As I noted in my review of his latest novel, The Reconstructionist, Nick Arvin really captured my attention with Articles of War. He was gracious enough to participate in a Q&A for that novel so I was excited about getting his perspective this time around. Luckily for me, he agreed to take some time to answer some questions.
First, a brief bio:

Nick Arvin, American Author (Photo credit: Wikipedia)
Nick Arvin is an American engineer and writer. Born in North Carolina, he was raised in Michigan, and graduated from the University of Michigan and Stanford University with degrees in mechanical engineering, and from the Iowa Writers’ Workshop. He has worked in forensic engineering and accident reconstruction.
Now, on to the questions.
1) They say that all writing is autobiographical. What made you decide to tackle forensic engineering or accident reconstruction – something you have direct experience with – in your second novel?
I did work in accident reconstruction; I sort of stumbled into it. I had worked as an engineer for Ford, but I quit that to do an MFA in creative writing, and then ended up living in Denver on some grant money for a year after the MFA. When the grant ran out, I started looking around for a job in engineering. I’d worked in the automotive industry, but there isn’t much of an automotive industry in Denver. Then I realized that there were a couple of forensic engineering companies that did automotive accident reconstruction. So I sent them my resume, and one of the resumes happened to land on the desk of a guy who’s a reader and was impressed that I had published a book of short stories. Soon I had a job.
I knew from the first day that I wanted to write a novel about the work — the work itself was basically a process of creating little mini-stories about the accidents we were working on, and these accidents were dramatic and tragic, and the process of creating these mini-stories was really interesting, but also discomforting in the way that it required applying cold, analytical techniques to examining terribly human situations. So, the work had all these interesting layers of narrative and emotional disconnect, and I knew I couldn’t cover all of it in a short story. So I collected material from the job in a notebook for a couple of years, and then began to try to figure out how to structure it into a novel. Writing the novel took about seven years altogether.
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