Alton Gansky~ Revisited

Alton Gansky is a fulltime writer living in the High Desert area of southern California. His work has been a Christy Award finalist and an Angel Award winner. Alton also served as senior pastor for three Baptist churches in California, serving over twenty years in pulpit ministry. Prior to entering the ministry, he worked as a firefighter, spent a decade in architecture, and been a business man. A popular speaker, Alton has taught such diverse groups as pastors, churches, church planters, and budding writers. He holds a B.A. and M.A. in biblical studies and was granted an honorary doctorate.

You have two projects just released. Tell us a little about each.

In January, RiverOak released CRIME SCENE JERUSALEM, a sorta crime novel. The story behind the book is interesting. Mike Nappa, who was with Cook Communications (the umbrella organization over RiverOak and several other imprints) contacted me with an idea. It’s unusual for an editor to call and say, “I have this idea and I think you’re the man for the job.” He described the basic idea and asked if I would consider writing it. I said, “Of course not. That story will never work. I can’t see a way to make the premise believable.” Mike is nothing if not bulldog persistent. “I bet a man of your sizable talent could do it.” (Okay, Mike knows I’m a sucker for flattery.) “It won’t work, Mike. It’s an impossible scenario.” He paused. “So you’ll try. I can expect a proposal?” Sigh. “I’ll give it some thought.” “Great,” says he. “We’re going to bill it as ‘apologetic fiction.’” “Great. I’ve been apologizing for my fiction for years.”

I let the idea marinate for awhile, asked a few what if questions, then pulled together a proposal with a couple of chapters. They liked it. Bought it. That put me on the hook. A couple of chapters is one thing; a whole book is another. Long story made short: I fell in love with the character, the setting, and challenge.

In a nutshell, Max Odom is a troubled forensics cop who is sent to Israel to teach at a forensics academy and pick up a few tips from them. He doesn’t want to go. He has unfinished business that may cost him his career, but he goes when it’s made clear he has no other choice. He walks from the lobby of a 21st century Jerusalem hotel and exits onto a 1st century Jerusalem street. He assumes he’s had a stroke and is imagining everything. His guide presses him into service looking at a first century crime. Of course, the crime is the arrest, trial and crucifixion of Jesus. Like a cat on a leash, he’s towed from place to place where his detective instincts take over.

Then his life gets tough.

The fun part was also the most challenging. I had to figure out how Jesus would speak to a 21st century man. We know how He spoke to 1st century people, but what would (and how would) He say things today? That turned out to be the most significant thing for me. It changed my view of Jesus,

The other book you mention is a nonfiction work: 40 DAYS—ENCOUNTERING JESUS BETWEEN THE RESURRECTION AND ASCENSION. The publisher, Broadman Holman, initially planned to release it last year but postponed shipping. It came out a few weeks ago and on its heels the Discovery Channel debuted the documentary The Lost Tomb of Jesus. It may be the best marketing my book could receive. I’m doing a host of interviews over the next few weeks talking about my book and challenging the erroneous conclusions of the documentary.

40 DAYS takes a close look at the twelve recorded appearances of Christ after the resurrection and the lessons behind them. So far, it’s getting a good response from readers.

On your website you mention the release of your nonfiction work on the heels of your latest novel, CRIME SCENE JERUSALEM, turned out to be an unexpected blessing. How so?

When my editor told me that they were delaying the book, I began a pity party complete with whining and cat kicking (the cat kicking part is made up). I complained to my agent. I complained to my editor. Nothing doing. It was delayed almost a year. Now it seems that the Discovery Channel documentary may be setting up a need and hunger for the material in my book. And to think I wasted all that good whining.

Which gives you more satisfaction, writing fiction or non?

If I answer quickly, I’d say fiction. Nonfiction is difficult for me. Partly because it uses a different part of the brain; partly because I fear misleading people; and partly because I tend to sound like a professor. I have to work hard to set aside my predisposition for pretentiousness. My goal is to enlighten and encourage. Hoity-toity doesn’t cut it for me. I aim squarely at the person in the pew.

Does writing fiction help you to write better non-fiction? If so, how? Is the opposite true as well?

In some ways, but they’re not the same art form. Certainly, writing is writing, but there are differences. In nonfiction, I’m not free to make up towns and people. In fiction, I can do whatever I want as long as it rings true and doesn’t contradict known facts.

What’s odd is this: I always thought I’d be a nonfiction writer. Early on, I tried to sell some short stories and met with phenomenal failure. I did sell articles, but no fiction. Now, years later, I produce far more fiction than nonfiction. Of course, in school, I hated typing and English. Go figure.

Now, I try to write a nonfiction book every twelve to eighteen months. If I’m being transparent in this interview, then I should tell you I promise myself I’ll never again write a nonfiction book. Then I do. Go figure again.

Is it true it's more lucrative to write non-fiction than novels?

Give me a sec. I have to look up “lucrative.” Back. No. In the CBA, publishers offer smaller advances on nonfiction than fiction (usually—there are always exceptions). If you have a bestseller, say THE PURPOSE DRIVEN LIFE, or you name is Max Lucado, then yes. For we mere mortals, it just ain’t necessarily so.

When I think of your novels, what stands out is the tight writing, unusual twists and more than anything your penchant for frequent and unusual metaphors. Can you give some tips on how to come up with good metaphors for our own WIPS?

Probably, but I shouldn’t. The thing professional reviewers ding me on is the metaphors. For some reason, they don’t like anything that’s a tad different. Fortunately for my sanity, I don’t care what professional reviewers think. I care what reader’s think.

I’m not sure where my “fear crawled up her spine like spiders” metaphors come from. I try to find new ways of saying the same old thing. “Her heart raced in her chest” is fine, but “Her heart stuttered” is stronger. The danger is going so far it becomes laughable: “Her heart shook like Jell-O in an earthquake.” At that point, the believer stops trusting he writer.

Is there an up and coming novelist you're particularly excited about?

Brandt Dodson (Original Sin; The Root of All Evil) has a unique voice and is reviving the PI story. T.L. Hines (Walking Lazarus). Those two come to mind.

What are you reading right now?

I’m reading a couple of books I’ve been asked to endorse. On my to-read list are Michael Crichton’s Next, Dean Koontz’s Forever Odd, and in nonfiction, Samuel Chand/Cecil Murphey’s Furturing. I also have a three foot high stack of magazines to peruse.

What do you think is the biggest mistake aspiring authors make in their pursuit of publication?

Writing for what they think the market wants. Many writers want to be the next Peretti, Jenkins, or Blackstock. We don’t need more Peretti’s—we have one. And we have a Jenkins and a Blackstock. What we need are new and fresh voices. Write what moves you. Everything else is just work.

If you could go back to the adorable little Al Gansky just starting out as an aspiring novelist, what advice would you give him?

I’d say, “Sit down, squirt. You think your natural good looks and genius level IQ is going to get your through life. They won’t. Thing one: Start something new. Thing two: Finish what you start. And always remember, no one ever hit a homerun from the dugout. Oh yeah, one more thing: Words change the world.”