Interview W. J Calabrese

by

Emma Kennedy

 

One of life’s small pleasures afforded author, W.J. Calabrese (William J. Calabrese) in recent months has been to put “novelist” as his occupation on his Income Tax form because he is, at last, a full-time writer. He recalls wanting to write books almost for as long as he was able to read them--or decades. This resulted in writing at odd moments and in strange places, always constrained by family obligations and the demands of a full-time career. In early 2001 his novel, BORDERLAND was published by now defunct Century 21 Bookstore and was nominated an Eppie finalist for 2002. Wings ePress Inc. has reissued BORDERLAND, April 2002. They will also publish two more of his books, To Capture an Eagle and The Endless Place later this year.

Here’s W.J. Calabrese with a few comments about his writing.

Emma: Wings lists you as a writer of historical adventure and mystery. How would you describe the genres that you write in?

W.J.C.: My output has been equally divided between historical novels and what I like to call “soft horror.” I have completed two of each, but the balance will soon be lost, because my current WIP is another historical. All of my historicals to date have the Revolutionary and post-Revolutionary USA as their time and setting. I hope to branch out into other genres, too, as suitable ideas present themselves to me.

Emma: The idea of “soft horror” is intriguing, especially for those people who may blanch at the normal run of horror novels. Will you explain “soft horror” more fully, please?

W.J.C.: By soft horror, I mean stories where the monsters are semi-horrible, there is very little blood and guts, and the heroes don’t take themselves very seriously. I compare my soft horror novels to the old Night Stalker TV series with Darren McGavin. They have the same sort of humor content and are, I think, the kind of stories anyone can enjoy, even if they don’t like horror. By the way, my other soft horror book is titled The Endless Place. In addition to its horror elements, it is also a romantic ghost story. Stay tuned.

Emma: Borderland sounds like a fascinating can’t-put-down read. What was your inspiration for it? Where did the idea come from?

W.J.C.: Thanks--I like to think about it that way myself. As to where the idea came from… I’ve done more than my share of riding on commuter trains, and for years I’ve had this idea rattling around in the attic about an ordinary guy who falls asleep on a late night commuter train, misses his station, gets off at one he has never visited before, and suddenly finds himself in a very strange place and in very deep trouble. Problem is, I could never figure out just what the strange place was like and just what the deep trouble would be. When I finally figured out those two things, Borderland was the result. Just goes to show that sooner or later everything in the dusty old attic gets used.

Emma: Describe your writing process. Which comes first, character or plot?

W.J.C.: Character and situation--always. First comes a character, in trouble or about to be. Next I need a fair idea of how the trouble is going to be resolved. Then I can start writing. The middle part takes care of itself and in the process of creating it I sometimes change my mind about what the ending will be.

Emma: Will you please give us a quick blurb for Borderland so we have an idea of what you write?

W.J.C.: Here is my back-cover blurb: Phil Sarone is stuck in a job that he hates and a life that is going nowhere. One night on the commuter train, that all changes. Before the night is over, Phil will find himself in another dimension and in a whole universe of trouble.

Emma: You’ve got me hooked! How do you research a story like that? Do you use any special tools or methods that you could recommend to other writers?

W.J.C.: In contrast to my historicals, where I spend months and months on research, my horror novels are like a vacation for me. They mostly come out of my head, with very little research involved. Don’t get me wrong, I love research. It is a great feeling when, in the back room of some obscure reference library, you dig out a little-known fact or incident that suddenly changes the direction and meaning of your story.

Emma: What is it about the hero of Borderland--Phil Sarone-- that you found intriguing enough to want to write his story?

W.J.C.: Phil Sarone is the kind of guy we can all relate to. He’s not quite sure where he is going or why, but he is resourceful, he has guts, and he is able to laugh at himself a little, too.

Emma: Writing instructors often declare that a good story succeeds on the strength of its characters. How do you develop your characters? Where do you find them?

W.J.C.: Many of my characters are personifications of some aspect of myself. I did a bit of acting early on, and the techniques that actors use to ‘become the character’ have helped me on many occasions.

Emma: Do you ever pattern your characters after real people?

W.J.C.: Not consciously. Sometimes, after the fact, I’ll recognize some traces of somebody I know in one of my characters, but it isn’t a deliberate thing.

Emma: What do you consider your strongest writing skill?

W.J.C.: The ability to just keep writing, no matter what. It was the skill that took me the longest to develop. For a novelist, without the will and ability just to crank out those pages, day after day, all the other skills don’t matter.

Emma: In what order do you write? For example starting beginning-to-end, combining parts, in random order or in development cycle?

W.J.C.: I always write the beginning first. Sometimes I write the ending next. Then I fill in scenes in between, as they present themselves to me--that is, in no particular order.

Emma: Are you a plotter or "seat of the pants" writer?

W.J.C.: I need some sort of outline to work by, otherwise my story would wander off and get lost. The outline usually gets changed as I go along, but it serves to keep me on track.

Emma: Do you revise as you write, or revise after a rough draft

W.J.C.: Both. I often use the technique of revising yesterday’s pages before I start on today’s--as a sort of warm-up exercise.

Emma: In general, how many revisions do you usually find necessary?

W.J.C.: One more than many. I’ve never been able to get away with less than four or five revisions, and there are sometimes more than that. One of the many good things about Wings Press is the excellent editors we have here. The help of a good editor is very valuable, but it is a luxury that too few writers today get to experience.

Emma: What genres do you read when you're not writing? Any favorite authors?

W.J.C.: I find myself reading a lot of action-suspense lately. That is partly because there are some very good writers working in that genre today. Folks like James Lee Burke, James W. Hall, and Elmore Leonard, for example.

Emma: Can you name another author whose work has influenced you heavily?

W.J.C.: Charles Dickens and Robert W. Parker, not necessarily in that order.

Emma: I understand that Wings has contracted to publish another book. Will it be what you call “soft horror” or a historical adventure? What is the title and when may we expect it to be released?

W.J.C.: Two books, actually. One will be To Capture an Eagle, my historical about the little-known attempt to capture Benedict Arnold, after his defection to the British, and to bring him back for trial. It is scheduled for release in September. The second is The Endless Place, the soft horror novel I spoke of earlier.

Emma: Is there any final comment you would like to tell your fans about BORDERLAND before we close?

W.J.C.: Yes--If you buy my book, I’ll promise to come to your house and wash all the windows.