Interview with Dani Arieli

In this highly energized post, we’ll be learning a lot from writer, editor, and publicist Dani Arieli. She tells us about her passion for poetic language, describes her current work in progress, and offers heartfelt advice for new writers.

Check out her author bio:

Dani Arieli is a poet and author, Pushcart Prize nominee, and lover of weird, dark, and archaic literature. She has creative works featured in 7th-Circle Pyrite, Beyond Words, Lothlorien Poetry Journal, and more. She is the marketing and publicity specialist for At Bay Press, and is currently working toward her Honours Bachelor of Creative Writing and Publishing degree at Sheridan College.

During most writing sessions, her black cat sits atop her lap while she fervently taps away at her keyboard; she very much enjoys having a writing partner who can meow.

First of all, thank you for the kind words of praise! When I received the E-mail detailing my nomination, I can tell you right now—I practically froze. I was in sheer disbelief, as the story which had been nominated, Across the Marsh, was my second-ever short-story publication, as well as my first-ever online publication. Of course, with this nomination, came the rather terse realisation that this is now the bar. So, with my current W-i-Ps—be it short-story or manuscript—I find myself constantly, and rather erratically, poring over my writing as I convince myself this, too, is Pushcart-worthy… And hopefully, they are! But, the pessimist in me says otherwise. All I know is that my life’s purpose feels tied to usurping this bar.

At what point did you realize you had a passion for poetic language? In what ways did your coursework at Sheridan College help you move forward to pursue writing as a career? What additional supports did you have along the way?  

Two words: My professor. I entered into my first-ever Poetry class/seminar in my early years at Sheridan College, and I knew nothing about the art of poetry. When I first presented my ‘poem’ to my professor, I was ready to listen to some minor substantive edits regarding syntax and word choice; but when my professor began to point out the facets of my poem that were, really, there without rhyme or reason (why did you choose to centre your text? why is this section in italics? is ‘purple’ truly the only way you can describe this object?), it became quickly apparent that my poem was simply… words. These selections from the English language did not occupy a rigorous or intended place within the poem! So, I began to think about ways to describe certain feelings, thoughts, ideas, people, places, struggles, desires, fears, depravities—until the abstract and subjective nature of my musings began to spread across the page like blood from a slick lesion. Now, and especially in my manuscript, I find myself resorting to poetic language when describing exposition; and, speaking of my manuscript—as I am writing from the depraved and infamous mind of France’s notorious sadist, the Marquis de Sade—poetic language seems only fitting for such mad musings. There is a haunting beauty in the poetic language, and my professor helped me realise this during that single class at Sheridan.

The coursework at my college has prepared me for nearly every situation I’ve faced thus far as a writer, editor, and publicist. ARCs? I learned about those in my third year. The difference between an e-Pub and PDF? Boom, easy. How to pitch a manuscript to a publishing house? Pssh! My point lies with the fact that Sheridan College houses an invaluable program for aspiring authors and publishers, the Creative Writing and Publishing program, and I would absolutely be lost in the CanLit world—a mere pilgrim searching vainly for Portinari—without the aid of my professors. Oh, and they care so much for what they do! They are constantly finding their works featured in publications, hosting launches for their books, supporting their colleagues and students in their own publishing endeavours, and much, much more. My manuscript, for instance, was birthed from the Creative Writing Master Class in my third year; I decided my passion lies vigorously with historical/literary fiction, and I began work on the insanity that is… my manuscript. You can only find so much inspiration in your room until real, genuine social interaction and advice from peers and industry professionals are needed. The solitary aspect of the ‘writer’s life’ is coined an ‘aspect’ for a reason; we require observance of the world outside our rooms to concoct a truly unique and powerful piece of literature.

Unfortunately, the program is closing in 2028. Nowadays, we need writers more than ever, and I hope my voice—albeit, over-shrouded in a forest of vast and eclectic musings—can help salvage this beautiful, beautiful program.

Dani, you have experience as a publicist, so we need to know: Do you prefer writing or editing? What does a typical day in the life of a marketing and publicity specialist look like? Do you have future aspirations for your career path within the publishing industry?

The short answer? Writing. The long answer? Also, writing. Ahh, brevity… Of course, editing is a part of my everyday life, as I am constantly re-writing whilst working on my own stories (I edited this sentence in its creation; how very meta of me). My job as a publicist consists primarily of newsletters, social media posts, awards submissions, and press releases, so, I edit my own writing about as often as I craft new sentences. And I do love editorial work, but the art of creation fascinates me a tad more than the skill of correction.

A typical day as a marketing and publicity specialist? Loads of black coffee. This job is very frenetic; one day, you could have zero E-mails and no near-forthcoming author events or book releases, and then the next, you learn of twelve launches occurring over the next week. As a publicist, you need to be ready for that truck to hit you at 200 mp/h—and you need to welcome that truck with a grin and vast, open arms! I work with hundreds of books and authors, and maintaining positive relations with them is integral to succeeding as a publicist. I have written more press releases than journal entries these few months alone—for as a publicist, you are, essentially, the face of your House. I will usually wake up, check my Inbox for any time-sensitive E-mails (a fine way to start any morning, really), get to work on social media publicity, and make sure every facet of the website is up-to-date. Occasionally, I attend ‘pub nights’ and other social networking events on behalf of At Bay Press (the publishing house I work for), as these are great ways to meet other like-minded industry individuals, as well as getting our House out there. You have to be willing to lead a more sedentary lifestyle as a publicist—then again, what writer doesn’t?—as you are poring over the Wild Web a whole lot for event and launch opportunities, book competitions, interviews, blogs, media contacts, and more.

I do see myself balancing an editorial-(deranged)-writer lifestyle, as I derive much of my pleasure from bestowing advice unto emerging and established writers. Verily, I want to see these authors succeed—much like I want to succeed as an author—and if I can be a part of that creative process, then throw me down the rabbit hole! From something as miniscule as copy-editing my sister’s law paper, to providing substantive edits on a manuscript, I adore my role as the OMNIPOTENT DEITY OF SYNTAX; i.e., an editor. So, yes, I do see myself remaining within the publishing industry, if that means I get to continue aiding authors on their stories. The industry is just so eclectic; it is hard not to get all giddy.

What inspires your work? What strategies do you use to ensure that you can approach your writing with enthusiasm?

Ah, this is where things fester into something darker. I would love to say, “My family and friends inspire my work,” but, unfortunately, I am driven by a force that is ever-persistent and psychologically lethal: Chronic pain. For over a decade, now, I’ve dealt with a very serious and—for me—embarrassing health issue, which I have written about in a poem of mine called VULVA-VARNISH. My poems may present this condition in a far more obvious manner, but when it comes to prose, that is where I really get to shine. All of my frustrations—my anger, resentment, depression, desire, and yearning are all poured into my literary madness; and ambiguity is then sprinkled atop this searing concoction, until a story is formed. My emotions have become the varnish to my prose. And as much as I loathe my condition—and my body, most times—I have this affliction to thank for my creative drive, really. It is so odd; thanking the body for a disease. When I try to verily wrap my head around this form of acceptance, I find myself sobbing and in disbelief, but that is when—I would say pick up the pen—I swivel in my chair toward my desk and open that working document. I am not sure if this is enthusiasm, as much as it is a deftly creative form of coping; but, if this method allows me to put out—what I believe to be—my greatest works, then, I see no issue with ‘coping.’

Some authors write in a home-office while others prefer to scrawl in a notebook at their neighbourhood café. What does your writing process look like?

Calling my room a ‘home-office’ would be far too forgiving in its nature. My desk looks like a nerd-blunderbuss went off at random, adorning my writing space with the most peculiar trinkets. However, I am highly sensitive when it comes to noises and audible distractions—so, I, much to my disappointment, cannot write in quaint coffee shops or vast libraries. If I am conducting publicity and editorial work, my brain is a little more lenient with me, but, generally, I am writing from the geeky confines of my room. I visited Maastricht with my father in the summer of 2024, and we rented this apartment overlooking a lush street and archaic spires spanning miles (we could even see Sint-Pietersberg from our view). I stepped out onto the tiny balcony for the first time and set up my laptop—to write God-knows-what at the time—and I just remember falling in love with the world around me. If I needed to gather my thoughts for the next scene, I could simply lift my head from the blaring screen and stare out onto the array of cyclists beneath me—or, the overcast gleam overhead a basilica from the eleventh century. So, I would like to write in nature far more, but, there just aren’t many places—if  any—like that around me… Where I live, anyway.

Dani, tell us about your current work in progress.

Hoh, boy. Okay—stay with me, here. Remember how I mentioned the Marquis de Sade? Well, my manuscript—and it certainly feels like a magnum opus—is a piece of historical/literary fiction detailing the libertine’s life from childhood to death. The story takes place from Sade’s perspective, and, really, the entire manuscript is one gargantuan musing of his spiralling depravity; and it has been wonderful to write. There is quite the eclectic collection of works on Sade, but many of them are research papers, analyses, and CNF. My manuscript reads far more like fiction, and tells a tale from beginning to end—with character development, plot points, twists, ten tonnes of depravity, and many other eccentric facets of literature. And as Sade is a byword for sadism, there is an ‘appropriate’ amount of violence, torture, sex, and libertinage. I am not writing this piece out of sheer curiosity or ‘shock factor’—I would like to make that very clear. Relating back to my chronic pain and chronic desire for human emotions and experiences I may never get back/to experience, I have found a means of attaining those feelings and exploring such debauched thought-processes through my fictionalised version of Sade—so much so, that the manuscript could almost act as my epitaph.

Now, more about the plot itself. Sade led a life of sexual violence and libertinage—but he treated writing in a manner that many do not: He used his incendiary prose to organise and purge his depravities. There has always been quite the uproar regarding such sexual works and whether they should be within public reach—arguing that they act as aphrodisiacs (I read about this whilst working through Tropic of Cancer by Henry Miller), and with Sade publishing stories of such perversion, all of France was affected; but, were they affected in the same way many critics and researchers of Sade believe they were? In Philip Kaufman’s movie (adapted from Doug Wright’s 1995 stage-play), Quills, a young girl, fresh from a covent, reads Sade’s Justine, or the Misfortunes of Virtue, and is quickly transformed into a sexual deviant—a modern-day nymph, really; and as much as I adore that film, I do not believe this is the desired, or intended, result of many of these forms of literature. With my own manuscript, I do not wish to unleash a sort of licentious rebellion upon the CanLit industry—no, this is the tale wherein I allow my frustrations, not to confuse these with desires, to run rampant and free, where in reality, they cannot.

You could say this is a type of Sadeian analysis, but I disregard it as such. Once again, this is, first and foremost, a work of fiction; secondly, it is a twisted panegyric for a young woman who has been deprived of the normalcy of muliebrity.

What’s the most surprising comment you’ve received on your own work? How has that experience helped you grow as a writer?

Hah—I love this question! I’ve received a vast array of ‘surprising’ comments on my own works; however, I would say something that really stuck with me was when I presented one of my short-stories to my workshop group (through one of my courses at Sheridan), and the professor simply told me something along the lines of, ‘This is amazing,’ and then walked away. While every other group was delving deep into substantive edits for half-an-hour each, I was simply told that my story was, well… impeccable? Sure, there is always room for substantive edits, but the fact-of-the-matter was that my professor thought my work was really just that good; and this was the moment I realised I had gone above-and-beyond with my writing, and that I had a real shot at getting my work out there—especially the more complex and depraved pieces, which are the ones that speak the most to me. People, apparently, do wish to read the darker and more gruesome stories—sometimes—and if I have so much as one person who reads my works from start-to-finish and truly enjoys the wicked experience, then I would consider my writing endeavours a success… for now.

That, and one of my colleagues once told me—as a written response to a draft—regarding my manuscript, ‘Hey, Dani! First of all, great work! I hate this guy and I am thoroughly disgusted! Please go to Church this Sunday!’

Who are your all-time favourite writers? What’s the one book you simply couldn’t live without? What must-have resources do you recommend for new writers?

I do tend to lean toward the older writers. Creatives like Vladimir Nabokov, Henry Miller, J.R.R. Tolkien, and Bram Stoker are all authors I adore with a pious passion, but I also recently fell in love with Shashi Bhat’s writing (namely, The Most Precious Substance on Earth & Death by a Thousand Cuts), as I am trying to lean more into contemporary readings.

One book I simply couldn’t live without… Damn. I would have to say Bram Stoker’s Dracula. This archaic, epistolary tale has taught me a considerable amount about the verbiage and lexicon of the world back then (i.e., Europe), and seeing as I gravitate toward older tales in my own writing, this novel has acted as a rousing aid.

In terms of must-have resources for aspiring or emerging writers? Stick to your gut. Write what you want to write. I believe many authors get swept up in the current of ‘what’s popular,’ which then isolates them from creating what they yearn for. I have seen hundreds of rejection letters from literary magazines and other publications, as my—as I call it—authorial motif is centred around debauchery, and many periodicals and websites are not willing to take this sort of risk—and that is okay! When you face a rejection, do not let it get you down; if anything, take it as a sign of encouragement to keep writing what your heart truly desires, and eventually, you will find the most exciting and loving home for your work. Trust me—take this from someone who writes about sexual depravity in most of her poems and prose. For example, one of my short-stories, Liturgy of the She-Goat, took many-a-rejection to the jowls—as the narrative is rather licentious and outwardly peculiar—yet all it took was one publication, Lothlorien Poetry Journal, to take that chance on me. The same will apply to you.

Writing is generally regarded as a solitary pursuit, but no writer can truly succeed alone. Dani, tell us about the social and networking opportunities that you’ve participated in this year. What advice do you have for new Canadian writers who may be feeling isolated or intimidated by the wider writing community?

Being an active student in a university-level program has undoubtedly aided me on my authorial journey. I have met so many like-minded students and professors who share a passion (and obsession) for writing. Of course, working with At Bay Press has also helped tremendously, as I often meet with authors, publishers, and publicists—allowing me to get my name out there. Finally, maintaining a presence through social media—and my website—has been a wonderful opportunity to share my W-i-Ps, publications, readings, and authorial updates with the (digital) world. I also attend the odd pub night and book launch, where many writers and publishers converse over whiskey!; and, well, proper sustenance. There is something so whimsical about being in a room surrounded by other introverts… Yet, once you engage in conversation with these authors, publicists, editors, publishers, and industry-adjacents, you quickly come to realise that they, too, have incredible ideas and passions and advice—you just need to be the ‘introvert out.’ See what I did there? And, hey, if in-person events aren’t your jam, social media is, really, the next best thing. I have accrued a generous following on Instagram, merely posting about my W-i-Ps, publications, and the occasional cat-filled behind-the-scenes collage.

Is there anything you’d like to share or promote?

You can find my aforementioned poem, VULVA-VARNISH, on my Instagram, or, on my website, daniarieli.com, under ‘Unpublished Works.’

And you can read Liturgy of the She-Goat HERE 

If you would like to remain up-to-date on my slow-progressing manuscript, I (occasionally) post snippets of my draft to my Instagram. Who knows—maybe I’ll post an excerpt to my blog at some point, which you can find on my website. Keep your eyes peeled, people!

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Cover Image: Photo by Monica Silvestre on Pexels.com