An Interview with John Corwin
Interview conducted c. early 2010s
Introduction
John Corwin is a genre novelist best known for Sweet Blood of Mine and the Overworld Chronicles, works that blend paranormal elements with humor, action, and an irreverent narrative voice. His fiction frequently explores ordinary characters thrust into extraordinary circumstances, balancing supernatural stakes with grounded emotional reactions and comedic perspective.
This interview was conducted during a period when Corwin was actively refining his approach to genre storytelling, character construction, and narrative momentum. The conversation focuses on idea generation, plot development, revision habits, and the practical realities of sustaining long-form speculative fiction without losing narrative drive or personal enjoyment.
Corwin’s responses reflect a relaxed, instinct-driven creative philosophy, tempered by an awareness of structure and reader engagement. Humor plays a central role in both his storytelling and his reflections on the writing process, offering insight into how levity can coexist with darker or more fantastical subject matter.
This interview is preserved as part of the Better Storytelling Archive, documenting the voices and working methods of contemporary genre creators.
John Corwin_Interview
The Interview
Life as a Writer
How did you get into writing?
I started writing short stories in the sixth grade about a boy named Fargo McGronsky and his dog, Noodles. The stories were pretty violent, but my classmates loved them and always looked forward to the next installment. It wasn’t until much later in life that I started writing for realz.
When did you first realize that you have what it takes to be a writer?
Part of that realization hit me when I finished writing my first monstrous tome, all 275,000 words of it. The next realization came when I accepted the business realities of writing and learned how to write decent, flowing prose instead of assuming bigger meant better.
Premise
Where do you get your ideas from?
Scientists have long debated this subject. I think most of my ideas come from the part of my brain closest to where I slammed my head against a rock on a jetty while trying to show off to a girl. I think that’s also where my sense of self-preservation comes from.
I really don’t know how I come about my ideas, only that they’re usually strange and must be tempered into something other people can identify with instead of being completely weirded out by them.
How do you develop your ideas into a story?
I come up with a one- or two-sentence synopsis in my head, or try to fit whatever bizarre notion popped into my noggin into something vaguely usable. If it feels like it might work as the basis for a novel, I’ll write a one-page synopsis outlining the main plot and how the book would end. If that works, then I’ll either start on it or shelve it for future use.
Genre
What kind of stories do you enjoy working with?
Paranormal, sci-fi—anything otherworldly. I once tried to write a non-paranormal novel and grew too bored with it. It wasn’t fun unless I could give everyone flying carpets.
What genres would you like to explore in the future?
I don’t really have any in mind that I haven’t already tried. I’ve done fantasy, sci-fi, paranormal, and paranormal romance. We create new genres all the time, so I’m sure something new will come along shortly involving donkeys and the political machinations of a subterranean culture on Mars—in which case I would drop everything to write it.
Structure
Do you work from an outline?
Yes and no. I usually outline the story in a short synopsis and go from there. I’ve tried strict outlines before and didn’t stick to them very well. But I’ve found I absolutely must map out the plot or I’ll end up in la-la land somewhere with the book fast approaching 100,000 words and no end in sight.
Plot
How do you build your story?
Once I have the plot more or less set, I take the characters, determine their personality traits, and run them through a complex computer simulation to see what they do. Most of the time they die immediately because the computer doesn’t know how to handle vampires or talking seaweed.
Okay, so part of that is true. I do determine plot and personality traits and then figure out how they’d handle certain situations and write down what happens next.
Character
For you, what makes a great hero?
Someone who is normal by most standards, rising above himself or herself and doing what’s right.
If one of your characters were to describe you, what would he or she say?
John is smart, funny, and handsome, and you can tell he really takes care of himself. Have you seen his posterior? On the other hand, he is a bit strange, coming up with crazy shenanigans like everyone on Earth dying and becoming ghosts.
Setting
How much time do you spend researching the setting for your stories?
It depends on how familiar I am with the setting. My past few books have been set in Atlanta, where I live. Google and Wikipedia are my two best friends.
What settings would you like to explore in the future?
Probably someplace that doesn’t really exist, so I’ll have to make it up.
Theme
Do you like to know the purpose of your story before you sit down to write it?
Most of the time, if there’s a theme or purpose, it forms along the way.
Dialogue
Do you have any favorite lines from your stories?
I don’t really have favorites because I tend to look at the work as a whole, but here are a couple from Sweet Blood of Mine:
“I was falling for Elyssa and my track record with girls looked like a zombie apocalypse.”
“What was it about women and crying that made me feel like crap? They must have guilt pheromones in their tears.”
Writing Process
Do you have a routine?
I don’t really have a routine aside from sacrificing Concord grapes to minor deities. I can’t listen to music while writing, although I can write in noisy places.
How do you deal with writer’s block?
I remind myself that I’ll be dead one day and don’t have enough time to suffer from writer’s block.
Story Development
How do you go about fixing a story?
I’m usually pretty happy with my first drafts, but I rely on a great set of beta readers and a tough content editor to show me what needs fixing.
How do you know when to stop?
I used to revise manuscripts endlessly. No more. I’ve found my gut instincts are usually fine, and I just need outside advice to help guide the final decisions.
Words of Advice
What words of advice would you give to new writers?
Don’t write. Give up and join an ultimate Frisbee team. Learn tiddlywinks. Meanwhile, email me all your book ideas and maybe I can salvage something from them.
Final Thoughts
What’s the best thing you’ve ever written?
Probably a short essay on why my mom is the best mom ever.
What are you working on now?
Book four of the Overworld Chronicles.
Closing
This interview captures John Corwin at a stage in his career where instinct, humor, and emerging structural discipline intersect. His reflections offer insight into a creative process driven by curiosity, experimentation, and an unpretentious relationship with genre conventions.
Presented here as part of the Better Storytelling Archive, this conversation preserves a candid look at storytelling as both craft and play—an approach that continues to shape contemporary speculative fiction voices.