Charles Degelman is an award-winning author, performer, and producer living in Los Angeles. After graduating Harvard, Degelman left academia to become an antiwar activist, political theater artist, musician, communard, carpenter, hard-rock miner, and itinerant gypsy trucker. When the dust settled, he returned to his first love, writing.
A Bowl Full of Nails, set in the rural counterculture of the 1970s, collected a Bronze Medal from the 2015 Independent Publishers Book Awards and Gates of Eden, set during the anti-war movement of the 1960s, won an Independent Publishers book award.
Degelman’s screenplay Fifty-Second Street garnered an award from the Diane Thomas Competition, sponsored by UCLA/Dreamworks. A second screenplay, The Red Car, reached finalist status in Francis Ford Coppola’s American Zoetrope Screenplay Contest.
In addition, Degelman has written and produced documentary and educational films for TNT, Churchill Films, Pyramid Films, and Philips Interactive Media. He co-founded Indecent Exposure, a Los Angeles-based theater company dedicated to creating original, high-quality, socially relevant work for the stage. Degelman is on the faculty of California State University where he teaches writing in the Communication Studies Department.
His latest book is the historical fiction, Rocked in Time.
Twitter: https://twitter.com/CDegelmanInstagram: https://www.instagram.com/charlesdegelman/
Thanks for your interview, Charles. Can you tell us what your book, Rocked in Time, is about?
Rocked in Time is a work of historical fiction set in the last, intense years of the 1960s. Although it’s a novel, Rocked often reads like a memoir. I wanted to capture what it was like to be involved in a radical, left-wing political theater during the intense years of the
Vietnam War, the civil rights movement, and the first awakenings of second-wave feminism. If you don’t know what second-wave feminism is, I suggest looking it up.
I consider myself a novelist. As such, I make stuff up. Not the appropriate claim for a historical novelist. However, I can affirm that historical novels require research. In this resistance trilogy, only volume one is research-heavy. For volume one of the trilogy, Gates of Eden, I read, notated, and outlined for six months before I wrote a line of narrative. I was obsessive in my research, nearly drowned myself in it. I loved it.