• James Podhorodecki on writing, philosophy, and self-publishing

To be an author, especially in today’s day and age, is to wear many hats. For one, you need to wear a writer’s hat and put pen to paper (or finger to keyboard). But beyond that, there are so many other hats an author needs to wear these days – artist, advocate, marketer, as well as publisher and distributor. 

Self-publishing is an avenue that a growing number of authors are looking at today, in part because it is increasingly difficult to convince a publisher to take a chance on your magnum opus, and also in part because of how accessible it has become to publish, promote, and distribute a book on your own. 

This week, The Sunday Morning Brunch had a chat with Australian author James Alfred Podhorodecki on his debut novel ‘Stayin’ Alive in Channel Country’ – a book James chose to self-publish and in the two months since its release has gone on to sell hundreds of copies in Australia and many other countries including Sri Lanka, despite James and his book having no tangible connection to the island. 

‘Stayin’ Alive in Channel Country’ marks an intriguing entry into the literary world, blending existential exploration with a narrative non-fiction approach. The novel, a collaborative project with photographer Kial Menadue, provides a unique lens into James’s creative process, his philosophical insights, and the challenges and triumphs of self-publishing.

The genesis of ‘Stayin’ Alive in Channel Country’ 

The novel’s inception dates back to 2019 and was conceived as an immersive year-long project in Daylesford, Victoria. James and Kial embarked on a journey to capture the essence of a camel race in Boulia, Channel Country, in the heart of the Australian desert. The timing was serendipitous, as Covid-19 lockdowns had just been lifted, allowing brief interstate travel. This fortuitous window provided the perfect backdrop for their adventure. 

“We threw ourselves into a camel race in the middle of the desert, with the idea of coming out of that experience with a photobook that Kial would release, and it was also the pursuit of writing a novel,” James explained, adding that he did not envision the process being as challenging as it eventually was, nor for the novel itself to focus on existentialism as much as it did. 

The narrative of ‘Stayin’ Alive in Channel Country’ follows James and Kial as they navigate the absurdity of a camel race in an Australian desert, only to discover that the true essence of their journey lies not in the event itself but in their interactions with the people and the vast, unforgiving landscape of the outback. James reflected on this realisation, stating: “The camel racing itself held no interest for us; instead, it was the people, the vastness of the outback, and our own existential crises which saturated every interaction.”

This journey is imbued with a deep irony, as the duo grapple with the realisation that there is “nothing in the desert after all” and the story emerges from this profound sense of failure, a theme that resonates with James’s philosophical beliefs. “The irony that the story came out of absolute failure plays into how life works as well – chasing after something and realising its worth lies within the experience itself and not necessarily at the end.”

James’s writing process: Immediacy and authenticity

James’s approach to writing, which is largely nonfictional, is characterised by a sense of immediacy, with him capturing experiences as they happen and then working them into a compelling narrative. 

“I try to write with the most immediacy as possible,” he explained. “I find myself having experiences and going straight to my laptop, and it flows out. I feel like a conduit for the story rather than its maker.”

This approach allows James to maintain an honest and unfiltered connection to the events he describes, striving to capture the essence of life as it unfolds. It also aligns with his philosophical background, which includes a BA in Writing and Philosophy, an Honours degree in Philosophy, and a recently completed Master’s by research in Philosophy. His thesis focused on existential authenticity in artwork, a theme that permeates his novel.

James’s alter ego, Sloan James, plays a crucial role in the storytelling of ‘Stayin’ Alive in Channel Country’. “Sloan is an alter ego, a character I made for myself,” James said. “It allows me to play with truth if I ever feel the need to, but for this book, I didn’t need to.” The persona of Sloan allows James to navigate challenging experiences with creative freedom and fully explore themes of identity and self-discovery.

James’s collaboration with Kial adds a significant visual dimension to the project. Kial’s accompanying photo book, expected to be released later this year, complements the novel with its hyper-visual element, enhancing the overall narrative. The partnership between James and Kial is built on a shared vision and mutual understanding, and is meant to be lifelong, taking place under the umbrella of ‘A Stayin’ Alive Odyssey’. 

“Kial and I have worked together before on multiple small projects, racing events, and other sub-culture events around Australia,” James explained. “There’s something of a balance with having a book and then this hyper-visual element which complements it.”

The travails of self-publishing

Self-publishing ‘Stayin’ Alive in Channel Country’ presented its own set of challenges and rewards. Initially, James was apprehensive about the process, juggling multiple responsibilities, including completing his Master’s, pursuing a diploma in clinical hypnosis, and editing the book. Despite considering traditional publishing, he ultimately decided to self-publish to maintain control over his work.

“Self-publishing felt like it was too hard,” James admitted. “But at a point, I just thought, ‘I’m going to take off the band-aid and do it myself’”. This decision proved to be the right one, as it allowed James to navigate the market on his own terms. He actively promoted his book, approaching bookstores directly to stock it and engaging with readers to ensure its success.

The novel has been well received, selling hundreds of copies shortly after its release and gaining an international readership. James values the deep connection readers have with his work, considering it a measure of success. “Books have a good way of touching people very deeply,” he observed. “The broader the piece of work can be, the more people it can touch.”

James's philosophical insights into authenticity and the role of art are evident in his reflections on the reception of his novel. “Artwork lives forever,” he explained. “Art is only complete when someone interacts with it and completes it in their manner.” This interaction, he believes, adds layers of meaning to the work, making it a living entity that evolves with each reader’s experience.

The success of ‘Stayin’ Alive in Channel Country’ has energised and motivated James, who views his journey as the beginning of a much larger creative endeavour. “I feel like I’m standing at the bottom of a very tall mountain – one that will take me a long time to climb, but I’m very excited about it.”