More From This
Author
Other Works
The Sinking of Angie Piper
The Broken Pines
Of Woodland Textures and Charnel Delights
Works in Progress
Went Missing
Wild Men
Novel: The Sound of the Future
Release Date: Sept 30th, 2024
Available for Preorder, or add it to your wishlist!
About the Author:Christian Riley lives near Sacramento, California, vowing one day to move back to the Pacific Northwest. He is the author of over 100 short stories and essays, published in various magazines and genres. In the realm of long fiction, he has written two literary suspense novels, THE SINKING OF THE ANGIE PIPER and THE BROKEN PINES, and two thriller novels, titled WENT MISSING and WILD MEN (forthcoming). His debut short story collection featuring gothic tales and dark fiction, titled OF WOODLAND TEXTURES AND CHARNEL DELIGHTS, was recently published with Incunabula Media. Like many authors, his endeavors in writing add a steady nuance of loneliness to his life. As such, he is more than eager to hear from his readers. Reach him at www.chrisrileyauthor.com.
In this exclusive interview, we dive into the mind of C.H. Riley, the author of The Sound of the Future. Drawing from personal experiences as a Special Education teacher and musician, Riley brings authenticity and depth to characters like Olivia, a young girl with autism, and Frank, a metal-loving father battling societal collapse. We explore the inspiration behind the novel’s dystopian themes, Riley’s unique creative process, and the profound influences of both real-life struggles and literary giants like Dan Simmons and John Steinbeck.
Literary Roots: Influences and Inspirations
How did your personal experiences or interests influence the themes and characters in the book?
There was a lot in the book that came straight from my own life, but for simplicity sake, I’ll cite the two most prevalent ones. For starters, Olivia’s character (a young girl with autism) is a page from my career as a Special Education teacher. I’ve worked with many students with autism, so during the writing of the scenes involving Olivia, I felt comfortable with how I wanted to portray her.
Alcohol and heavy metal music were key elements in Frank’s life. As an avid musician who cut my teeth playing drums to songs from heavy metal bands, I guess it’s safe to say the music aspect of Frank’s character was entirely relatable. Eventually, I went to college and studied music, which is where other genres such as classical and jazz made an impact on me.
As for Frank’s relationship with alcohol, to this day, I’ve never been drunk. Alcoholism runs deep on both sides of my family, and there’s a lot of childhood trauma I still deal with because of that. However, I spent my younger years as designated driver for my good friends, which probably saved some lives, but also allowed me to experience that substance in a more positive perspective. Although it’s no “party” hanging out with drunks when you’re the only sober person in the place, it sure beats finding out your buddy didn’t make it home.
Can you discuss the research or creative process that went into constructing the world and its rules?
Let me preface by saying in Dan Simmons’s novel Flashback, he mentioned in his introduction that every horror writer will eventually pen a dystopian novel. Being a big fan of his works, I suppose I felt obliged to maintain that prophecy from the get go. The Sound of the Future began as a short story I wrote, titled “White Noise”, which was published in 2015, (Phobos Magazine, #3). I knew I wanted to write a longer version of that story, but the inspiration really hit me after reading NOD, by Adrian Barnes. That novel was instrumental in my research, because my struggle with The Sound of the Future was the portrayal of the catastrophic breakdown in society, as well as the timeline on how that happened. Adrian Barnes did an excellent job with similar details in NOD; (he was truly a fantastic writer, who passed away much too soon).
The Sound of the Future takes place in our present day world, so there were no special rules I had to deal with. What was unique, of course, were the atmospheric sounds, and their impact on humans. I won’t spoil the story by going into the details on my premise for this (Olivia does a good enough job in the book’s epilogue), but I will say that I intentionally left some questions unanswered regarding this phenomenal aspect in the novel, as well as its impact on society. For this, you can blame the influence that cosmic horror has had on me.
What are your thoughts on the impact of societal changes on individual identities, as shown in Frank’s journey?
What I really wanted to see in Frank’s character, especially in the beginning of the novel, was an amalgamation of a handful of metal-head stoners I’ve known throughout my life, particularly from my years. I envisioned a carefree spirit with just a few nagging concerns (having to make rent, scrounge up cash for beer and weed, cook a frozen pizza without burning it, or, in Frank’s case, how to take care of his severely disabled daughter). Also, I wanted his character not to be burdened with an overactive imagination—and I think that became the clinch pin for his overall development, as it allowed for a more genuine and primal reactions to the disturbing changes he encounters throughout the story.
Do you have a writing routine or ritual that helps you stay focused and inspired while working on a novel?
Best time to write for me is in the early morning. I’ve been doing this for over ten years, and it’s what’s been most consistent. Of course, I’ll write all times of the day, especially on weekends, and when I’m deep into a novel. But the small hours are where I get my best work done. Another detail about my writing routine is that I don’t outline my stories, as other writers do. I like to have some ideas in place, particularly an ending, but for the most part, my writing process is somewhat organic. As for rituals, I’d say I have two: coffee being the first, and second, while working on a manuscript, I read a lot of material within the same genre, just to stay in the zone so to speak.
Which other authors or works have had a significant influence on your writing style or thematic approaches?
I consider myself as an enthusiastic eclectic when it comes to literature. I read from a variety of genres, and have favorite authors that are just as diverse in their storytelling. For example, I’ve read almost all of Louis L’Amour’s books, and you can see his influence on me in my thriller books Went Missing, and Wild Men (forthcoming). That being said, my go-to for thriller novels is Stephen Hunter. My absolute favorite writer is John Steinbeck, and I’ve been told that his influence is quite visible in my first novel, The Sinking of the Angie Piper. I am a prolific reader of horror and weird tales, of course. In this genre, some of my favorites are Dan Simmons, H.P. Lovecraft, Joe Hill, Robert Shearman, Nathan Ballingrud, and William Browning Spencer.
Thank you to C.H. Riley for sharing their insights and personal experiences behind The Sound of the Future. It’s clear that the blend of real-life influences, music, and cosmic horror has created a story that’s as thought-provoking as it is chilling. We can’t wait to see what Riley brings to readers next!
