It got started in a couple of different ways. My grandmother (who died in 1978 at 101) told me as a boy about the myths and legends –or as she called them ‘beliefs’ of the supernatural. I grew up knowing a fair bit about the folklore of supernatural and occult beliefs, and while writing several nonfiction books on the subject I got the idea for a novel in which the characters encounter the supernatural as it appears in folklore, which is substantially different from the way it is most often portrayed in popular fiction and film.
Ghost Road Blues deals with a small Pennsylvania town whose industry & tourism is built on its long-standing haunted history. They have Hayrides and a huge Halloween Festival…but they discover that the town is far more haunted than they think, and that turns out not to be a good thing for the residents or tourists.
It’s the first book of a trilogy, informally known as the Pine Deep Trilogy. The series continues with Dead Man’s Song and will conclude with Bad Moon Rising in June of 2008.
For most writers, having their first book published by a big NY publisher is a dream come true. How did this come about? Did you initially find an agent?
Ghost Road Blues is my first novel, but not my first book. I’ve been a nonfiction author for thirty years. I’ve written over a thousand magazine articles, plays, short stories…the works. I served as my own agent for selling the nonfiction books –and this is not something I recommend. My first books were textbooks I wrote for a number of college courses at Temple University (Judo, Self-Defense for Women, Introduction to Asian Martial Arts, etc.). Then I did some martial arts books for a small press. When I decided to try my hand at fiction –which was totally new territory for me—I decided to look for an agent.
I made a wish-list of the agents who worked with the authors I most admired, particularly those writing in the same genre where I wanted Ghost Road Blues placed. I wrote a heck of a query letter and approached the top agents I could find. When I got go-aheads to submit my book, I gave each some time to read the material and then I invited them out to lunch, one at a time. I like face-to-face book pitching, and over lunch we talked about my book, other books I wanted to write, and about the book world.
From those encounters I was able to choose from a couple of agents who offered to represent me. I believe I made the best choice for me. My agent, Sara Crowe of the Harvey Klinger Agency (formerly of Trident Media Group) has sold eleven books for me since April 2005. Six novels and five nonfics. She sold Ghost Road Blues to the second editor who read it and Pinnacle Books has done a marvelous job with the series.
Ghost Road Blues just garnered the Bram Stoker Award for Best First Novel of the Year. How does this make you feel as a writer?
On top of the world. It’s a somewhat surreal experience to try something totally new –book length fiction—and then have it become a celebrated book. I would have been happy just to see it in print; but the Stoker win was terrific. It’s supercharged me, too.
Tell us a bit about your other books. What was your inspiration for these books? Which themes obsess you?
Since I come from a background of magazine feature writing I have the writers’ knack of becoming obsessed with a topic –for a while. Aside from the martial arts books I’ve written, I’ve also written articles about dating, mixology, jazz, blues, film, gastropod farming (no, that’s not a typo), business, parenting, writing, technology, folklore and dozens of other topics. When I’m in research mode I want to know everything I can about a subject, and then I find that one element –the hook—that will give me something unique that I can pitch.
For books, I feel that I’ve kind of ‘been there, done that’ with martial arts. I’ve been an active jujutsu practitioner for 46 years now and I’ve written extensively about it. In 2002 I ‘moved on’ from that topic and became more fully enmeshed in folklore, which has always been a passion of mine. I suppose it’s the closest thing to an abiding ‘obsession’ with me. There’s so much to say on the subject, even within my area of specialty, which is the folklore of the occult and paranormal.
My first book on that subject was The Vampire Slayers’ Field Guide to the Undead, which is the only book I ever did under a pen name (that of Shane MacDougall). It started me in that direction, and after I landed my agent I gave her a proposal for a new book on vampire folklore, Vampire Universe, which she very quickly sold to Citadel Press. Before I’d finished writing that book the deal got tweaked and expanded so that I was now under contract to write three more books in the same, ah…’vein’. The second in that series, The Cryptopedia (co-authored with David F. Kramer) just debuted on September 1. That one is an occult/paranormal dictionary covering thirteen different subject areas (from divination to UFOs). The final two in that series are tentatively titled They Bite! (which discussed supernatural predators) and Vampire Hunters and Other Enemies of Evil, scheduled for release in 2009 and 2010 respectively.
In 2008 I’m diverting from folklore for a pop culture monster book: Zombie CSU: The Forensic Science of the Living Dead, also for Citadel, in which I ask real-world experts in forensics, law enforcement, medicine, and science how they might react and respond to zombies (of the Night of the Living Dead variety). All lots of fun.
What are your writing habits? Do you work on an outline before starting the actual novel?
I’m a very disciplined writer, but I allow for a lot of flexibility. I write an outline first and character profiles. Then I sit down and draft out a very rough ‘preliminary synopsis’ of what the finished book might be like. I like complicated storylines and deep-reaching character development, and that has to be planned to some degree. However I have never finished a project that bears much resemblance to the original outline. Books are organic and they’ll change in the telling. The outline allows me to remember the underlying logic of the story, but I often let the characters drive the car.
Also, as you develop a scene there is an internal logic that often necessitates story changes you did not initially predict. This is cause and effect as applied to writing, and that allows the story to take on a pattern closer to reality.
I write every day, and I did that long before writing became my 9-5 job. I’m a believer in that saying: “If you write every day you get better every day.”
I roll out of bed around 7:30 and by 8-ish I’m at my desk. I set goals for myself –usually 4000 words per day. If I write more, that’s great, but it doesn’t mean I can write less tomorrow. On weekends I scale it back to about 1000 words.
Which element of fiction writing comes more naturally for you—plot, characterization, description, and dialogue? Which one gives you the hardest time?
Character development and dialogue are easiest, though all of it takes work. Complex plot is the hardest because you have to both entertain the reader and keep him guessing. You can’t make the puzzle too hard for them to grasp but at the same time you have to be aware that readers are smart, savvy and experienced, which means that they’ll be thinking two or three steps ahead. Balancing plot development and its twists and turns requires a lot of thought, and most of that occurs when you’re not at the keyboard. For some bizarre reason I get my best plot twist ideas while I’m in the shower. Who knows, maybe by shampooing my hair I’m stimulating brain cells; and it’s a much happier result than when I sing in the shower –which I do badly and at great volume.
What goes on inside the mind of the horror writer?
It’s not cobwebs, bats and spiders. Writers, particularly horror and thriller writers, spend a lot of time in their own heads. We poke into old closets and dusty attics, places where we’ve stored our fears and the memories of hurt and trauma. Horror writers generally start out by taking what scares them and writing about it so that they can watch it from a distance, gain some perspective over it, and then resolve it. It’s great therapy; but more importantly it allows others (readers) who have had similar experiences, to see that these are things that happen to a lot of people. We write about loss, heartbreak, abuse, neglect…and we build horrific elements around them to make the tales less overtly individual (to ourselves) and therefore more widely accessible. It’s a fascinating process.
We also listen to the voices in our heads. For most people this a red flag and medication & restraints might be involved. But for writers –and not just horror writers—our characters are, to some degree, alive in our heads. We allow them to talk to one another. Very often the best scenes and dialogue come from the characters inside the writers head being given license to talk and act. Then we go write it down. I believe it was Bradbury who said that writing is 99% thinking about things, and then the rest is typing.
Why do you think so many people enjoy horror fiction while at the same time loathing death and violence in real life?
Because horror fiction provides us with safe chills. We love the adrenaline rush on a rollercoaster, especially when it feels like it’s about to go off the rails, but we really, really need to believe that it won’t. Horror fiction is a rush. It satisfies the need to experience the whole range of human emotions. That’s why horror often has romance, humor, and other emotional qualities in it.
And for many it’s a way to reinforce the belief that monsters can be overthrown. In real life there are real monsters: abusive parents, violent criminals, rapists, hostile governments, terrorists…and for most people this is all way beyond their control. They feel disempowered by these threats. In horror fiction we can feel the same intensity of fear but in the end (usually) the good guys win and the monster dies. Never underestimate the power of closure, even if it’s escapist closure.
Are you still expected to do a lot of marketing and promotion on your own, or does your publicist/publisher take care of all the planning?
Unless you’re king of the bestseller list, if you’re an author you’re expected to do a lot of promotional work yourself. Until just recently (when I hired a publicity manager) I had to set up my own signings, create my own swag (those cool giveaway items authors sometimes have), and so on. My publisher, like many in the business, will do a little but not a lot. It’s an economic thing; plus they know that writers who want their books to succeed will hustle a lot of this themselves. It’s not fair, but there it is.
The trick is get into the mindset where you enjoy the process. And I do; though I did hire the publicist because of time constraints. I have to write 2 ½ books per year, so my time is getting limited.
After Bad Moon Rising comes out next year I’ll be writing fiction for another publisher, St. Martin’s Press, and they’ve offered to provide me with a publicist. That’ll be just dandy.
Would you like to share with our readers some of your current or future projects?
Aside from the books I already mentioned, I have a short story coming out in the anthology History is Dead, edited by Kim Paffenroth. It’s an antho of zombie stories set prior to the 20th century. My story, “Pegleg and Paddy Save the World” is a comedy about two moonshiners who run afoul of gangsters and zombies in the days leading up to the Chicago Fire. I’m collaborating with playwright Keith Strunk on a movie script based on the story.
I’m also shifting gears a little bit in fiction and am writing a bio-terrorism thriller, Patient Zero, for St. Martins Press. It’s the first of a series of novels about a police detective, Joe Ledger, who gets recruited by a secret military organization to help stop a group of terrorists who are planning to launch a weaponized disease that turns people into zombies. It’s not a horror novel, however, and I even have a decent medical explanation for how the zombies function. This book is tentatively scheduled for release in early 2009.
And I’m working on developing a couple of horror-related projects with collaborators, including a script for a graphic novel.
I’m also launching an online horror ezine, Cryptopedia Magazine (www.cryptopediamagazine.com). That’s going to be great, with lots of top writers and artists involved.
Do you have a website/blog where readers may learn more about you and your works?
My main author website is www.jonathanmaberry.com; but I’m also co-founder of a writers education center, The Writers Corner USA (www.writerscornerusa.com), and we’re just about to launch a number of online classes for writers. On MySpace I can be found at www.myspace.com/jonathan_maberry and www.myspace.com/cryptopedia.
I haven’t really started much of a blog, though I dearly want to. It’s a time thing. I’ll get one rolling when I’m sure I’ll have the time to provide interesting things for my blog readers to share.
What advice would you give to aspiring writers who are trying to break into the horror genre?
First off, one sad reality about the business is that ‘horror’ per se is not a thriving genre. Top writers like Stephen King, Peter Straub, Robert McCammon, Dan Simmons, Anne Rice…they never labeled themselves as horror writers. Most often their works are published as ‘fiction’, ‘thrillers’ or ‘suspense’.
To break into the business of writing horror I suggest pitching your book as a ‘supernatural thriller’. You still need to approach agents and publishers who work with horror, but the labeling matters, especially in the book pitch process.
Also, writers should learn as much as they can about the business of writing. Craft will take you only so far; but after you’re done typing –like it or not—your book becomes a commodity. Everything from that point on is business. Those authors who understand this thrive; those who don’t…don’t. There is a conceit within the creative community that writers make lousy businessmen; and that’s total crap. Writers are best at research –so go and research what it takes to make a good book and a good deal.
And, when pitching a book, make sure your pitch letter doesn’t get bogged down by trying to tell every last blessed plot point. That’s the wrong time to make those points. Be brief, be interesting, and always include information about why this book will satisfy the needs of readers who love this genre. To you it may be about the book, to the readers it may be about the book; but to agents, editors, booksellers, etc. it’s about how much money that book will make. When a writer learns the business he gets to participate more actively in the discussion phases, which means he’s more likely to make the kind of money that will give him the time to write and write and write.