{"id":36132,"date":"2020-05-16T05:44:00","date_gmt":"2020-05-16T03:44:00","guid":{"rendered":"https:\/\/the-slovenia.com\/?p=36132"},"modified":"2020-05-13T07:55:35","modified_gmt":"2020-05-13T05:55:35","slug":"top-slovenia-interview-noah-charney","status":"publish","type":"post","link":"https:\/\/the-slovenia.com\/en\/lifestyle\/top-slovenia-interview-noah-charney\/","title":{"rendered":"TOP Slovenia Interview: NOAH CHARNEY"},"content":{"rendered":"

Noah Charney is an amazing American art historian, novelist, and is the founder of the Association for Research into Crimes against Art<\/strong>, who lives in Slovenia<\/strong>.<\/h2>

We recently had the opportunity to conduct an interview with one of our own authors that is Noah Charney. <\/strong><\/h2>

What inspired you to start writing?<\/strong><\/p>

I always enjoyed writing, as a student, but I got the idea to focus my career on it when I was interested in writing plays in college. I actually got a playwrighting agent in London before anything else, but she said \u201cLook, if you want a career as a writer, your best bet is to write a novel. Have you got one?\u201d \u201cNo,\u201d I replied, \u201cbut I\u2019ll go and write one.\u201d I wound up writing The Art Thief<\/em>, my first book and only published novel (I\u2019ve published more than a dozen books, but all the others are non-fiction). I was very lucky and it became an international best-seller, translated into fourteen languages and a best-seller in five countries. It took me awhile to get good at non-fiction and articles, but I long ago passed the 10,000 hour mark that has been postulated as the amount of practice that leads to mastery. Now I can \u201chammer it out\u201d as they say and my writing, especially of non-fiction and articles, feels automatic and at a sufficiently high level.<\/p>

Have you always dreamed of becoming a writer or a published author?<\/strong><\/p>

I didn\u2019t really know what I wanted to \u201cbe.\u201d I thought of being a playwright, or an art history professor. Being a professor is a good gig but there\u2019s a lot of admin and I was never interested in academic writing. I get most excited about big ideas and sharing them with the broadest possible audience. So when I got to be something of a public figure (in a modest and non-celebrity way, but having a regular public platform to get ideas out, in books and TV and articles) it seemed like a good thing to do for work. Writing is fun and satisfying, both the process and the end result. So it was a good option for someone like me who wasn\u2019t exactly sure what he wanted to do for work, but who wished to avoid working for someone in the traditional sense.<\/p>

At what age did you start writing?\u00a0<\/strong><\/p>

I was writing even as a kid. I wrote a children\u2019s adventure fantasy story called \u201cZen-la\u201d when I was around ten (with illustrations!) I\u2019d written 11 plays or so before I finished college, and had even won a national playwrighting award (New Horizons South Young Playwrights Award). I wrote The Art Thief <\/em>in 2002-2004, that period, when I was a postgraduate student in England. The novel came out in 2007, but I only started to feel like a \u201cwriter\u201d around 2010, when I published a trade non-fiction book, Stealing the Mystic Lamb: The True Story of the World\u2019s Most Coveted Masterpiece <\/em>and began writing regularly for magazines.<\/p>

Who is your biggest inspiration or what authors, writers have you looked up to?\u00a0<\/strong><\/p>

There were two inspirations for The Art Thief<\/em>. One was The Da Vinci Code<\/em>, which was great fun and sold crazily well, but which was also annoying for scholars like me. It is brimming with mistakes and historical inaccuracies that misled its millions of readers. But I analyzed it carefully and I still use it to teach formatting books. So I wanted to write something that had similar appeal and drive to read it, a real page-turner, but which had proper scholarship and was informative. Around the same time, the remake of The Thomas Crown Affair <\/em>came out, coinciding with my scholarly interest in art crime. So I got the idea to make a novel that would go behind-the-scenes of the art world, in which I had experience, and follow the path of a pair of stolen paintings. Prior to that I\u2019d been focused on plays, and I had a sort of mentor in the award-winning playwright, Arthur Kopit, whose son was a friend of mine. He got me into The Dramatist\u2019s Guild of America when I was still a teenager and was very encouraging.<\/p>

What is your favorite book?<\/strong><\/p>

I\u2019m supposed to say Ulysses<\/em>, right? I\u2019m not sure I have a favorite, but I have an answer. There are two books that I assign when I teach writing, two books that, from an author\u2019s perspective, are \u201cperfect\u201d in their pace, writing, everything. One is The Russia House <\/em>by John Le Carre. It\u2019s a spy novel and it is so perfectly written that there\u2019s not a comma out of place. The other is trade non-fiction, a true story called The Tiger <\/em>by John Vaillant. Both are the Platonic ideal of their genres and are good teaching tools, and I\u2019ve read them both more than once, which is a big compliment for a book.<\/p>

What authors did you dislike at first but grew into?<\/strong><\/p>

I have limited tolerance for writing that tries too hard to be artsy, floral, literary. I find it pretentious. I don\u2019t want to have to work to figure out what is happening or what the author is trying to say. The ideas can be complex, but their presentation should not. I\u2019m not sure there\u2019s any author I grew into, though the question is a very good one. I feel like life is short and there are a heck of a lot of books out there that I won\u2019t have time to read. I started some Dostoevsky and just couldn\u2019t get into it, for instance. But I feel like I should, and I\u2019m not sure if that\u2019s intellectual peer pressure or what.<\/p>

What\u2019s your favorite under-appreciated novel?<\/strong><\/p>

I think there\u2019s a prejudice towards \u201cimportant\u201d books but any book can be important, and we don\u2019t need portentous writing or subject matter to make it so. I think my friend Miha Mazzini\u2019s The Cartier Project <\/em>is amazing and powerful and should get more attention. Here\u2019s a weird answer\u2014during Corona Time I\u2019ve gotten into reading cookbooks. I sometimes actually cook from them, too, but I like text-heavy cookbooks. And my favorite cookbook of the moment, which I actually reread because it quite literally makes me laugh out loud, is Lucky Peach\u2019s 101 Easy Asian Recipes, <\/em>with text by Peter Meehan. Now we often say something we read makes us laugh out loud, but does it really? Maybe it produces a smile or a smirk, and that\u2019s pretty good for a text. This cookbook actually made me laugh out loud many times, and I was barely able to read passages to my wife because I kept cracking up.<\/p>

If you didn\u2019t write, what would you do for work?<\/strong><\/p>

I think Plan B was always to be a traditional art history professor, probably in the US, where they have ridiculous vacations (around four months a year) and often make six-figure salaries. Not bad. I also was in a punk band in college and so I\u2019d be a rock star as Plan C\u2026<\/p>

How many hours a day do you write?<\/strong><\/p>

This is a great series of questions, and they remind me of an interview series I did in The Daily Beast <\/em>for many years, called \u201cHow I Write.\u201d Each week I interviewed a different author, many super famous (like Maya Angelou). The vast majority say that their goal is to write 1000 words a day. For me, I do work around 6 hours a day, now that I have young children. I put in many more hours before that, but I\u2019m more productive in less time now than I was then.<\/p>

What is your writing process like? Do you need a lot of coffee, prefer to write during the night or \u2026?\u00a0<\/strong><\/p>

As a parent, the luxury of weird processes disappears. When I interviewed best-selling crime novelist Michael Connelly, he said he has a man cave with blackout curtains and a restaurant-sized, industrial ice tea machine. He has no clocks, no outside light, no sense of time, and a steady drip of sweet iced tea. Sounds cool, but I can\u2019t do that. In \u201cnormal time\u201d my daughters are at kindergarten and school from 8-330, and so that\u2019s my work time, and I try not to work after that (though sometimes I have to). I do a lot of editing and ghostwriting, and that comes with deadlines, so occasionally I\u2019ll need to work in the evening. During Corona time, I\u2019ve been waking at 730 and working until around 5 pm\u2014more than normal, as it seems like everyone wants to get their writing done during the quarantine.<\/p>

What kind of research do you do, and how long do you spend researching before beginning a book?<\/strong><\/p>

This depends on the type of book or article. Sometimes I already know what I want to say, and that makes it quick and easy. The books of mine that tell a lot of shorter stories within an overarching concept are easiest. The Art of Forgery tells the history of forgery through sixty case studies. Each one is told in around 1500 words, so I didn\u2019t need to go into absolute depth for anyone of them, for example. The hardest to research are like my\u00a0Collector of Lives: Giorgio Vasari and the Invention of Art\u00a0<\/em>which is the complete, in-depth story of a man (Giorgio Vasari, a Renaissance artist who established art history and the parameters of how we think of art today) and his legacy. That requires my becoming a world expert in a super-specific thing, and that takes time. But that\u2019s my book that was a Pulitzer finalist in biography in 2017, so that type of book tends to get more lauds.<\/p>

Have you ever gotten writer’s block? What helps you get out of it?\u00a0<\/strong><\/p>

Never. I don\u2019t think it really exists. You can have trouble figuring out where you want to go with a novel, but I mostly write non-fiction. The stories already happened, I just have to present them and interpret them and pull out ideas and lessons from them. I also write by first doing a complete, thorough outline, even when writing fiction or scripts (I wrote some scripts for HBO with Branko Djuric), so I always know what needs to happen next. If you get stuck you just stop and do something else\u2014take a walk, go on a run. Running especially helps. Make sure you go without music, no listening to podcasts or anything, and on your own. Jasmina Praprotnik, the Slovenian running guru, taught me that. It\u2019s good for you to get a bit bored as we do when running without entertainment. Then your mind gets to work to make you less bored and you come up with ingenious new ideas.<\/p>

How long did it take you to write the book?\u00a0<\/strong><\/p>

I am extremely fast. I hear this all the time from colleagues, collaborators, editors, etc. I\u2019ve gotten so I can write a good article of around 1200 words in about two hours. Then I stop, do something else, and do an edit for another hour. Then I\u2019m often done. So a book is around 80,000 words, so we might be talking about 80 days or so, if I don\u2019t have too much research to do (which you can\u2019t rush\u2014I\u2019m talking about the actual writing once you know what you\u2019re going to say). That\u2019s if I were doing one project at a time, but I always have many bouncing around at once, with various deadlines.<\/p>

How did publishing your first book change your process of writing?<\/strong><\/p>

Oh man, it\u2019s a great feeling. I remember I was teaching in Florence when I got the first box of The Art Thief <\/em>and I instructed my wife to pour out the box of books in a pile upon me. I also had one of those rare almost overnight 15 minutes of fame situations. First there was the publicity for the book, and then, unrelated and at almost the same time, a New York Times Magazine <\/em>article came out (December 2007) about my academic work, essentially saying that I had founded the study of art crime at age 27. It\u2019s hard to explain how such media coverage shifts your life\u2019s gears. I was suddenly able to write future books without an elaborate approval process, and I was getting all sorts of offers. It meant a sort of freedom, but it also meant that I was a \u201cwriter.\u201d That freed me also be write full-time.<\/p>

How does it feel once your book gets published? Is there a huge level of excitement to see the book come alive?\u00a0<\/strong><\/p>

Yes, it is hugely exciting, and even my twelfth was right up there in excitement. It feels tangible (having an eBook come out only wouldn\u2019t be the same thing). It feels like a legacy (each book is in the Library of Congress forever, even if it does not have an indefinite print run).<\/p>

Did you ever consider writing under a pseudonym?<\/strong><\/p>

I do some ghostwriting, which is similar. In ghostwriting I help an author write the book, or sometimes write every word of it, and I am not credited, nor am I allowed to say which books I\u2019ve ghostwritten. I get a flat fee and the author gets 100% credit, with the world thinking they wrote the book. This is quite common, particularly when an non-writer (like a celebrity, an actor, an athlete) publishes a book. The reason to write under a pseudonym is if you want to branch out. I have an established reputation as a best-selling author of non-fiction books related to art and culture. That\u2019s cool, but I\u2019m no longer considered a novelist (eleven non-fiction books and one novel). I\u2019d like to start writing for children, now that I have my own, and that is already considered a stretch by my agent, who thinks it\u2019s wisest to keep in the successful track and not veer off of it.<\/p>

This is one of the reasons why I\u2019m about to launch a homemade, limited-edition Kickstarter book project. Now that I\u2019m a father I want to write a book on parenting, but it would take some convincing to get big publishers, who want my art books, to take on a parenting book. It would also take too long\u2014not only is the publishing industry on hold at the moment, but they plan books 1-2 years in advance, so it would be at least a year before my parenting book would come out with a publishing house. So I\u2019ll be publishing it myself exclusively for Kickstarter backers. The book will be called Superpower Your Kids: A Professor\u2019s Guide to Teaching Your Kids Everything in Just 15 Minutes a Day. <\/em>It will also have a companion smartphone app through which you can keep track of what you do and learn with your kids. If folks are interested, they can see a preview of the campaign here<\/a> (the link will transform into the actual campaign page when it\u2019s on). I\u2019ve also just started Instagram<\/a> and Facebook<\/a> pages for this parenting avenue of mine.<\/p>

How many unpublished and half-finished books do you have?<\/strong><\/p>

It\u2019s a fair question for people unfamiliar with the publishing industry. Unpublished or unfinished non-fiction books basically do not exist for established writers. Non-fiction books are never written on spec, ahead of time. You could write a whole book but no editor or agent will read it. They want only book proposals which describe the book you will <\/em>write if they offer you a publishing contract. Book proposals are 5-40 pages long and there\u2019s a real art to writing them. I teach how to do so in my writing workshops (in Slovenia and in London, as part of the Guardian Masterclasses). You can listen to a free audio version (half in Slovenian, half in English) here at my podcast<\/a>, in which I explain the basics of how to get published.<\/p>

So established writers never write non-fiction before they have a contract already signed. We prepare book proposals and our agents send them to publishing houses and they determine whether they want us to write the book based on the proposal alone. They pay an advance, money that we use to take time off to actually write the book. Only in the case of fiction do you have to write the whole book first. So I have several unpublished novels, including one that takes place entirely in Slovenia and in which Plecnik is a character. And I\u2019ve got loads of book proposals for books as yet unwritten. But no unpublished or half-written non-fiction books\u2026unless you count those I\u2019m in the process of writing. I\u2019m nearly done with one of two I\u2019m contracted to publish with Rowman & Littlefield. One is called The Devil in the Gallery: How Scandal, Shock and Rivalry Made Art Great. <\/em>The second I\u2019m co-writing with my friend, the prominent Slovenian artist, JASA. It\u2019s called Making It: The Rising Artist\u2019s Handbook, <\/em>and it\u2019s like Kitchen Confidential <\/em>for artists. Behind the scenes in what it\u2019s like to be an artist and how to become successful while avoiding the inevitable traps along the way.<\/p>

Do you hide any secrets in your books that only a few people will find?<\/strong><\/p>

What a great question! I do actually, though they\u2019re not in all of them. I try to use this beautiful phrase, \u201csnowbound windowpane,\u201d in each one, but it hasn\u2019t always fit. It\u2019s like a treasure hunt for readers!<\/p>

If you could tell your younger writing self anything, what would it be?<\/strong><\/p>

This is very specific to my own career, but I got mixed messages early on from a past agent. She said, \u201cWhatever you do for your second book, don\u2019t do a sequel to The Art Thief.\u201d <\/em>She was worried it would trap me in a single set of characters. Turns out publishers wanted a sequel to The Art Thief <\/em>but by the time I got around to starting one, it was so many years and books after the original that the momentum had left. So I would have gone ahead and quickly written a sequel, while also branching out into non-fiction. Ah well.<\/p>

What advice do you have for young aspiring writers?<\/strong><\/p>

Don\u2019t be precious about your writing. Write as much as possible. Practice writing book proposals if you want to do non-fiction. Books can be works of art, but they probably shouldn\u2019t be, and contemporary books really aren\u2019t. If you want to write a literary artwork that\u2019s great, but only a few hundred people will read it. Books are a business and you need to understand that in order to be successful and have the freedom to write what you want.<\/p>\n","protected":false},"excerpt":{"rendered":"

Noah Charney is an amazing American art historian, novelist, and is the founder of the Association for Research into Crimes against Art, who lives in Slovenia. We recently had the opportunity to conduct an interview with one of our own authors that is Noah Charney. What inspired you to start writing? I always enjoyed writing, […]<\/p>\n","protected":false},"author":13,"featured_media":36133,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1861,1735,151,1853],"tags":[2041],"class_list":{"0":"post-36132","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-education","8":"category-famous-slovenians","9":"category-lifestyle","10":"category-news","11":"tag-noah-charney"},"acf":[],"yoast_head":"\nTOP Slovenia Interview: NOAH CHARNEY - THE Slovenia<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/the-slovenia.com\/lifestyle\/top-slovenia-interview-noah-charney\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TOP Slovenia Interview: NOAH CHARNEY - THE Slovenia\" \/>\n<meta property=\"og:description\" content=\"Noah Charney is an amazing American art historian, novelist, and is the founder of the Association for Research into Crimes against Art, who lives in Slovenia. 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