Interview with the Publisher

1. What was the original spark for Creatures of Habit? Was it a character, a situation, or a question you could not shake?

I would say it was a question or an idea that I couldn’t shake. That said, the process of creating Creatures of Habit was one that matured slowly. After graduating from the University of Miami, I really wanted to explore the cyclical nature of human beings and how we tend to revert to past behaviors. This idea lingered throughout the years, slowly piecing together until I finally decided that I was ready to write something of this magnitude.

2. The novel unfolds over just about a month in the narration, with the journals brining in the past. What drew you to that compressed timeline, and how did it shape the tension?

I attempted to follow a very naturalistic approach, exploring the inherent feelings that would arise before, during, and after the inciting incident of the story. After that, the goal was to follow a causality that felt realistic to the parameters created. While the story is by and large limited, my knowledge of each character really shaped how the story would unfold.

3. Yovanni is both devoted and deeply flawed. How did you balance empathy for him with accountability for his choices?

To find empathy for Yovanni came very naturally to me as his character was deeply informed by a multitude of people I grew up with. In that sense, the exploration of this character often felt like a conversation being had. I could always appreciate his point of view and understand where he was coming from, but I could never agree completely nor condone his actions.

4. The book explores loyalty, temptation, and identity. Which of those themes felt most personal to you while writing?

I don’t know if it was the most personal, but temptation was certainly the more interesting aspect to explore. My natural curiosity for the cyclical tendencies of humans went hand in hand with temptation. Throughout the novel, we can see how Yovanni is tempted to revert to the familiar comforts and habits of his youth whenever facing hardships in his adult life.

5. How do you approach writing morally complex characters without turning them into villains or heroes?

I always teach my students to begin with character motivations. Examine the character’s present day, then work backward to understand their backstory. We start by asking, “What do they want?” Afterward, we explore why they want it and how they got there. We begin to capture a character’s sense of self only after examining their upbringing, which ultimately informs the decisions that shape the trajectory of the plot. As the narrative progresses, deeper layers of the character are revealed, prompting a reassessment of our initial assumptions.

6. Miami feels like more than a backdrop. How consciously do you weave setting into your character development?

I have often told my students that setting should function as a character in its own right, one with a vested interest in the unfolding of the plot. In this novel, I sought to render Miami as layered, complex, and nuanced as any other character. One advantage of incorporating Yovanni’s journal entries was the opportunity to explore the diverse communities and neighborhoods of South Florida through the perspective of someone who grew up as he did.

7. You write about “quiet, in-between moments.” What makes those moments so powerful to you as a storyteller?

The quiet, in-between moments, when the story is not propelling forward, are often where we truly come to understand a character. It is in these pauses, when they have space to think and reflect, that we see who they are rather than merely how they react to external events. In those moments, their decision-making process becomes visible, as does the tension between their inner selves and their environment.

8. What does your drafting process look like? Are you a planner, a discovery writer, or something in between?

I would definitely categorize myself as something in between. While I typically have an outline of how the story will unfold at the start, I try to keep it flexible enough to allow the character to take over. It’s very possible to finish with a product different than what you envisioned from the beginning. In fact, I’d argue that it’d be disappointing if it didn’t.

9. How do you know when a story is finished, especially one so emotionally charged?

With this particular story, I knew I wanted a traditional falling action and denouement. I didn’t always know what it would be like as I went through the process, but I had enough faith that the end would inevitably reveal itself as true and singular.

10. What did writing this novel teach you about yourself?

Writing this novel compelled me to examine my own life and the decisions I make each day. It reminded me that our futures are not determined solely by our upbringing or environment. They are also shaped by the seemingly small choices we make daily. I hope the novel offers readers a similarly reflective experience, one that invites meaningful introspection, just as it did for me.

This is just a preview—read the full interview here: https://authorselectric.blogspot.com/

If you’re interested in editing, publishing, or similar services, visit https://currentwords.com/. I highly recommend them!

---

---