Ghost Maven

 

Ghost Maven cover

Author, television producer, award winning documentary film maker, and world traveller, Tony Lee Moral, has just completed work on his second published novel, Ghost Maven, and has generously offered to share a bit of insider scoop on his new book, what drives and motivates him, and what he has planned next. Despite an increasingly busy work life, as with everything Tony takes on, he remains focused and grounded while enjoying the creative journey he rides with each new project and challenge. Welcome Tony!

Interviewer: Debbie A. McClure
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Q: Your work spans several genres, including documentary film-making with your own production company, journalistic interviews with celebrities, and author of several books. Is there a common thread or arc in each of these endeavours? If so, what would that be?

A: Story! Story! Story! Whether it’s making a documentary film, writing a novel, or interviewing your subjects for a non-fiction book, each has the common thread of having a good story at the core. If I have something compelling to say, I will write, direct, produce, or find an outlet to tell my story.

Q: Your latest project, Ghost Maven, is a YA novel, which is quite a departure from your previous books on Alfred Hitchcock and murder mysteries. Can you share a little about this story to whet a young reader’s appetite?

A: In Ghost Maven, I blend mystery, with suspense and the supernatural. The central character, Alice Parker, moves to Monterey, California, with her father and little sister after her mother dies. Whilst kayaking in the bay, she paddles towards a mysterious island, but capsizes and is drowning when a young man, Henry Raphael, magically appears, delivering her safely to the beach. Against all rules, they begin seeing each other. It’s a love story with a twist.

Q: Why YA at this point in your career?

A: I’m inspired to write different genres, and as a compulsive communicator, I wanted to reach out to as many different readers of all ages as possible. The Young Adult readership is especially appealing to me, as I read many books in my teens and can identify with the hopes, fears and aspirations of being a teenager. It can be a very uncertain time for many teens, but I hope they identify with the characters in the book and want to share the journey with them.

Q: Have you ever encountered a ghost or spirit form in your personal life or travels? If so, what happened? If not, do you believe in ghosts?

A: I haven’t experienced ghosts or spirit forms, but I have had some intuitive dreams. Like Alice, I have experienced personal loss, and I use those feelings to create an atmosphere of reaching to the after life. I do believe that some things can’t be explained and science is still trying to unlock the answers.

Q: What surprising correlations or similarities have you discovered between film-making and writing?

A: Good storytelling is at the heart of both film-making and writing, whether it be shaping well-developed characters, creating emotional arcs and creating compelling situations. A good film or book takes the viewer or reader on a journey of discovery, enlightenment, or good old-fashioned entertainment.

Q: What dissimilarities have you discovered between film-making and writing?

A: With film-making, one should think in visuals, rather than relying on words or dialogue. You have a rectangle to fill with a succession of images to create an emotional response. Hitchcock said he wasn’t interested in photographs of people talking in his films, so I try to rely on visuals to tell my story when directing. In fact, I often think my novels are more like screenplays as I’m always thinking of the mise-en-scène, where the characters are, how they are dressed or what expressions they have on their faces. The advantage of writing is that you can really get inside your characters’ minds, what they are thinking and feeling, which you can’t quite do in a documentary film.

Q: What would you say fuels your imagination in writing?

A: Definitely travel – I’m lucky to travel with my day job as a film-maker, and I have been to some extraordinary places and have had access to some incredible situations and people. I’m like a sponge, absorbing human behaviour and thinking of how I can translate stories to the page or screen.

Q: How long does it take you to write a novel from first draft to final edit?

A: It depends on the publishing process. I first wrote Ghost Maven in 2010, so six years later it is being published. The last 18 months has been especially productive, as the novel was honed through various drafts, and I had some wonderful input from agents and copy editors.

Q: You are represented by a literary agency, Loiacono Literary Agency, in an age when many writers are choosing to self-publish. What has been your experience in working with an agent?

A: One of support and encouragement, which is invaluable as writing can be a very lonely process. The great screenwriter Jay Presson Allen, who I interviewed, described writing as a “divorcement from life”, which I can totally identify with. But having an agent is having someone to share the rewards and accomplishments with. What’s the point of being successful, if you have no one to share that success with?:

Q: Can you tell us a little about your production company, Sabana Films, and what you are trying to accomplish with your films?

A: I won the Special Jury award last year at the Jackson Hole Wildlife Film Festival, which was an incredible, inspiring moment, and has reignited my love for natural history. I’ve started filming a documentary movie which I’m very passionate about called ‘The Cat that Changed America’. It’s about P22, the mountain lion who is trapped in Griffith Park in LA, and the wonderful conservationists and Angelenos who are trying to help him.

Q: If you could sit down and spend an evening chatting with three people, dead or alive, who would they be, and why?

A: Alfred Hitchcock, because I’ve written three books on the Master of Suspense, and currently writing a fourth on his reputation. His films have inspired me and are text book examples of film making and screenplay writing.

F. Scott Fitzgerald, as he is my favourite author, his prose is elegant, simple and elegiac. I love The Great Gatsby, the world Fitzgerald lived through and created, and the characters who populate that world.

Winston Churchill, because he epitomizes everything great about being British, what I love about England, and the country where I was born. His stoicism and heroism is something to be admired.

Q: What’s next for you, Tony?

A: I’m looking forward to my book tour for Ghost Maven. On Labour Day weekend, Saturday 3rd September 2016, at 2 p.m., I will be in the Old Capitol Books store in Monterey, California, signing copies of the book. It’s very special to me to launch the book in the place where the novel is set and where I lived for two inspirational years.
Q Where can our readers find you online?

http://www.ghostmaven.com
http://www.tonyleemoral.com
http://www.alfredhitchcockbooks.com
http://www.thecatthatchangedamerica.com
http://www.sabanafilms.com

https://www.facebook.com/tonyleemoralfans/

 

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Seeing Things

Nancy Young cover

“True love is like ghosts,” wrote Francois de La Rochefoucauld, ” which everyone talks about and few have seen.”

Over the years, film, television and fiction have given us a bounty of stories in which star-crossed soul mates discover themselves up against the greatest divider of all – that pesky line separating the living and the dead. Whether it’s the hero who longs to be reunited with a beloved bride that was snatched from his arms too soon or a wistful heroine who has reconciled herself to the belief that all the best men are married, gay or a possible figment of their imaginations, author Nancy Young delivers a fresh twist in her latest novel, Seeing Things.  When you’re out to debunk the existence of ghosts – as well as deny your own ability to see them– what’s a girl to do when the sexy techie whose attention she has attracted is, quite literally, out of this world?

Interviewer: Christina Hamlett

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 Q: So tell us a little about your journey as a writer and who (or what) was the greatest influence on your quest to become a published author?

A:        I was hooked on writing from the time the teacher posted my lion story outside our first grade classroom. Even my research reports in school tended to morph into narratives. In the college where I worked, a group of us met weekly for critiquing sessions, which helped me grow out of that awkward beginners’ stage, rife with poems about butterflies and roadkill.  Drafting up to 17 stories a week when I was a reporter gave me confidence as a writer. Once I quit teaching, I had the time to publish poems, short stories, and plays. I started the novel because everyone in my writing group was working on one, and I didn’t want to feel left out!

Q: Were you a voracious reader when you were growing up? If so, what book titles might we have found on your nightstand?

A:        I grew up in the local library—literally. My mother was a librarian, and after school I’d hang out, sometimes helping alphabetize cards, but most often working my way through the collection, graduating from the children’s floor to the adult section by the time I was in middle school. (It was a very small library.)

As a girl, I read and reread The Wolves of Willoughby Chase, The Witch of Blackbird Pond, Mrs. Piggle-Wiggle, The Lion, The Witch, and the Wardrobe, From the Mixed-Up Files of Mrs. Basil E. Frankweiler, as well as Mary Stewart novels, Victoria Holt novels, Poe’s and Vonnegut’s short stories, and an assortment of folklore anthologies. My guilty pleasure was those Gothic paperbacks—the ones with a nightgown-clad woman running in terror from a brooding castle. My favorite of that genre still sleeps in my bedside table: Moura by Virginia Coffman. From the list, you can see that I’m drawn to a mix of supernatural/ fantasy elements, strong characters, and dark humor.

Q: You’ve described your newest release, Seeing Things, as a romance with paranormal elements. What’s your attraction to this particular genre?

A:        The two genres are a perfect balance of light and dark. I love the tensions of romance—the friction, the rising stress, and the eventual capitulation. With paranormal elements, I can introduce unpredictability—a plane where intelligence and logic have no impact. Since I prefer strong characters, the complications they face have to be out of their immediate control.

Q: What was the inspiration behind Seeing Things?

A:        This book started out to be anti-genre. The central character is neither innocent nor naïve. She doesn’t want to be rescued.  Her love interest isn’t a taciturn alpha male, either. I took a sly delight in having Mary Catherine reject the typical hero.

Q: Have you ever had any ghostly encounters similar to those experienced by your intrepid heroine?

A:        When I was a T.A. in grad school, I shared an office with a folklore expert. He was often called upon to investigate odd phenomena and invited me along on investigations. At a plumbing supply business in Northeast Philly one bright winter afternoon, I heard bells chime in a wall where there were no bells, saw a clock run backwards when its power source had been cut off, and looked over a strange arrangement of paper plates and a dead bird on a breakroom floor. Since the business owner was anxious to keep the investigation secret lest it hurt business, a hoax seemed unlikely. This scenario found its way, in a different form, into a chapter of Seeing Things.

Another example occurred when I lived in a hundred-year-old farmhouse. In the attic (accessible through a trap door in my bedroom), hats, tools, and an old Royal typewriter had been left behind by the original owners. That typewriter would periodically have a new line of type on the tattered, yellowed sheet rolled into its platen. My kids were under five and couldn’t have accessed the attic without help—nor could they spell, for that matter.

Out of curiosity, I participated in an EVP study at Rhine Research Center, a parapsychology center that was originally part of Duke University.  Though most of what I heard in the controlled study was static, two voices sounded loud and clear. I have no idea if those were “control” sounds or actual examples of paranormal recordings.

Oddly enough, things like this fail to bother me. Put me in heavy traffic on the Beltline, though, and my palms will sweat.

Q: What governed the choice to pen this story in the first person? For instance, do you feel a special kinship with the narrator?

A:        I actually wrote the first few chapters of Seeing Things in third person before recasting it in first. The first-person POV won out with everyone who read both versions. So many of the great Gothic narratives are written in first person—Brontë’s Jane Eyre, Poe’s “The Tell-Tale Heart,” Gilman’s “The Yellow Wallpaper,” du Maurier’s Rebecca. First person narratives bring immediacy to a story and create a close bond between narrator and reader. Most importantly, this point of view allows for dramatic irony; the reader sees more than the narrator does. I loved playing with that notion with Mary Catherine, my protagonist.

Some readers hate first person novels, and I knew I was taking a risk. Don’t let anyone tell you it’s the easiest perspective to write in. When it’s done right, it’s amazingly challenging. For instance, readers want to know what a character looks like, but real people don’t describe themselves. Finding innovative ways to impart such information’s like a literary game.

Early on, I thought my narrator had little in common with me, but as the book progressed, I realized we suffer from some of the same issues. My local librarian even remarked that the woman on the book cover looks like me.

Q: Unlike typical romances that are formulaic in nature – as well as predictable – you opted to incorporate unexpected twists in character and plot. Why did you decide to go this route?

A:        When I was browsing the in the public library two years ago, I picked up book after book with the same basic plots, the same interchangeable, tiresome characters. When I started writing my own novel, I set out to create a book I’d like to read—one with a funny, complex central character, an atypical love interest, and a plot that pokes into unexpected places.

Q: Would you call yourself a plotter or a pantser and why does this your choice of development style work well for your personality?

A:        I’m a pantser for most of the writing process, at least until I write myself into a dilemma and have to type my way out of it. Even though I like to feel in control of the worlds I create, my characters develop minds of their own, veering off in unanticipated directions. A good writer, like a good director, has to be flexible. In the editing process, however, I’m meticulous.

Q: Have your characters ever surprised you?

A:        They often say things I didn’t expect, and then I have to rethink the plot line. My novel characters turn out to be every bit as complicated and contradictory as real people. Developing their arcs is like watching a child mature.

Q: Tell us about the title of the book and what it means to you.

A:        Seeing Things hints at much: questioning what is real, what is imagined, what is true. People constantly close their eyes to things they cannot face. I remember teaching Oedipus Rex to a class of students who thought that Oedipus should have closed his eyes (pre-poking them out) to the evidence of his guilt, remaining happy in his ignorance. I never understood how anyone could do that.

Q: What’s your favorite novel or movie about someone falling in love with a ghost?

A:        I watched The Ghost and Mrs. Muir (Gene Tierney, Rex Harrison) when I was little, along with the old Dark Shadows TV show. And my husband and I still dance to “Unchained Melody” from the Ghost soundtrack.

Q: If, hypothetically, one day you return as a ghost yourself, where would you most likely be hanging out and why?

A:        I’d be in my office—the tower room of the Victorian house I live in. The current residents would hear the faint tapping of my keyboard late at night, and the cat would refuse to cross the threshold.

The writer might die, but the words live on.

Q: How did you go about finding a publisher for this project?

A:        I had submitted my novel to two or three big publishing houses, and it languished in the slush pile. After reading a NYT article, I aimed instead for a small publishing house and had my work accepted.

Q: “Home” for you is a small town in North Carolina. How has this influenced your life as a writer and the interactions with your non-writer neighbors?

A:        When you ask a question around here, you get a story in response. The South teems with unusual people who speak in colorful metaphors and act unpredictably. Many of my poems and short stories stem from local lore: the lost woman walking the streets twirling a hula hoop, the church organist who suffered a breakdown when faced with a new electronic keyboard, the raging diva displaced from a local singing group.

My close friends are writers and artists. To keep myself grounded, though, I joined my neighborhood book club. Most of the other members are literal people who work with computers. Unsurprisingly, we have different tastes.  I often think their book choices would benefit from the addition of a zombie, especially those dreary stories about the Episcopal priest. They find me quirky. I consider that a compliment.

Q: What would most people be surprised to learn about you?

A:        I like heavy metal.

Q: If you could summon the ghost of any famous person in history to have a chat with, who would it be and what question would you most like to ask?

A:        John Donne. As a young teen, I’d daydream about him while I studied his picture on the cover of the Norton Anthology. Donne was such a fascinating mixture of passion and intellect, and he gave up everything for love. I’d ask him if he thought it was worth it.

Q: What are you working on now?

A:        So many things—the third book in the novel series (the second’s awaiting publication) , another novel featuring a minor character from Austen’s Sense and Sensibility, a scene for a Regency play, and a short story about a pregnant woman going quietly insane.

Q: Where can readers learn more about you?

A:        My bio is published on Amazon and Goodreads, as well as on my publisher’s site http://www.worldcastlepublishing.com/author-nancy-young.html . I also have a Web site, http://nancymyoung.com.

Q: Anything else you’d like to add?

A:        The sequel, Hearing Things, should be out in 2015.