Brock, Jason V.
Introduction
Jason V. Brock is a writer, filmmaker, editor, and documentarian whose work spans fiction, nonfiction, comics, film, and criticism. He is best known for his deep engagement with genre history, his collaborations with William F. Nolan, and his documentaries exploring figures such as Charles Beaumont and Forrest J Ackerman.
In this interview, Brock speaks candidly about craft, discipline, experimentation, and the long, patient labor of rewriting. His answers reflect a creator deeply invested in substance over trend, meaning over fashion, and the responsibility of taking storytelling seriously.
This conversation is part of the Better Storytelling interview archive and reflects Brock’s views at the time it was conducted.
Interview
Life as a Writer
How did you get into writing?
I was always a strong reader, even though I suffer from dyslexia. In fact, I completed reading at the 12th grade level in the 3rd grade. I remember writing stories as a kid, and poetry. My father, James Brock, was a professional writer, artist, and designer, and we would sometimes collaborate on little pieces.
I am an artist/designer, too, and I was drawing, painting, and sculpting from an even earlier age. There are many people that start as artists and go into writing—Ray Bradbury, Greg Bear, Clive Barker, Dan O’Bannon, William F. Nolan. It seems a natural progression and augmentation of the creative impulse, and the desire to reach others with your ideas, thoughts, and philosophies.
When did you first realize that you have what it takes to be a writer?
When one of my junior high school teachers cried over something I wrote; later, another said that I would become a professional writer. Of course, one of my college art professors said the same thing about my artwork.
Another time was when a woman wrote to me about a poem I wrote (“Murder”) and said that it had helped her through a rough time, as she’d had a relative recently murdered. She thanked me for the poem, which was pretty stunning.
Premise
Where do you get your ideas from?
My ideas are usually psychological, complex, and character-driven. It’s hard to say. I suppose a lot of them are part of me, but also they come from current events, especially medicine and technology. I read very little fiction, and when I do, it’s usually classics or older material, though I do read fiction as an editor on various projects.
How do you develop your ideas into a story?
It takes me a long time to germinate my stories, and I do massive amounts of research. I am a chronic rewriter and have literally done twenty or thirty drafts of some stories to get the correct tone and idea. All writing is rewriting, and I am a ruthless editor.
That said, I have a huge arsenal of story concepts and half-written ideas. Once I reach execution, I can write very quickly, even when the work is layered or complex.
I also like to stretch myself formally. Many of my stories are experimental. Subtext and ideology are important to me—I want to communicate what matters without being gimmicky. Riding trends or imitation strikes me as debasing and valueless.
Genre
What kind of stories do you enjoy working with?
All types—from horror to science fiction, to fables, to poetry.
What genres would you like to explore in the future?
Any and all. I enjoy writing comics and screenplays as well.
Structure
Do you work from an outline?
In a way. I use index cards for novels and extensive notes for short fiction and poetry. It’s loose and more about plotting than prescription. I usually start in longhand, then move to the computer. I like the tactile connection to paper. I also doodle.
Plot
How do you build your story?
Painfully. I have to be invested. I let the story dictate character, point-of-view, and setting. I don’t like rigid beginning-middle-end structures; they can become repetitive. I enjoy unreliable narrators and fractured linearity.
I draw heavily from other disciplines—film, music, art. Sometimes I’ll change point-of-view midstream or make deliberately unsettling choices to challenge reader expectations.
Character
What makes a great hero?
Conflict—and whether they are up to the task. Sometimes they aren’t, and the hero dies. I don’t like neat resolutions. I prefer to disturb the reader or at least provoke thought.
If one of your characters described you, what would they say?
Fair and easygoing, but intense. And organized.
Setting
How much time do you spend researching setting?
Vast amounts. It makes everything more real.
What settings would you like to explore?
Off-world, but realistically.
Theme
Do you like to know the purpose of your story before writing?
Always. I’m not an “it’s just a cool idea” writer. I have to have something to say.
Dialogue
Any favorite lines from your work?
Usually the opening lines. I believe in setting the hook early and hard.
Writing
Do you have a routine?
I write most days, aiming for one or two thousand words. I write at home and on the road. I always listen to music. I’m surrounded by reptiles, and I work beside my wife, Sunni.
How do you deal with writer’s block?
I interrogate the work: who, what, when, where, how—and especially why. I use research, word association, or step away. I dream stories often and keep a notepad by my bed.
Story Development
How do you fix a story?
I sharpen character, refine dialogue, engage the senses, and examine motivation. I believe in unity of effect—the story sets its own terms. Excess description goes. The mind stays open until polishing.
How do you know when to stop?
When I’ve said all there is to say. It’s a feeling.
Words of Advice
Avoid clichés. Avoid excess. Don’t chase trends. Learn to edit. Read widely—fiction, nonfiction, poetry, scripts. Have a life. Use fewer words more effectively. Compete only with your own work.
A novel must hook in the first paragraph. A short story in the first sentence. A poem in the first word. Editors will stop reading. That’s a fact.
Show the reader something new.
Final Thoughts
Best thing you’ve written?
Hard to choose. Poems, some stories, nonfiction.
What are you working on now?
Finishing a novel, preparing its sequel, editing an anthology, film projects, music, and multiple books in progress.
Closing Note
Jason V. Brock’s answers reflect a creator committed to rigor, experimentation, and honesty about the long labor of storytelling. His perspective stands as a reminder that craft is earned through patience, discipline, and the willingness to rewrite until meaning emerges.