Crooked Letter, Crooked Letter - Softcover

Q: Tell us a bit about your latest book Crooked Letter, Crooked Letter. How did you come up with the title?

Franklin: Title's a pneumonic device used to teach children (mostly southern children) how to spell Mississippi. M, I, crooked-letter, crooked-letter, I, crooked-letter, crooked-letter, I, humpback, humback, I.

Q: Crooked Letter, Crooked Letter is a bit of a departure from your previous two novels—Smonk and Hell at the Breech—in that it is set in contemporary times and the story line is a bit less dark. What inspired the premise for this novel and the departure from a more historical setting?

Franklin: I'd been wanting to write about a small town police officer, and I'd long had the image of a loner mechanic in my mind. When I put the two together, the story began to form. I used a lot of autobiographical stuff for Larry, the mechanic.

Q: A review in USA Today (for Hell at the Breech) stated that, “he also makes his characters rise up from the pages as if they were there with you.” ...and this is certainly true in your latest novel. How do you approach the task of developing your characters and bringing them to life? Are the characters in Crooked Letter, Crooked Letter based on anyone in particular?

Franklin: They're both a combination of different facets of different people, a conglomeration of fact and fiction. I usually try to just let them begin to do what they want to do, just put them in a situation and see what they do. When they begin to surprise me, do things I hadn't anticipated, that's when it's working.

But the character of Silas "32" Jones is very loosely based on the sole police officer of the hamlet of Dickinson, Alabama, where I grew up. This guy was actually the law in a nearby mill town, and my hamlet of Dickinson fell in his tiny jurisdiction. I've always loved the idea of small town cops, especially one who might be a kind of underdog to the police forces of nearby larger towns.

Q: In Crooked Letter, Crooked Letter your two main characters are anything but stereotypical—the young black boy goes off to college to play baseball and comes back to be the town constable and the young white boy is the accused murderer and the town outcast. What, if anything, prompted you to portray these characters this way?

Franklin: No real person is a stereotype, and I try to make my characters as real as I can. We're all a mess of contradictions and secrets, strangenesses and desires, and nobody's all good or all bad. We're all somewhere in the spectrum between absolute good and absolute evil. So I just try to find a character who's fairly normal, and put him or her in a fix and see how he or she negotiates it to see, as Kurt Vonnegut says, what he or she is made of. In this case, the story as I came to understand it called for Larry to stay home and Silas to leave. If it had been the other way around, I'd still work to make the characters unstereotypical.

Q: Without giving away too much of the story, what is one thing (emotion, thought) that readers can expect to walk away with after reading this book?

Franklin: It's a sad book, but it's full of hope. Hope is what I want a reader to leave with.

Q: Historically the South has not always had a positive image in other parts of the country. How has your experience growing up and living in the rural South shaped your talent as a writer? And have you ever felt the need to justify or redeem the South’s past in any of your works?

Franklin: I think growing up in the south made me the person I am, and the writer I am comes from that. So, yes, the south's made me the writer I am. It taught me to listen to the cadences and rhythms of speech, and to notice the landscape. It also has this defeated feel, a lingering of old sin, that makes it sweet in a rotting kind of way. Much of it is poor, much is rural, and that's an interesting combination, a deep well for stories.

Q: Did you always know that you wanted to be a writer? Who are some writers, past and present, that you admire or have inspired you?

Franklin: I always knew I wanted to tell stories, one way or another. If I'd had a video camera in the mid 1970s I'm sure I'd be a filmmaker now. But I just had a portable typewriter, and so the stories I could tell were ones on paper.

Q: You are one of the most celebrated writers in the field, and have been compared to the likes of Harper Lee, William Faulkner, and Elmore Leonard. What do you believe is the one thing that sets you apart from other contemporary writers in your genre?

Franklin: What sets me apart? I honestly don't know that I’m more "apart" from other writers of my generation. Landscape plays a large role in what I write, but that's true of many other writers. My stuff is set in the south, but that's true of others as well. I don't know, honestly.

Q: As a professor of English, what is one piece of advice that you would share with aspiring writers?

Franklin: Read, starting with the classics. Read all the time. If you don't read, you won't ever be a writer. Also, write. This seems obvious, but it's amazing how many "writers" don't write very much.

In the 1970s, Larry Ott and Silas "32" Jones were boyhood pals in a small town in rural Mississippi. Their worlds were as different as night and day: Larry was the child of lower-middle-class white parents, and Silas, the son of a poor, black single mother. But then Larry took a girl to a drive-in movie and she was never seen or heard from again. He never confessed . . . and was never charged.

More than twenty years have passed. Larry lives a solitary, shunned existence, never able to rise above the whispers of suspicion. Silas has become the town constable. And now another girl has disappeared, forcing two men who once called each other "friend" to confront a past they've buried for decades.