Conversation with Henry Luzzatto

Henry Luzzatto is a Brooklyn-based writer and screenplay editor. Originally from Suffolk, Virginia, his work is featured in Body Fluids, High Horse, The Los Angeles Review of Books, and more.

Henry is the author of “Random Access Memories” from Radon Issue 8.

Q: Does writing screenplays inform your fiction? Do you think being a screenplay writer gives your fiction any particular advantages?

Writing screenplays basically got me back into writing fiction. I love scripts and I think they’re their own art form. But because they also function as blueprints for films, it can sometimes feel like writing an instruction manual more than a story. Most of the time when I write fiction it’s a chance to find new angles on an idea that doesn’t quite line up with screenplay structure or would feel incomplete if it were only in a script.

Q: In your review of “Everybody’s in LA,” you talk about absurdity as an intentional narrative device. Have you applied this to your own writing?

Oh, absolutely! It’s less evident in my short story “Random Access Memories,” but a lot of the appeal of speculative fiction (at least in my case) comes from treating absurd things literally and vice versa, and it’s something I hope to keep incorporating in my work.

Q: You describe yourself as a “professional freelance vagabond.” What advice do you have for other freelance writers?

“Don’t start” is the traditional answer, and it’s always worth considering. But really, I’d encourage freelance writers to read broadly and interact with small, upcoming, or alternative publications whenever possible. Even if they don’t exactly pay the big bucks, pitching to more niche publications will give you an experience working closely with editors and, crucially, getting in touch with other creative people who share your interests. Those are the kind of connections that make a difference in the long-term while giving you solid writing experience.

Q: What brought you to writing about/critiquing stand-up comics in articles?

I love comedy in general, and I did (somewhat embarrassingly) have a brief stint attempting stand-up when I got out of college. Stage stuff isn’t really for me, so I stopped, but it’s a culture and art form that still interests me a lot. As far as actually writing critique goes, I didn’t plan on analyzing comedians particularly, but when I pitched an article to the LARB, they thought that background and sense of humor worked as a lens to do some comedy critique.

Q: What makes you Brooklyn’s most dangerous writer?

My dashing good looks and edgy subject matter, naturally.

Kidding. Mostly.

Q: Tell us about your work organizing Open Book and Writers Under the Influence?

Open Book and Writers Under the Influence are a pair of connected writers’ groups that have been my home since coming to New York. Writers Under the Influence is an open weekly writing meetup that functions more closely to an old-school bohemian social club—mostly drinking, lots of friendship, writing when necessary. It’s hosted at the Keep in Brooklyn and anyone is welcome to come by, which keeps the energy up and keeps people fresh. Open Book started out as a monthly open mic at Fiction Bar and Café that has expanded into a growing network that includes podcast, zines, and more. Both are really open and friendly and offer a chance for writers to connect in a sort of low-stakes environment.

Q: What draws you to writing about the weird, uncanny, and absurd?

I grew up with it, at least partially—both of my parents had great piles of sci-fi, fantasy, and postmodern lit-fic paperbacks in the house, and that kind of literature was my home base when I started writing in earnest. And as we all know, writing itself can be difficult enough, so I like to pick subjects that really feel fun to me. The idea of “gaming out” a weird situation, pushing the absurdity to new levels and finding something unique to say is the most fun I can have while writing.

Q: What was the brainstorming process like for “Random Access Memories”?

It started when I found myself really struggling to remember a security question for my bank account, which got me thinking about the literal, physical differences involved in calling-up different memories—whether constant use makes certain ones fresher and easier to access. The initial idea was just about uncovering memories. But when I thought through the kind of quid pro quo motivation on the part of GreyMatter, what a company could get out of this type of arrangement, the conflict and arc started to find their footing. From there, it was mostly about figuring out the different stages and escalations that could build to a moment like the one I had at the bank where I struggled to recall something important.

Q: The GreyMatter technology seems ripe for further exploration. Have you considered expanding this into a series or exploring other characters’ perspectives in this universe?

I would love to revisit it eventually in some way, but I think it depends a lot on my relationship to memory. As that grows and changes with time, I think I’ll find more characters and angles I want to explore within that world and technology. But for now, I’m happy to keep the story small and contained, relatively speaking.