Real Words in Made Up Places — Episode 1: Johnathan Maberry
Overlooking the Pacific to the West, and a grand ranch to the East, the home of our next guest sits prepared for the worst. In a world overcome with despair, our next interview will either excite you or terrify you.
Tonight’s offering brings us to the home of the famed author of such acclaimed novels as the Joe Ledger series, the Rot and Ruin series, and a hit show, V-Wars, on Netflix — here is Jonathan Maberry.
At first glance, he is an imposing figure. Adorned in a black t-shirt, black combat pants, and boots, my first thought is “I’m glad he’s on my side.” With a diverse background of adventurous moments — he holds an 8th-degree black belt in Shinowara-ryu Jujutsu — Jonathan often seems more like a secret agent than a mere author. Perhaps he was a wizard in another life.
After getting a tour of his self-built, anti-zombie, ready-for-anything-apocalypse home, we settle into his library and workspace. My skin gets a sudden tingling, my eyes soak it all in, and my heart melts just a little. Breathing in the essence of this room, ever so lightly I absorb the talent that has been created here.
Opening my eyes, I take one last breath, stop my fan-boy giddiness and I see him smiling behind his desk.
BRUCE HUSTON: What happened when you were young that told you that you had to write?
JONATHAN MABERRY: I’ve always wanted to write. Before I could actually read, I was telling stories with toys. My first validation was in sixth grade when I wrote an essay on futuristic societies for an English assignment, and it was printed and shared with the whole school. And then in seventh grade, I had the amazing good fortune to meet several top writers of that era (1970) and be mentored by them. That group included Ray Bradbury, Richard Matheson, Harlan Ellison, L. Sprague de Camp, and a few others.
BRUCE: Which authors were your greatest inspiration?
JONATHAN: I drew great inspiration from the writers I met as a kid, but of those Richard Matheson’s ability to cross genre lines was a massive influence. Also, Ray Bradbury’s enduring sense of wonder infused a lot of my own optimism and excitement. And I drew inspiration about developing suspense from Shirley Jackson; dialogue skills from Ed McBain; character development from John D. MacDonald; and story structure from Harlan Ellison. More modern influences are James Lee Burke, John Sandford, and Walter Mosley.
BRUCE: If you could snap your fingers and have one of your work in progress/ideas be done — which would it be?
JONATHAN: I don’t think I’d do it. I love the actual process of writing and revising too much to want to bypass that.
BRUCE: Where do you write?
JONATHAN: I have a lovely book-lined office at home, though I often go out to coffee shops.
BRUCE: Why do you write?
JONATHAN: The glib answer is ‘because I must’, but there’s a lot more to it than that. Having worked a lot of different kinds of jobs –bodyguard, bouncer, graphic artist, jujutsu master, college teacher — writing is my true calling. I’ve been a full-time working pro since switching from part-time nonfiction to full-time fiction in 2006. I write for the love of it, yes, but I also write because it’s the best damn job in the world. I get to play in my imagination all day long and get paid well for it. Talk about a true dream job.
BRUCE: Why should someone come to a writers conference?
JONATHAN: Writers conferences infuse a writer with a sense of excitement, and they fuel optimism. They inform about the skills of the writing craft and the structure and reality of the business of publishing. They get to interact with other writers of all genres and levels of success, sharing insights, learning tips, networking, and realizing that the various challenges they face are common to all writers. And that solutions always exist.
BRUCE: Rejection comes for us all. What is/what was your way to cope with rejection?
JONATHAN: Rejection is an accepted element of the business. It’s not personal. I learned long ago not to take things personally, particularly in business. When I was writing magazine features, if I got a rejection my response was to put ten more queries in the mail that day. Nowadays, if I pitch something to an editor via my agent and we get a thumbs down, I will already have a few backup pitches locked and loaded.
Bruce: Thank you, Jonathan, it’s a real honor to spend this time with you.
People everywhere seem to always recount immediate crisis’ as time slowing down. In this instance, it seemed to speed up. Outside, alarms that are spread across his property go off instantaneously. My heart stops, and Jonathan leaps from his chair as part of his bookshelf slides to the side. Behind it, a collection of swords, six-shooters, and bladed staffs hang from the wall.
He tosses me the six-shooter, yells “Let’s go!”, and the next greatest moments of my life begin.
