant to try short stories?
Your life is a novel. Your daily activities are short stories. When you’re frustrated with a situation because you can’t see the whole picture, let a vivid snapshot help you maintain your focus.
38. Which story in the collection do you feel is most personal to you, and why?
Every story is personal to me in one way or another. I would say that in this collection, the ones I wrote myself into are more personal, but then the rest of them have my family members or friends in one way or another. For example, “One Curious Night” was inspired by another fantastical dream I had, which automatically made it personal. Then “Crooks, Swindlers, and Thieves” was a lighthearted way of getting out some frustration about a local blackmailer with some drab material thrown in for good measure.
39. What’s the most meaningful piece of feedback you’ve received from someone who read the book?
The thing that stands out in my memory comes from some years ago after I wrote “The Young Fellow and the Hermit.” The individual who was the hero of the story looked at me in amazement and said, “Elizabeth! You NEED to write!” His tone was kindly but somewhat reproachful and stern since he was well-educated in literature. I felt a bit embarrassed, but what could I say? I was managing a busy summer ministry at the time, so I thought I had a valid excuse not to write more. Since then, I have always pondered how to balance real life with more studious endeavors, and to this day, I have not discovered the answer. However, I would say that my most helpful feedback is when others are truly touched and encourage me to keep writing. Otherwise, it often feels tiresome, stressful, and irritating.
40. What’s next for you? Are you working on another short story collection, or do you plan to explore other formats?
As the book says, adventures are everywhere. In other words, stories are everywhere. Daily life is full of ideas. It’s just a matter of taking the time and dedication to capture those scenes and share them with the world. The issue I always run into is what the wisest man once said, “The making of books has no end, and much study is wearisome to the flesh.” I have a number of other stories to edit and publish, as well as two three-part series of a novel and countless ideas. It's all pretty exhausting to think about. So, we’ll see what the future holds.
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