Coming soon … Dead End Jobs: A Hitman Anthology. Edited by Andy Rausch

With stories from Joe R. Lansdale, Max Allan Collins, Chris Miller, Rob Pierce, Tom Pitts, Paul D. Brazill and more …

Published by All Due Respect.

Short, Sharp Interview: Tom Pitts


PDB: You latest book is called 101. What’s it all about?

In a nutshell, it’s set against the Northern California pot business on the cusp of legalization. A kid on the run from trouble in San Francisco goes to hide out there and brings a whole lot of trouble with him. There’s a wild array of characters who’re in on the chase and they race back down the 101, converging in Oakland to settle their scores.

PDB: How has pot legalisation changed life in America?

The worst is yet to come. So far, in California, all we’ve seen is more and more laws and regulations. They’re coming up with new ones every week. If it keeps up, the black market will be back in business. A lot of the laws seemed designed to cut out the little guy, the small-time grower who previously flourished. It takes a pile of money to get in on the legal side now, the kind of money that comes from corporations and tech and venture capitalists. Out on the street things are generally the same, except you can smell weed everywhere. No exaggeration.  Bars, malls, restaurants, billowing out of cars.

PDB:  What’s best, critical or commercial success?

Critical. No question. There’s the pragmatic in me that says take the money. But, the truth is, you create what you create. If it’s going to last, it’s got to be good. You don’t need millions of dollars to be happy. You know what’ll make you happy? Leaving behind something great. If a critical success is also a commercial success, then good for the creator. Pretty unlikely it’ll happen with one of my books though. But if you start off looking for commercial success, you’ll end up with something watered down and forgettable. This is what I learned from music. Forget about what the audience wants and just create. Then, if it’s good, it’ll resonate.

PDB: Do you judge a book by its cover?

You have to judge a book by its cover. You do it whether you want to or not. Are there exceptions? Of course there are and I don’t want to discuss them. The reality is, if you’re standing at the store, staring at shelf, it’s the cover that’s got to pull you in. That’s its job. The word-of-mouth, the oohing and awing over blurbs, sizzling sleeve description all come after.

PDB: Was Huey Lewis right, is it hip to be square?

Perhaps he was right. Out here in Silicon Valley we’re living a real-life revenge of the nerds.  I, unfortunately, was way too cool back then, so I’m now part of the ostracized, marginalized sect.  The calculus majors and computer labs kids are now running the world, so fire up your bong, stream your Netflix, and let go of the steering wheel. Someone else is in control.

PDB: What’s on the cards?

tom pittsFor me? My novel American Static just came out as an audiobook, it’s up there on Audible, Apple, and wherever else. 101 is out on November 5th, ask any bookstore to order it, or you can find it on line. I’ve got another book coming out in 2020 called Coldwater, but until then I have to roll up my sleeves and get to work. These babies don’t write themselves, you know.

Bio: Tom Pitts received his education on the streets of San Francisco. He’s recently been called the underworld bard of the Bay.  He is the author of AMERICAN STATIC, HUSTLE, and the novellas PIGGYBACK and KNUCKLEBALL. His new novel, 101, will be released by Down & Out Books November 5th, 2018.


Short, Sharp Interview: Tom Pitts

american static

PDB: What’s going on?

Other than signs of the apocalypse flaring up in the headlines every day? I’m out there hitting the circuit, promoting my new novel American Static.

PDB: Do you listen to music when you work?

Fuck no! I can’t do it. I think perhaps I could when I was younger, but these days my attention span is terrible. I’ve been known to stuff toilet paper in my ears so I can focus. I see writer’s talking about playlists for their novels, and I think, wow, my playlist is silence. No, actually, mine is the dream of silence. I’ve got barking dogs, loud neighbors, sirens, and squealing tires.

PDB: What makes you laugh?

Just about anything. I’ve had a long history of whistling through the graveyard. Making the horrific hilarious is my favorite coping mechanism.  When they say laughter is the best medicine, they might as well say it’s the best opiate too.

PDB: What’s the best cure for a hangover?

Easy, more booze. Even as I write this I’m comforting myself with a medicinal beer.

PDB: If you could live anywhere in the world, where would it be?

Hell of a question to answer honestly. I think right now that’d be L.A.. I’m doing my damnedest to bust into the movie business and it’s the only place to be for that. Christ, a San Franciscan admitting he wants to live in Los Angeles? They might throw me outta this town!

PDB: Do you have a bucket list? If so, what’s on it?

I don’t. I feel like a bucket list would only bring me closer to kicking the bucket.

PDB: What’s on the cards?

I’ve got two more novels edited and ready to submit. I guess I have sit down and start another. It’s been nearly a year since I’ve actually done any new writing—as opposed to editing and rewriting. I’m looking forward to getting lost in that world again.

tom pittsPDB: Anything else?

Yes, American Static. Buy it, love it, review it. And thanks, Paul. It’s always a pleasure.

Bio: Tom Pitts received his education on the streets of San Francisco. He remains there, working, writing, and trying to survive. He is the author of American Static (Down & Out Books) HUSTLE (Down & Out Books) and the novellas Piggyback (Snubnose Press) and Knuckleball (One Eye Press.) Find links to more of his work at:

Short, Sharp Interview: Tom Pitts

hustle_tom_pitts (1)PDB: Can you pitch your latest book in 25 words or less?

HUSTLE: Two drug-addicted gay hustlers scheme to extort an elderly client, but the old man turns out to be a criminal defense attorney who is already being blackmailed by someone much more sinister. How’s that?

PDB: Which music, books, films or television shows have floated your boat recently?

Still riding high off my Benjamin Whitmer bender. I read Cry Father and Pike back to back and it left me wishing there was at least one more. I hear he’s working hard at granting my wish (at least that’s the way I like to look at it. Get crackin’, Benjamin!)

Television is tough for me, between work and writing, it’s tough to fit much in. Sad to see Boardwalk go, though. I loved that show.

PDB: Is it possible for a writer to be an objective reader?

You have to be. If you can’t let go and live in the magic of being swept up by a story, how are you going to create that magic yourself? When I was asked this question before, I said it’d be like saying a musician can’t be a fan of music. To love what you do, writing, you have to be a fan of reading, and that takes a certain level of objectivity to reach the willing suspension of disbelief we all crave.

PDB: Do you have any interest in writing for films, theatre or television?

Of course, who wouldn’t? That’s where the big money is at. And the fame. Just about any author who’s considered a household name has had a movie adapted from their work. It’s the sad truth of the writing game. Even famous names like Bukowski, when someone says, who’s that? I say, you know that movie Barfly? And they say, Oh, that guy. When Trouble in the Heartland came out I bragged to folks it included a story by Dennis Lehane. Who? You know, Mystic River? Oh, that guy. The reality, though, is screenwriting is also the same trough everyone else is trying to feed. And I mean everybody. Walk down the street in Hollywood and ask a random person if you can read his screenplay. Dollars to doughnuts he’ll run to his car and fetch you a copy. It’s like a million hobos all chasing the same nickel. And the reality of switching, form-wise, is tough. It’s a much more rigid set of rules than one experiences in fiction. The fonts, the spacing, the attributed dialogue and sparse directions. Cramming all that stuff into 120 pages—making sure the car chase happens here (What? No car chase? Sorry, you’ll have to work one in. Stick it right after the love scene you had no intention of adding.)

PDB: How much research goes into each book?

It depends. The honest answer is probably not enough. If I’m writing from the perspective of the street thug, not much at all. I’ve already spent a decade doing gonzo research on that! But regarding police procedure and legal proceedings, quite a bit more. Luckily, I have a lawyer and an ex-cop in the family to make that a little easier. Mostly it’s the little things, the make of the car, the type of gun, the overpriced binoculars someone is using. That kind of stuff can be sourced from Google, but it’s important to get the details right, because, if they’re on, maybe no one notices, but if there off, it’s a sour note for all to hear. It’s like the backbeat being out of syncopation in a song.

PDB: How useful or important are social media for you as a writer?

As a small press guy, it’s invaluable. For a small press author—and most of the big presses too—the onus of promotion is on the writer. That means you must have a social media presence. And any agent will tell you it’s something that presses will look at when they consider signing new talent. That said, I think the golden age of Facebook is passing. I can tell by the number of hits to the Flash Fiction Offensive (we advertise primarily on FB) and I’ve spoken to other online magazine editors who feel the same way. It’s not over, but I think perhaps it’s jumped the shark. The trick with the juggernaut of social media is to adapt and evolve with it. It’s changing and will continue to change. Although I may not be on the edge of change, there’s a lot to be said for a willingness to move with the times.

Tom Pitts Noir@theBar (2)PDB: What’s on the cards for 2015?

I’ve got a novella called Knuckleball that’s been picked up by One Eye Press, it’ll be out on March 24th 2015, I believe. I’m looking forward to seeing it come out. It was the first novella I’d written and it’s definitely different from the other work I have out there. It’s about a Hispanic boy in San Francisco’s Mission District that uses baseball as an escape from the abuse he suffers. When he witnesses the murder of a beloved police officer, his life changes forever.

Gutter Books will also be pushing ahead with some more releases, stay tuned to find out more about that. And of course, The Flash Fiction Offensive is still putting out the best in flash, twice a week.

Bio: Tom Pitts received his education on the streets of San Francisco. He remains there, working, writing, and trying to survive. His novel, HUSTLE, and his novella, Piggyback, are available from Snubnose Press. He is also acquisitions editor at Gutter Books and co-editor at the Out of the Gutter’s Flash Fiction Offensive. Find links to more of his work at: