Chatting with the Pros: Jonathan Maberry

My guest this month on “Chatting with the Pros” is New York Times bestselling author, Jonathan Maberry. Not only is he a five-time Bram Stoker Award winner, and comic book writer, his vampire apocalypse series, V-Wars, became a Netflix original series. Like last month’s guest, Jonathan Maberry is a prolific writer in multiple genres, including horror, science fiction, fantasy, suspense, thriller, and action. He is a board member for the Horror Writer’s Association, and president of the International Association of Media Tie-in Writers, as well as the editor of the rebirth of the iconic Weird Tales Magazine.

I had the pleasure of working with Jonathan briefly when he participated in the 2020 WordCrafter Stay in Place Virtual Writing Conference, where I learned that he is a prettty stand-up guy. Since he is the editor of Weird Tales Magazine, I also had the privelage of working with him on Weird Tales: Best of the Early Years 1926-27 and editing his story for the Gilded Glass anthology as an intern at Wordfire Press through Western State Colorado University came with a big case of imposter syndrome on my part. Who was I to be editing the work of this award-winning, bestselling author? But he was great to work with in the capacity of both author and co-editor, and it is a pleasure to have him as my guest today.

Interview with Jonathan Maberry

KAYE BOOTH: You are an award-winning author, including the Bram Stoker Award for horror, the Scribe Award for media tie-ins, the Inkpot Award from the San Diego Comic Con, and numerous accolades for children’s and teen books. In fact, in 2016 you had an award named after you and were the first recipient at the Canyon Crest academy Writer’s Conference, which was the first teen writer’s conference in the U.S. Can you tell us about the Jonathan Maberry Aspiring Teens Award, the conference and why you were chosen for the honor?

JONATHAN MABERRY: That award came as a shock to me. I had been teaching for a few years at the wonderful Canyon Crest Academy Writers Conference and have been a strong supporter of the event. Before that I taught the Experimental Writing for Teens program back in Doylestown, Pennsylvania…and several students from that group went on to make professional sales in novels, short stories, and nonfiction. I’ve always liked working with our younger creatives  –it’s my way of selfishly insuring I’ll always have great books to read. When the conference decided to name the award after me because of my work as an author of Young Adult and Middle Grade fiction, my work in comics for Marvel, and other things, I was so surprised. It’s a deep honor to help present the award each year, and there are many, many folks out there who deserve it. We must all work together to help guide and teach the next generation of creatives.

KAYE BOOTH: You also have several comics and graphic novels. How does your writing process differ for these types of books?

JONATHAN MABERRY: I’m primarily a novelist. I think in long, complex stories. However, a different skill set is needed for comics. Novels are solo ventures, however, and comic books are created by a team. The writer pitches the story and presents an outline to the editor. Editors in comics are a lot more hands-on than in other mediums –more like a movie director. Once the editor approves the comic going to script, he then picks the art team. This could be a penciler and inker –two types of artists; or it could be an artist who does both. Then the colorist and letterer are picked. The writer decides how many panels will be on each page and provides art direction. The artist sends back rough pencil sketches to show how the art direction would translate into visual storytelling. The editor, artist, and writer discuss this, make adjustments, and then the artist typically sends pages as they’re completed. There’s multiple pairs of eyes on this every step of the way. The colorist enters the picture around this point, often long before the entire thing is drawn. Colors matter, and I’ve learned from experience that the colorist is much like the lighting person in film –those colors suggest mood and tone. The last player is the letterer, and he has to make sure the dialogue and any narrative have room in each panel. This often requires that the writer do a pass to slim down the dialogue so as not to block the art, just as it’s important for the writer to consider which images best accompany dialogue–mor art can show with little or no dialogue; dialogue-heavy panels should not require complex art. Then there’s multiple passes where everyone tries to find any graphic or textual errors. It’s a fun process, but time-consuming. And it’s key for a writer to keep the ego in check. This is a team, not a solo thing, and every player brings experience, insight, and skill. A wise writer allows them to participate in the process of telling the story in what is predominately a visual medium. Comics are fun, though. And the collaborative process can really be fun and enriching.

KAYE BOOTH: Do you do the illustrations?

JONATHAN MABERRY: Although I am an artist, I don’t do my own comic book art. I’m not on that level of art skill, and besides, the artist choice is complex. The editor often suggests multiple possible artists, and discusses with the writer whether any given style suits the story. Once chosen, it’s useful for the writer to check out that artist’s previous work and then adjust his writing style to be harmonious with it. Being an artist myself helps with this process.

KAYE BOOTH: Some of your work has been turned into film, including V Wars, and Rot & Ruin. How does one break into this arena? Do you have to know somebody who knows somebody, or are the tricks that can help you in breaking into the trade?

JONATHAN MABERRY: When I stepped into the fiction world I knew no one in Hollywood. I’ve made a lot of friends through events like San Diego Comic-Con and other pop culture things where I’m on panels with other writers, comic book people, and folks from Hollywood. Many of my works have been optioned –and an option is when a producer “leases” a work for a specified period of time in the hopes he/she can put together a package (often a showrunner/head writer, maybe a director, maybe an actor, etc) that will be appealing to a studio. Mostly it’s freelance producers who option works.

My first optioned work was Patient Zero, my fourth novel. It was optioned by Michael De Luca for SONY, which took it to ABC, and it nearly made it to TV. At that time, the network exec decided to go instead with a remake of Charlie’s Angels. And that sort of thing happens to all writers. Later, when I wrote the V-Wars books and comics for IDW Publishing, they had created a media division, and it was IDW who shopped the project around and eventually found a home on Netflix. Alas, the show launched at the beginning of Covid, so even though it was a hit (#1 in 120 global markets), they canceled it. And, that’s Hollywood, too. I had nothing to do with that process.

However, because of my increased visibility due to V-Wars, I began getting invitations to send lists of my IPs to producers. IP = Intellectual Property (novel, short story, comic, etc). And sometimes a studio exec will invite me to L.A. for a face-to-face. During those meetings –which are openly fishing expeditions—I would chat about my works and which I feel would make for a good movie or TV show. One example was when Carl Rogers, the Vice-president of Alcon Entertainment invited me up for a sit-down. We chatted for a couple of hours, and afterward they optioned my teen post-apocalyptic zombie novels, Rot & Ruin for film development, and we are currently at the second draft of the script. More recently my Joe Ledger novels have been optioned for television. In both cases I’ll be an executive producer if we go from development into actual production. As an EP, I’ll have extensive creative input.

I also have a book-to-film agent, Dana Spector of CAA, and she is actively pitching my works to producers.

KAYE BOOTH: These days it seems like traditional publishing is faltering, or at least taking a back seat in many authors’ minds as they opt to take control of their own careers and publish independently. As someone who has been in the business for a while now, what do you see as the future for the publishing industry?

JONATHAN MABERRY: I disagree that traditional publishing is faltering. What’s changed is that indie publishing has matured thanks to the many advantages of digital sales (eBooks and downloadable audiobooks) and lower costs because of print-on-demand. Crowdfunding like Kickstarter, BackerKit and other utilities have allowed indie authors to finance well-edited and beautifully-designed books. Social media also gives indie writers a length of reach they never had before. Traditional publishing is actually learning from indie publishing, but the size of their companies makes it a bit harder to pivot in the direction of innovation. It is happening though.

I’ve been publishing for a long time. I began in the pre-Internet typewriter days when I was writing nonfiction magazine feature articles and nonfiction books (college textbooks and mass market). I saw the gradual changes as publishing evolved with the times. Since breaking into fiction in 2006, we had economic downturns that did a lot of damage to publishing corporations, as well as the rise of digital tech. I live quite comfortably off of my income as a traditionally-published author. Part of that is having a smart literary agent –Sara Crowe of Sara Crowe Literary—who has helped guide my career and with whom I’ve sold 60 novels, sixteen short story collections, 26 anthologies (as editor), ten nonfiction books, 28 runs of comics, and a board game in 18 years. So, no, I don’t think traditional publishing is in trouble. What’s key, though, is the writer also changing with the times. When new technology comes along that looks like it’s going to stick around long enough to matter, it’s part of my job to investigate, understand, and implement it in ways that support my career.

KAYE BOOTH: Many of the stories you write are really scary, weird, and creepy stuff. Where do the ideas for these stories come from?

JONATHAN MABERRY: Writing genre fiction does not involve giving a handful of characters a pleasant day. We write about crisis in its many forms. It doesn’t matter if it’s a zombie apocalypse or a fragile romance or Curious George misplacing his keeper’s yellow hat. There is a crisis at the heart of all drama.

For me, I like it darker because it allows me to write about people finding their way through –and hopefully out of—that darkness. I grew up dirt-poor and in a very violent household. My father was a terrible person, an abuser, and a racist. However my grandmother was amazing. She was basically Luna Lovegood as an old lady –she believed in everything that made up what she called ‘the larger world’, including ghosts, ESP, vampires, sprites, angels, faeries, werewolves, crisis apparitions, and all the rest. So, I was exposed to various kinds of ‘darkness’ as a kid. One very negative and one in which I found a great deal of comfort. My grandmother taught me not only about the folklore, myths and beliefs regarding the supernatural, but encouraged me to read anthropology, sociology, philosophy, and science in order to separate what is not part of the larger world and allow for what might be.

Funny, but a lot of folks ask why I write about monsters. I tell them that I don’t –I write about people who fight monsters, and that is a significant difference. In order to tell a story about rising above adversity, where one or more people confronting apparently impossible odds and an overwhelming threat, you have to make that threat real and the challenge steep. That way, the story is really about them finding courage, cultivating optimism, working together, becoming empowered, and taking agency over their own lives and destiny.

KAYE BOOTH: What are some tips you can offer to rising authors for making things scary or suspenseful?

JONATHAN MABERRY: There are a few ways to make a scary story really stand out. First, there’s the research. Folklore, mythology, and cultural beliefs offer thousands of scary elements, including older and much stranger versions of vampires, ghosts, demons, werewolves, etc. So, instead of doing a rinse-and-repeat thing with the standard Hollywood or publishing-world versions of these monsters (which, by the way, are largely extrapolations of story elements created by writers and not from any actual folklore), read deeply and build stories on less well-known and therefore less-predictable monsters. For example, nowhere in folklore is a vampire afraid of a cross or killed by sunlight. Nowhere in folklore is a vampire unable to enter a house unless invited. The sunlight and cross thing comes from Bram Stoker’s Dracula; and the sunlight was introduced as a convenient plot device in the 1922 silent horror film, Nosferatu.

Second, writers should start by taking a close look at what scares them. Them, specifically. When writing from one’s own fears, the connection to the emotions is right there, and if the writer is brave enough, then the confessional elements are truer and not watered down.

Then, write about what the characters in any given scene are feeling, maybe eavesdrop on their thoughts. Let the suspense of a threat not yet fully understood play a larger role than the reveal of the creature itself. Anticipation is so important to good horror storytelling. Once the monster is revealed, the story often morphs from suspenseful horror to terror-action. Not the same thing at all.

KAYE BOOTH: What do you think is the biggest misconception aspiring authors have about publishing that first book?

JONATHAN MABERRY: Oh, they think that first book is going to flip the switch and change their lives. Most people have no idea how small advances are for newbies, especially since the last couple of economic downturns. Also, they forget to put some of that money aside for taxes. They assume that their book will land in every single bookstore, and that doesn’t even happen for the top tier. They assume their published work will be on bookstores indefinitely. They expect the publisher to do the lion’s share of advertising. They believe they’ll be sent on a book tour. And they think that a published book is going to guarantee sell the next one pitched.

There are a lot of misconceptions. Dispelling these, and helping to set more realistic expectations and to learn how to be a more effective player in one’s own career path is one of the reasons I began the Writers Coffeehouse over 20 years ago. These are free 3-hour monthly networking events, typically hosted by indie bookstores, hosted and facilitated by actively published writers. The purpose is to help other writers to make good career decisions, learn the way publishing works, maybe find an agent, write better queries, learn social media strategies, and generally understand both the craft of writing and the business of publishing. I’ve been running the San Diego chapter at Mysterious Galaxy Bookstore in San Diego (https://www.mystgalaxy.com) for the last eleven years. We also have a Facebook page on which writers can ask questions, share information, brag about career milestones, and be part of a mutually-inclusive and supportive community. )www.facebook.com/groups/TheWritersCoffeehouse/). Ours is held from noon to 3pm on the first Sunday of every month. I host it, but when I’m not available it’s hosted by either Peter Clines, Scott Sigler, or Henry Herz –all successful writers.

KAYE BOOTH:  Is there one book you have wanted to write, but haven’t written yet. If so,  what is it and why not?

JONATHAN MABERRY: Oh, I have a bunch of dream projects, and I hope to get around to them at some point. One is a literary novel, Fruitwood Manor, about a retired soldier who buys an old hotel and turns it into a writers colony.

About Jonathan Maberry

JONATHAN MABERRY is a New York Times bestselling author, 5-time Bram Stoker Award-winner, 4-time Scribe Award winner, Inkpot Award winner, anthology editor, writing teacher, and comic book writer. His vampire apocalypse book series, V-WARS, was a Netflix original series starring Ian Somerhalder. He writes in multiple genres including suspense, thriller, horror, science fiction, epic fantasy, and action; and he writes for adults, teens and middle grade.

His works include the Joe Ledger thrillers, Kagen the Damned, Ink, Glimpse, the Rot & Ruin series, the Dead of Night series, The Wolfman, X-Files Origins: Devil’s Advocate, The Sleepers War (with Weston Ochse), NecroTek, Mars One, and many others. Several of his works are in development for film and TV. He is the editor of high-profile anthologies including Weird Tales: 100 Years of Weird, The X-Files, Aliens: Bug Hunt, Out of Tune, Don’t Turn out the Lights: A Tribute to Scary Stories to Tell in the Dark, Baker Street Irregulars, Nights of the Living Dead, and others. His comics include Black Panther: DoomWar, The Punisher: Naked Kills, Bad Blood and many others. His Rot & Ruin young adult novel was adapted into the #1 horror comic on Webtoon and is being developed for film by Alcon Entertainment. He the president of the International Association of Media Tie-in Writers, and the editor of Weird Tales Magazine. He lives in San Diego, California.

Find him online at www.jonathanmaberry.com 

My Review of Mystic: The Monk Addison Case Files

I received an ARC copy of Mystic: The Monk Addison Case Files, by Jonathan Mayberry from Wordfire Press in exchange for an honest review. All opinions are my own.

The unique character of Monk Addison is a literary Dexter, but with more valid motivation and a lot less planning. Monk lives in Pine Deep, a small town where weird occurrances are commonplace and villainous human monsters seem to be in abundance, so those few who know Monk’s story take it in stride. Monk is a bounty hunter who sees the dead murder victims, and avenges them, sealing a bond with each one to him with a blood-ink tattoo of their face on his skin. Once the tattoo and bond are complete, he lives their final moments through the victims eyes, be coming them and reliving their pain, their emotions, in the hope of gleening of glimpse of their killers face or other clues to the identity. Then, he seeks out the one or ones responsible and ends them before they can do the same to someone else.

Mystic is a collection of well-crafted short stories and poetry which relate his experiences with that other kind of case. Not the usual skip-trace, but the ones in which it’s too late for the client, and the goal is to save future would-be victims from suffering the same fate. I have to give kudos on the cover. It is unique, sums up the character and the story premise visually and is one that won’t soon be forgotten.

This short fiction collection is packed full of surprises. I never knew what to expect as I rooted for this antihero character and his friends. I give Mystic five quills.

About Mystic: The Monk Addison Case Files

Gerald “Monk” Addison used to be a soldier. Sometimes he’s a bounty hunter. Mostly, he’s a killer of killers.

His body is covered with the faces of victims of serial killers, human traffickers, and other monsters. Their blood is mixed with holy water and then inked onto his skin, allowing him to relive their deaths. To feel what they felt, and to see what they saw. The faces of the killers.  

And then Monk goes hunting. 

He is forever haunted by the ghosts who hire him. A madman mystic. A man driven to darkness and acts of shocking violence. Monk is a good man on a dark and dangerous road in search of personal redemption. In search of red justice. 

Mystic collects the Monk Addison case files, pitting him against the most dangerous kinds of human monsters. These are stories of a complex and driven hunter of men. They are tales of a mystic hunting the nightmare streets and back alleys.

ic is set for release on December 3rd, 2024. You can purchase many books by Jonathan Maberry from his WordFire Press author page.

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