Duane Lance Filer grew up in Compton, California, where he lived an extraordinary childhood surrounded by strong family values, rich cultural history, and a front-row seat to the civil rights movement through the work of his parents, Blondell and Maxcy Filer. A natural-born storyteller with an exceptional memory and a lively imagination, Duane started writing as a teenager and never looked back. His work captures the soul of Black culture while weaving unforgettable characters into heartfelt, entertaining stories.
A proud graduate of Cal State University, Long Beach, Duane’s writing career spans decades, fueled by a deep passion for history, music, and preserving the richness of Black experiences. His newest book, If You Don’t Know Diddley, You Don’t Know Squatt, marks his tenth published work and showcases his unique ability to blend humor, historical truth, and musical brilliance. Set against the backdrop of the late 1950s and early 1960s Chitlin’ Circuit, the novel follows a young, gifted guitarist navigating a world of racial prejudice and industry challenges.
Duane’s books reflect his commitment to telling meaningful stories that entertain, educate, and celebrate. Whether writing for young readers or adults, he continues to build a literary legacy rooted in authenticity, resilience, and heart. He currently lives in Los Angeles, California, and remains deeply connected to his Compton roots.
For more about Duane Lance Filer and his work, visit http://www.dlancefiler.com.
Soignee Lifestyle Magazine Author’s Interview
SLM: Your new book just dropped—and it’s your tenth. That’s no small feat. What can readers expect from If You Don’t Know Diddley, You Don’t Know Squatt?
I’m thrilled to share that If You Don’t Know Diddley, You Don’t Know Squatt is officially out and available everywhere—hardback, paperback, online, however, folks prefer to read these days. This one’s close to my heart. It follows a young guitarist named Diddley Squatt who’s got this raw, revolutionary style that shakes up every stage he steps on. Set during the late ’50s and early ’60s, the book takes readers on his first wild ride through the Chitlin’ Circuit—a tour packed with tension, discovery, and soul.
There’s a lot going on beneath the music. Diddley’s dealing with the ugliness of racial prejudice, trying to make his mark in an industry that doesn’t play fair, and holding his own as a young Black artist with something to prove. He’s not alone, though. He’s got a fast-talking squirrel named Sly riding shotgun, plus a tour bus full of unforgettable characters—grizzled blues players, a hilarious duo, an R\&B act that burns hot onstage and off. There are fights, sabotage, the kind of friendships that don’t come easy but stick around when they do.
Even with all the chaos, Diddley keeps showing up. He leans on the people around him, draws inspiration from migrant workers and the faces in the crowd, and finds a kind of healing through the music. The climax builds to this powerful performance that leaves the audience in awe—but right after that high, life hits hard again. A hurricane barrels in. A family emergency pulls him off the road. He heads back home with a broken heart and a head full of new truths.
It’s gritty and loud, funny in all the right places, but at its core, it’s a coming-of-age story. Diddley learns what it really means to stand your ground, find your voice, and hold onto your fire even when the world tries to blow it out.
SLM: Growing up in Compton during the golden era you describe, what parts of your childhood most shaped the way you tell stories today?
We had great neighbors growing up – the parents looked out for all the children on the block. I walked to school for elementary (Rosecrans Elementary), Junior High/Middle School (Walton Jr. High), and High School (Compton High School). We would play touch football in the street, freeze tag, hide-and-seek – but we had to be home by the time the street lights came on! Our neighbors would look out for all the kids – even whoop them if they acted up – and everyone understood. Can you imagine that happening in today’s world?
SLM: Your parents, Blondell and Maxcy, were active in the West Coast civil rights movement. How did their work and values seep into the stories you create?
I was so blessed. My dad helped start the first NAACP chapter in Compton in the mid/late 1950s early 1960s and my mom Blondell was right with him – making signs and flyers. Mom Blondell had this old school copying machine and would print out the flyers we would pass around. We had the first meetings at our home at 542 West Arbutus Street, Compton, California 90220. My older sister Maxine still lives there today with my younger brother Dennis. Because Compton was known as the “Hub City,” many of the black players on the LA Dodgers lived in Compton. Johnny Roseboro, Charlie Neal, and Tommie Davis of the Dodgers lived in Compton and would come to the meetings.
My parents always pushed that education was the key, and made sure all seven of the Filer children went to school, studied, and went to college. We never gave up! It took my dad Maxcy 24 years to pass the California State Bar to become an attorney (a record) – he passed it on his 48th attempt. He never gave up…..and we always pass on PERSISTENCE…PERSISTENCE…PERSISTENCE.
SLM: You’ve been writing since high school. Was there one early piece you wrote that made you think, “Yeah, I’m really onto something here”?
In 1965, my first short story was written for Mrs. Pierce’s 7th grade English class at Walton Jr. High in Compton – I was 12 or 13 years old. Mrs. Pierce had us write a story about “something that happened in your life.” I wrote a story about our first Filer family dog, named Missy. We had never had a dog before, and one day my father surprised us by bringing home a mutty looking puppy we called “Missy.” Mrs. Pierce told me I was a good writer and should continue writing stories. Later, in 2015, I wrote a children’s book about our first dog entitled Ms. Missy – Bishop’s First Dog.
Then, at Compton High School, Mr. Alvin Taylor’s Black History class inspired me to write “what you know.” My next stop was at Cal Lutheran College (now University) where creative writing professors Ted LaBrenz and Dr. Jack Ledbetter encouraged me to continue to write my off-the-wall short stories. After college, I continued to learn the craft of writing at the Watts Writers Workshop in 1973–1974 (God bless Harry Dolan); the Open-Door Writers Program for Minority Writers at 20th Century Fox (1980–82); and the Institute of Children’s Literature.
SLM: You have this incredible knack for building vivid, unforgettable characters. How do you breathe life into someone like Diddley Squatt or your other leading figures?
In 1971, while in college at Cal Lutheran University, I read the novel Fear and Loathing in Las Vegas by Hunter S. Thompson. It was something about the characters and how they described what was happening in the book that hit me in the heart. I kept reading and found out that Hunter had described this type of writing as “Gonzo” journalism, which is where the writer is a part of the story, writing from a first-person narrative – or the writer kind of includes himself in the writing – like the writer is there when the story is happening. The writer uses sarcasm, humor, and exaggerates personal stories that he himself experienced. I could just feel “gonzo” journalism and use it in all my writing.
SLM: Diddley Squatt is such a bold and original creation. Where did the spark for his character come from—and how much of him is drawn from real people you knew?
Richard Pryor is my favorite comedian of all time… hands down. When I started delving into his history, I found his life history so interesting. His mother and father kind of deserted him when he was born and he was raised/brought up by his grandmother – who ran a brothel in Peoria, Illinois. Richard remembers being raised by the girls in the brothel – some helped, and some didn’t and abused him – but how many mentored him and gave him encouragement to be himself.
SLM: If You Don’t Know Diddley, You Don’t Know Squatt is set in the late ’50s and early ’60s. What drew you to the Chitlin’ Circuit and that particular slice of music history?
From that old saying, “If you don’t know the past, you can’t understand the present.” All music was born in the past and passed on, and all music copies stuff from the past. Rock and Roll stole from the Blues – which stole from early Gospel – which started in the late 1800s.
Get your copy today!! The book is available at Amazon, Barnes & Noble, or visit my websites at https://duanelancefiler.wixsite.com/duanelancefiler and https://duanelancefiler.gothambooksinc.com.
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