In the vibrant landscape of contemporary literature, few works manage to balance humor and heartfelt commentary as deftly as Crème Victoria. Born from a unique blend of corporate satire and personal introspection, this novel invites readers to reflect on identity, perception, and authenticity. Today, we sit down with the author, a seasoned storyteller whose journey from screenwriting during the COVID lockdown to novel writing showcases a remarkable evolution in creative expression. With a professional background in innovation and design strategy, the author brings a distinctive narrative style that resonates with both laughter and thoughtful contemplation. Join us as we explore the inspiration behind Crème Victoria, the writing process, and what readers can expect from this compelling debut.

But first, who is Justin Daab?

Justin Daab is an MBA who can do improv, graduated from the University of Oklahoma (where he served for two seasons as the university’s basketball mascot, “Top Daug”), studied improvisational comedy at the Conservatory at Chicago’s famed Second City, received his MBA from Northwestern University’s prestigious Kellogg Graduate School of Management, and was a Founding Fellow of the Leadership and Society initiative at the University of Chicago. Justin is also an avid composer and musician, screenwriter, year-round bicycle commuter, and damn fine dancer (though, admittedly, not all at the same time).

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Crème Victoria blends corporate satire with heartfelt humor—what sparked the idea for this particular story?

The story actually first came to life as a screenplay that I wrote during COVID lockdown, which itself came to life from a very simple, albeit random, observation that Ed Helms had a strange resemblance to Hugh Grant, which led me to wonder, how those two, given their geographic disparities, might be related in some parallel universe.

You have a strong background in innovation and design strategy. Did your professional experience shape how you approached storytelling?

I started my career as a copywriter. So, it’s probably safer to say that my experience telling stories influenced how I approached my innovation work. The way I approach, and now teach, Design Thinking and Innovation relies heavily on building a coherent and cohesive narrative throughout the process.

What was the most challenging scene or chapter for you to write, and why?

It may be a cliché, but I have to say figuring out the ending. Without spoiling anything, how does Kenny stay true to his altruistic nature while still not succumbing to the overwhelming forces weighing down on him. And, of course, I didn’t want to leave the world I was playing in while writing.

Conversely, which scene flowed the easiest and felt the most enjoyable to write?

Scenes with Nelly, the philosophical, scientific street busker. I was able to infuse him with a lot of my side interests, like music and physics, and present some complex concepts in relatable and amusing ways.

What do you hope readers take away from Crème Victoria beyond the laughs?

Well, I hope it comes through in the book, but there was a socially liberating moment I experienced at some point in my twenties when I realized that none of us has any true concept of how others really “see” us. And, more importantly, despite our best efforts to construct our public personas, we honestly have no control over how people might perceive us, and frankly because of that, there is no reason anyone should give control over their sense of self worth to anyone else. Be your most authentic self and own it, and your personal relationships will, more often than not, work out pretty well. I was lucky that in my twenties, there was no social media to dissuade me from this point of view.

Many authors have little rituals or habits when they write. Do you have any that help you get into the creative zone?

I wake up most days around 4 a.m. It’s quiet. I’m at my most alert. I make coffee and settle into my favorite chair with my laptop, and write, undisturbed by the world for at least two to three hours.

How long did it take you to complete the novel from first draft to final version?

As I mentioned, it was first a screenplay, which took about 18 months, off and on, to complete. Then, once I decided, at the behest of my family, to transform it into a novel, probably another six months of writing and revising.

Were there any major changes between your first draft and the published version?

Mostly deleting scenes from the original screenplay that in my opinion didn’t add value to the narrative in novel form. Part of me was worried that I was cutting so much that the novel would be “too short,” but I remembered Jerzy Kosinski’s screenplay and novel versions of “Being There.” both are favorites of mine in their respective genres and, if I remember correctly, the novel was something like 98 pages long, all in.

Outside of writing, what hobbies or interests keep you inspired?

I am a hobbyist composer, spending as much or more time in my home recording studio as I do writing. I also advise a number of startups on innovation and design, and will be starting as an adjunct professor of innovation, design and AI in the fall.

Lastly, can you share any hints about what you’re working on next?

I am actually about 40% through rewriting another screenplay I created into a novel. It’s a thriller, not a comedy, and it spans a 20-plus-year story arc. Stay tuned!

Thank you, Justin Daab, for sharing your insights and experiences with us today. Your journey from screenwriting to novel writing is truly inspiring, and your thoughts on authenticity and creativity will surely resonate with readers and aspiring writers alike. We look forward to seeing more of your work in the future!