overlaylink

Interview with Martin Shannon, author of "The Last Sunrise"

October 26, 2022 | 6 min read

Today, we're speaking with Martin (Marty) Shannon, author of the new book "The Last Sunrise".  This interview was conducted via email and minimally edited for clarity or brevity. 

 

Hey Marty, it's nice to talk with you again.  For our readers, let's start at the beginning.  When did you realize you wanted to be a writer and how did you get into it?

That’s a great question. I’d say I’ve wanted to do it pretty much my entire life. In my high school years I was the kid telling really terrible (but well-meaning) fantasy stories to his role-playing game group. It really wasn’t until computers became commonplace that I started putting those same stories into word processors. Luckily for me, those stories are long gone, but there’s still a lot of the young man who wrote them living in my head. He likes telling stories and I don’t think I could get him to stop even if I wanted to. 

     

    Tell us about your writing setup.  Where do you write?  

    I’m a firm believer in having a nice desk. Mine came from reclaimed barn wood and looks like something from a Viking’s mead hall. Perhaps Valhalla will call and say they’re missing a table? I like to keep my desk pretty spartan. I have a 3d printed skull on it that carries my headphones and reminds me that life is short, plus a small notebook for offhand ideas, but beyond that (and my Freewrites) I keep a pretty clean setup.

       

      We've talked before so I know the answer to this question, but how often do you write?

      There’s an old quote, I think it was Bradbury who said it, but I’m not sure. I’m probably butchering it here, but it goes something like this:  

      “I only write when I’m inspired. I just make damn sure I’m inspired every day at nine am.”

      That’s pretty much how I live. I’m a huge fan of daily writing. I’m up before dawn every day, sitting at the viking desk and punching out words (1500-3000) before the sun peeks over the horizon. Do I always love it? No. Do I always produce perfect prose? Hardly. But do I always have something when I’m done? Yes. You can’t revise what you don’t have. Having something, even something that isn’t your best work, is always worth more than the promise of future writing, no matter how well-intentioned.

      That’s the process I used to write a million words during the pandemic.

       

      How long on average does it take you to write a book?

      Good question, that sort of depends on what sort of book I’m doing. Some of my books are more serialized fiction, which has a tendency to go on a lot longer than any normal novel. Still, I would say most of my novels (70k words or so) are done within a month. That’s the initial draft and first pass of revisions. I tend to like to stick them in the virtual drawer after that and then come back to them later, maybe the following month, with fresh eyes and fix up whatever is left before sending them off to the proofreader.

         

        You mentioned that you drafted over one million words during the pandemic.  First, congratulations and way to find a silver lining during quarantine. But second, how did you do that?

        It’s not easy to break a million words, but there’s a process to it for sure. Prior to discovering the Freewrite, I was a big proponent of word processors. First, having no distractions is key. Second, the “write forward” architecture is very important to staying on track. See, as an author, we’re also editors at heart. We have these little voices in our head that are always reading the prior few lines, and offering to tweak them. They say such helpful things:

        “Hmm, that’s not very good.”
        “You should delete that before someone sees it.”
        “Gah! You didn’t just write that, did you?”

        These voices function under the guise of assisting you, but they really aren’t. They’re just slowing you down. Sure, they want you to create things you can be proud of, but they don’t understand that you have to be free to create before you can do that. 

        Creation is messy.

        That’s what “writing forward” lets you do, be messy.

        Since the Freewrite doesn't make it easy to go back, you tend to be able to quiet those voices pretty quickly. Simply put, they are just as impatient as you would imagine them to be, and don’t like being forced to backspace to edit.

        You’ll find you can produce a lot of words when all you have is a backspace key.  Yes, it takes a while to train your brain (and your fingers) but with consistent practice, you’ll get there. I have yet to meet a single writer I’ve taken down this process who hasn’t come away with far higher daily word counts.

        And that’s what matters when it comes to making books. You’ve got to have words. 

         

        Haha, well put.  So, tell us about your new book!  What’s the story?

        My latest book, The Last Sunrise, was written during the million word pandemic and is a thrilling, revenge-fueled vampire story. It’s a gritty and violent narrative that takes the reader inside the mind of Mallory Evers, recently turned vampire and unreliable narrator. You’ll find yourself rooting both for and against her throughout this twisty tale. It takes place in the backwoods of Florida, with scrub pines and saw palmetto, a place both unique and very much hostile to creatures of the night. 


        What themes are you exploring in the work?

        Mallory is an unreliable narrator. Her memories aren’t what she thinks they are. My goal in using that structure was to expose the reader to the many shades of gray that represent humanity. I wanted to dig into the troubling veins of hate and anger, however well-intentioned, as well as the self-perpetuating nature of those emotions. In fact, I’ve been exploring these themes with a number of my recent books. That’s sort of what authors tend to do, we see something in the human experience that we don’t quite understand, then we throw ourselves headlong into it, and just like Mallory, sometimes we come out a little bloodied for the effort.

         

        I know you’ve jumped feet-first into the Kindle Vella world.  What do you like about the space and how are you adjusting your writing or process to it?

        Kindle Vella is an interesting animal. Amazon created the serial fiction service a year or so ago and I decided to give it a spin. I write fast and follow a framework, so it was pretty easy to generate lots of content for the platform quickly. It’s not a perfect place, but the barriers to entry are low and it’s fun to be forced to think on your feet and keep the story fresh day after day.

         

        How do you stay connected to the writing community?

        I can’t say I’m great with social media, but I’ve got a wonderful group of people I’ve met through #WritingCommunity on Twitter. It’s a nice little bubble of highly motivated crazies that get up early and put fingers to keys. Well worth checking out if you are getting into all of this. If you do, please drop me a line and say hello! @talesofweirdfl.

         

        Besides your own work, who would you love to shoutout?  

        I can’t drop off without mentioning my friend Devin McCamey. Devin runs a horror short/serial podcast with amazing voice actors and very interesting content. Mortis Maledictum is his baby and I’m immensely pleased to say I got a chance to write an episode for it last year. It was uniquely satisfying to hear actors play out my short story. I give him grief for all this audio stuff, but it’s good-natured and comes from a deep seated place of jealousy. I am nothing but humbled by people who can take written words and turn them into living, breathing dramas. Be sure to check it out wherever you get your podcasts.

         

        Thank you, Marty.  Always a pleasure to talk with you.

        Certainly! Thank you for reaching out and for taking the time to speak with me. I love where you guys are headed and cannot wait to see what comes next.

         

        More about Martin Shannon (martin-shannon.com)

        Martin (“Marty”) Shannon is a multi-million word author of thrilling horror and speculative fiction. He makes his home with his loving family in the creepy part of our nation’s weirdest state, where he remains a lover of all things dark and spooky. 

        Marty does his best writing in the pre-dawn hours, when it’s just him and Jack, his golden retriever whose intestinal clock plays an important role in *why* Marty’s up before the sun.

        Marty loves to write fast-paced fiction, stories that make you want to stay up far too late to find out the answer to that most compelling of questions: 

        “And *then* what happened?”

        You can find Marty on Twitter @talesofweirdfl as well as hanging out on his back porch, banjo in one hand and word processor in the other.

         

        The Last Sunrise, available on Amazon now.  

        The Last Sunrise Book Cover

         

         

        December 30, 2025 3 min read

        It’s Freewrite’s favorite time of year. When dictionaries around the world examine language use of the previous year and select a “Word of the Year.”

        Of course, there are many different dictionaries in use in the English language, and they all have different ideas about what word was the most influential or saw the most growth in the previous year. They individually review new slang and culturally relevant vocabulary, examine spikes or dips in usage, and pour over internet trend data.

        Let’s see what some of the biggest dictionaries decided for 2025. And read to the end for a chance to submit your own Word of the Year — and win a Freewrite gift card.

        [SUBMIT YOUR WORD OF THE YEAR]


        Merriam-Webster: "slop"

        Merriam-Webster chose "slop" as its Word of the Year for 2025 to describe "all that stuff dumped on our screens, captured in just four letters."

        The dictionary lists "absurd videos, off-kilter advertising images, cheesy propaganda, fake news that looks pretty real, junky AI-written books, 'workslop' reports that waste coworkers’ time … and lots of talking cats" as examples of slop.

        The original sense of the word "slop" from the 1700s was “soft mud” and eventually evolved to mean "food waste" and "rubbish." 2025 linked the term to AI, and the rest is history.

        Honorable mentions: conclave, gerrymander, touch grass, performative, tariff, 67.

        Dictionary.com: "67"

        The team at Dictionary.com likes to pick a word that serves as “a linguistic time capsule, reflecting social trends and global events that defined the year.”

        For 2025, they decided that “word” was actually a number. Or two numbers, to be exact.

        If you’re an old, like me, and don’t know many school-age children, you may not have heard “67” in use. (Note that this is not “sixty-seven,” but “six, seven.”)

        Dictionary.com claims the origin of “67” is a song called “Doot Doot (6 7)” by Skrilla, quickly made infamous by viral TikTok videos, most notably featuring a child who will for the rest of his life be known as the “6-7 Kid.” But according to my nine-year-old cousin, the origins of something so mystical can’t ever truly be known.

        (My third grade expert also demonstrated the accompanying signature hand gesture, where you place both hands palms up and alternately move up and down.)

        And if you happen to find yourself in a fourth-grade classroom, watch your mouth, because there’s a good chance this term has been banned for the teacher’s sanity.

        Annoyed yet? Don’t be. As Dictionary.com points out, 6-7 is a rather delightful example at how fast language can develop as a new generation joins the conversation.

        Dictionary.com honorable mentions: agentic, aura farming, broligarchy, clanker, Gen Z stare, kiss cam, overtourism, tariff, tradwife.

        Oxford Dictionary: "rage bait"

        With input from more than 30,000 users and expert analysis, Oxford Dictionary chose "rage bait" for their word of the year.

        Specifically, the dictionary pointed to 2025’s news cycle, online manipulation tactics, and growing awareness of where we spend our time and attention online.

        While closely paralleling its etymological cousin "clickbait," rage bait more specifically denotes content that evokes anger, discord, or polarization.

        Oxford's experts report that use of the term has tripled in the last 12 months.

        Oxford Dictionary's honorable mentions:aura farming, biohack.

        Cambridge Dictionary: "parasocial"

        The Cambridge Dictionary examined a sustained trend of increased searches to choose "parasocial" as its Word of the Year.

        Believe it or not, this term was coined by sociologists in 1956, combining “social” with the Greek-derived prefix para-, which in this case means “similar to or parallel to, but separate from.”

        But interest in and use of the term exploded this year, finally moving from a mainly academic context to the mainstream.

        Cambridge Dictionary's honorable mentions: slop, delulu, skibidi, tradwife

        Freewrite: TBD

        This year, the Freewrite Fam is picking our own Word of the Year.

        Click below to submit what you think the Word of 2025 should be, and we'll pick one submission to receive a Freewrite gift card.

        [SUBMIT HERE] 

        --

        Sources

        December 18, 2025 7 min read

        What can Jane Austen's personal letters teach writers of today?

        December 10, 2025 6 min read

        Singer-songwriter Abner James finds his creativity in the quiet freedom of analog tools. Learn how his creative process transcends different media.

        Abner James went to school for film directing. But the success of the band he and his brother formed together, Eighty Ninety, knocked him onto a different trajectory.

        The band has accrued more than 40 million streams since the release of their debut EP “Elizabeth," and their work was even co-signed by Taylor Swift when the singer added Eighty Ninety to her playlist "Songs Taylor Loves.”

        Now, Abner is returning to long-form writing in addition to songwriting, and with a change in media comes an examination of the creative process. We sat down to chat about what's the same — and what's different. 

        ANNIE COSBY: Tell us about your songwriting process.

        ABNER JAMES: The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off.

        And one of the things that occurred to me when I was traveling, actually, was that I would love to be able to do that but from a writing perspective. What would happen if I sat down and approached writing in the same way that I approached music? In a more intuitive and free-form kind of way? What would that dig up?

        AC: That's basically the ethos of Freewrite.

        AJ: Yes. We had just put out a record, and I was thinking about how to get into writing for the next one. It occurred to me that regardless of how I started, I always finished on a screen. And I wondered: what's the acoustic guitar version of writing?

        Where there's not blue light hitting me in the face. Even if I'm using my Notes app, it's the same thing. It really gets me into a different mindset.

         "I wondered: what's the acoustic guitar version of writing?"

        I grew up playing piano. That was my first instrument. And I found an old typewriter at a thrift store, and I love it. It actually reminded me a lot of playing piano, the kind of physical, the feeling of it. And it was really fun, but pretty impractical, especially because I travel a fair amount.

        And so I wondered, is there such a thing as a digital typewriter? And I googled it, and I found Freewrite.

        AC: What about Freewrite helps you write?

        AJ:I think, pragmatically, just the E Ink screen is a huge deal, because it doesn't exhaust me in the same way. And the idea of having a tool specifically set aside for the process is appealing in an aesthetic way but also a mental-emotional way. When it comes out, it's kind of like ... It's like having an office you work out of. It's just for that.

        "The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off."

        And all of the pragmatic limitations — like you're not getting texts on it, and you're not doing all that stuff on the internet — that's really helpful, too. But just having the mindset....

        When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing. I find that to be really cool and inspiring.

        "When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing."

        AC: So mentally it gets you ready for writing.

        AJ: Yeah, and also, when you write a Microsoft Word, it looks so finished that it's hard to keep going. If every time I strummed a chord, I was hearing it back, mixed and mastered and produced...?

        It's hard to stay in that space when I'm seeing it fully written out and formatted in, like, Times New Roman, looking all seriously back at me.

        AC: I get that. I have terrible instincts to edit stuff over and over again and never finish a story.

        AJ:  Also, the way you just open it and it's ready to go. So you don't have the stages of the computer turning on, that kind of puts this pressure, this tension on.

        It's working at the edges in all these different ways that on their own could feel a little bit like it's not really necessary. All these amorphous things where you could look at it and be like, well, I don't really need any of those. But they add up to a critical mass that actually is significant.

        And sometimes, if I want to bring it on a plane, I've found it's replaced reading for me. Rather than pick up a book or bring a book on the plane, I bring Traveler and just kind of hang out in that space and see if anything comes up.

        I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise. I've found that writing from words towards music, I get different kinds of songs than I have in the past, which has been interesting.

        In that way, like sitting at a piano, you just write differently than you do on a guitar, or even a bass, because of the things those instruments tend to encourage or that they can do.

        It feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me.

        "I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise... [Traveler] feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me."

        AC: As someone who doesn't know the first thing about writing music, that's fascinating. It's all magic to me.

        AJ: Yeah.

        AC: What else are you interested in writing?

        AJ: I went to school for film directing. That was kind of what I thought I was going to do. And then my brother and I started the band and that kind of happened first and knocked me onto a different track for a little while after college.

        Growing up, though, writing was my way into everything. In directing, I wanted to be in control of the thing that I wrote. And in music, it was the same — the songwriting really feels like it came from that same place. And then the idea of writing longer form, like fiction, almost feels just like the next step from song to EP to album to novel.

        For whatever reason, that started feeling like a challenge that would be deeply related to the kinds of work that we do in the studio.

        AC: Do you have any advice for aspiring songwriters?

        AJ: This sounds like a cliche, but it's totally true: whatever success that I've had as a songwriter — judge that for yourself — but whatever success I have had, has been directly proportional to just writing the song that I wanted to hear.

        What I mean by that is, even if you're being coldly, cynically, late-stage capitalist about it, it's by far the most success I've had. The good news is that you don't have to choose. And in fact, when you start making those little compromises, or even begin to inch in that direction, it just doesn't work. So you can forget about it.

        Just make music you want to hear. And that will be the music that resonates with most people.

        I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake. They're not real. None of those people are actually real people. You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one.

        And I just don't think that we're that different, in the end. So that would be my advice.

        AC: That seems like generally great creative advice. Because fiction writers talk about that too, right? Do you write to market or do you write the book you want to read. Same thing. And that imaginary focus group has been debilitating for me. I have to silence that focus group before I can write.

        AJ: Absolutely.

        "I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake... You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one."

        --

        Learn more about Abner James, his brother, and their band, Eighty Ninety, on Instagram.