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Interview with F.W. vom Scheidt – Author of Coming for Money
Filed Under (Interviews) by JM on 09-07-2010
F. W. vom Scheidt is a director of an international investment firm. He works and travels in the world’s capital markets, and makes his home in Toronto, Canada. He is also the author of a new book, Coming for Money (Blue Butterfly Book Publishing), a remarkable and provocative novel about the world of international finance and the human quests for success, understanding and love.
You can visit his website at http://www.bluebutterflybooks.ca/titles/money.html.
Q: It’s rare today to find an author who does nothing but write for a living. Do you have a ‘real’ job other than writing, and if so, what is it? What are some other jobs you’ve had in your life? Have they influenced/inspired your writing?
Much more than a job, I have a career.
I am a director of an international investment firm.
Having a career in something you enjoy is exponentially more rewarding than holding down a job you don’t enjoy while you pursue your writing.
The inherent influence from what I do over what I write flows from the fact that I have always followed a creative life; and, as a result, never seem to have followed a usual route or done anything in a usual manner.
How I write is no exception.
Because I have an encompassing business career, which always has more work than hours in the day … and, for that matter, does not even have a regular day because I work simultaneously in many different times zones, I suppose I have not felt the same need to publish as many other writers.
Yet I have always sought to maintain my integrity in a struggle with questions that have no answers … who am I … why am I here … what comes after this life.
And, because of that, I have always written.
Q: What compelled you to write your first book?
Following the adage of writing from what you know best, I wrote from my first hand-hand experience accumulated as a director of an international investment firm. I wrote as truthfully as possible of the world of international finance — not with the over dramatization so common in film and television, but with an intimate telling through a first-person narrative … of what it can be like to labour in the world of money spinning … of how the money’s immense leverage for triumph or disaster doesn’t so much corrupt people as corrupt the way they treat each other … of how the relentless demands of the money so often deprive you of sufficient time and energy to live through the events of your emotional and interior life.
The plot advances along questions arising from how we relate to our careers: How much money is too much? And how fast is too fast in life? And the central character advances along deeper questions in his own life: How do we cope with love and loss?
Q: Have you always wanted to be a writer?
Yes.
Q: Tell us briefly about your book.
The story follows Paris Smith. As he steps onto the top rungs of the corporate ladder, he is caught between his need for fulfillment and his need for understanding; between his drive for power and his inability to cope with his growing emptiness where there was once love. When his wife disappears from the core of his life, his loneliness and sense of disconnection threaten to overwhelm him. When he tries to compensate by losing himself in his work, he stumbles off the treadmill of his own success, and is entangled in the web of a fraudulent bond deal that threatens to derail his career and his life.
Forced to put his personal life on hold while he travels nonstop between Toronto, Singapore and Bangkok to salvage his career, he is deprived of the time and space to mourn the absence of his wife and regain his equilibrium.
In the heat and turmoil and fast money of Southeast Asia, half a world from home, and half a life from his last remembered smile, he finds duplicity, friendship and power — and a special woman who might heal his heart.
Overall, it is a deeply felt story about the isolation of today’s society, the prices great and small paid for success and the damages resulting from the ruthless exercise of financial power.
Yet, although it is a literary novel, it is also fast-paced and highly readable. By the time I had finished writing it, I recognized that readers would find the details fascinating, and would find the characters real, and not easily forgotten.
Q: What are you working on at the moment?
I am working on a new novel; and on bringing a new institutional investment fund to market.
Q: Do you have a favorite character? Why is s/he your favorite?
No.
Q: How did you feel the day you held the copy of your first book in your hands?
If I recall correctly, my first reaction was a deep desire to give a copy to someone special in my life.
Q: What type of music, if any, do you listen to while you write? Do you need the noise or the silence?
I don’t listen to any particular type of music.
In younger days I was trained as a classical musician and played in a student orchestra where I also studied formal composition. I moved on from that to playing jazz. Now I listen to classical, jazz and everything in between including pop, rock and country.
I don’t seem to have any inherent need for noise or silence when I write.
Q: If you could live in one of your books, which one would you live in? (If you’re promoting your first publication, feel free to talk about an unpublished piece.)
Writing from the life I know, I suppose I already live to some extent in this novel.
Q: How do you balance out the writer’s life and the rest of life? Do you get up early? Stay up late? Ignore friends and family for certain periods of time?
I have no daily writing routine.
I work in the international financial markets where there is no typical day.
In fact there really isn’t even a day; money never sleeps … and there is always a market open somewhere 24-7.
I write when I can. Sometimes morning. Sometimes on long international flights.
Q: Is there an established writer you admire and emulate in your own writing? Do you have a writing mentor?
No. But I am always grateful to all of the wonderful writers I have read over the years who have illuminated the path.
Q: When growing up, did you have a favorite author, book series, or book?
I was fortunate to come from an environment that valued reading and education. As a result I absorbed a broad spectrum. Having the experience of so much writing from so many writers was a far greater influence that any single author.
Q: What about now: who is your favorite author and what is your favorite genre to read?
I read everything and anything that interests me; fiction, classics, biography, textbooks.
I imagine I don’t have a favorite author or genre because, rather than focusing on what I read, I am always much more focused on trying to solve the problem that I never have as much time to read as a I would like.
Q: When they write your obituary, what do you hope they will say about your book/s and writing? What do you hope they will say about you?
That I wrote truthfully.
Q: What is your writing space like? Do you have a designated space? What does it look like? On the couch, laptop, desk? Music? Lighting? Typing? Handwriting?
For me it is much more a question of time than space.
When I have the luxury of some extra time I utilize it regardless of space.
Q: Is there any particular book that, when you read it, you thought, “I wish I had written that!”?
No. I think I am always cautioned by thoughts that something I perceive to be so perfectly written by someone else exists as such because the writer that wrote it had a certain talent; and my talent is not their talent, and vice versa; so it’s far more productive for me to instead concentrate on writing what I know as well as I can possibly write it.
Q: Is there anything you’d go back and do differently now that you have been published, in regards to your writing career?
Not a thing. Not a word.
Q: In my experience, some things come quite easily (like creating the setting) and other things aren’t so easy (like deciding on a title). What comes easily to you and what do you find more difficult?
I don’t seem to find any component more difficult than others.
One thing I do try to follow is from some from something Ernest Hemingway once said about always stopping when you know exactly what’s going to happen next so that it makes it much easier to pick it up the next time you have to begin.
Q: Do you have any book signings, tours or special events planned to promote your book that readers might be interested in attending? If so, when and where?
I’m afraid my current responsibilities limit my outside activities. I am primarily using the services of Pump Up Your Promotion.
Q: It’s one thing to write a book and another to edit it. How do you feel about the editing process? What was it like to edit your book?
I enjoy editing. There’s something about having the luxury of a second chance to improve something you’ve created that appeals to me.
Q: Now that you are a published author, does it feel differently than you had imagined?
No.
Is there anything else you would like to share?
At a certain level, I wrote Coming For Money because I had no other choice.
I sat down at the keyboard. Although I have always been a literary writer, I had no idea how I would capture my experiences in international finance in literary fiction. Without thinking, the first sentence came to me. I typed it. Then I looked at that sentence for a long time.
Instinct told me that the sentence had risen from something that was deeply absorbing me, and that it was something I had to tell. I knew I had to find some way to tell it truthfully. From that point, I knew there was no way out . . . except to construct the novel.
While Coming For Money is a story that advances from chapter to chapter along the corporate intrigue that beats at its heart, and continually mirrors the financial headlines of our daily newspapers, it is much more. It is an illustration of what happens to us as human beings when we lose emotional connectiveness, when we lose emotional logic.
And this was how Paris Smith came to me – because he is tragically, if admirably, flawed. He is not flawed in the classic Shakespearean sense of a noble man who is brought to ruin by his own avarice or rage. His weakness is not that he lusts after wealth or power or flesh. Rather, and far more important for us in these times, he is flawed in that he never learned the great lesson of his generation: don’t become emotionally involved. Paris Smith’s weakness is that he needs, and has always needed, emotional involvement in order to sustain his life. It is for him – as, ultimately, it is for us all – as necessary as breathing.
As Paris Smith refuses to relinquish his search for emotional connectiveness, he becomes a character we learn to appreciate and admire. In the sometimes stubborn, sometimes creative, battles he wages against other men in his corporation who are pitted against him, Paris Smith becomes ever more conscious of how he could stem his personal pain and loneliness by simply retreating emotionally and victimizing those around him.
Or he might learn anew how to offer up his own emotional involvement. I’ll leave it for readers to see how this plays out in the end, and to decide what they may want to take away from his quest for human meaning in our contemporary world. But I hope readers will appreciate Paris Smith as much as I do.
In writing Coming For Money, I have tried to tell this story in a way that will let others in our increasingly isolated society know that they are not alone. I have also tried to say something about the value of not surrendering to the seduction of victimizing others as a defence against being victimized. In writing a narrative about not giving up, I attempted to capture something true and evocative about how all journeys toward the light begin in darkness. And I have offered readers some assurance that, of such journeys, they can become restored to wholeness.






