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Weldon Writes ... Almost a Blog

Suspense/Horror Writer Billie Sue Mosiman Talks about the Craft of Fiction

We were all greatly saddened to hear that Billie Sue Mosiman has passed. She was always supportive of so many of us in the writing community, and her work was enjoyed by readers around the world. Billie was an incredible woman, a wonderful friend, a powerful creative force, and a champion for female horror writers everywhere. This interview was originally published in the November/December 2018 issue of Suspense Magazine, shortly after her death. It's unfortunate that she never had the chance to read it in print.

 

Billie's Night Cruise was nominated for the Edgar Award and her novel Widow was nominated for the Bram Stoker Award for Superior Novel. She was a prolific writer—although largely suspense/thriller novelist, she often wrote horror short stories. Billie had also been a columnist, reviewer, and writing instructor. I'm glad I had the opportunity to interview her before she passed … and hope you find the following inspiring.

 

You've been writing professional since the early '80s—more than 60 books and probably more short stories than I can count. What persuaded you to write in the first place?

 

I was always a reader and went through a lot of books as a youngster. Then one day a man in a suit came to my grandmother's house. He looked so grand I sat around listening in the living room while they spoke. I discovered he was a Dean of a University and I knew you had to be educated to do that. I was smitten by an intellectual. I thought, yes, that is what I want to be. Just like this man.

 

My family had never gone to college, but, at thirteen, I knew I would. And it would be grand. Of course, I wanted to go to learn how to be a better writer. I had faith and determination. I went to my little blue diary and wrote in it: When I grow up, I want to be a writer.

 

What authors inspired or influenced your style?

 

I loved Steinbeck, F. Scott Fitzgerald, Jim Thompson, Bradbury, and a raft of others. It was a few years of reading before I came upon genre books and loved them too, reading each author's entire works.

 

Your work often bridges the gap between suspense and horror. A prime example, I think, is your novel Night Cruising, an Edgar Award Nominee. How much of this wedding of horror and suspense is intentional, and how much is simply "I write what I enjoy reading"?

 

The books are organic in the way they turn out. My work was always graphic and I didn't think I owed anyone anything. I was free to write the novels as they came to me. So sometimes they were called horror, but were unlike straight horror.

 

Your novel Widow was also nominated for a Bram Stoker Award. The story involves a female serial killer and a male copycat murderer, and apparently you did a lot of research for the book. You even interviewed exotic dancers. Likewise, your novel Wireman was based on true crimes in the Houston area back in the late '70s. How much research is required for your fiction? How do you go about it?

 

Sometimes it takes a lot of research. If I don't know something I won't write about it. I didn't know how detectives worked so I asked questions of another writer's chief of detectives' husband to build my own in Wireman. Some books are purely imaginary, set in places I've lived or traveled to. But if I don't know something I make sure to research it.

 

You've also been an editor, most notably of the anthology Frightmare—Women Write Horror, which also garnered a nomination for a Bram Stoker Award. You've always been a champion for female writers, especially those in the horror and suspense genres. What led you to start this particular project?

 

I saw so many anthologies on the market in horror and it always appeared to have a predominance of male writers. I have nothing against them as some are the best in the world. But where were the female writers? I knew for certain there were great women writers being ignored. I decided I'd do something for them. I'd pull together an anthology that gave them a voice. I think I was angry. I never backed down from a fight and I thought it was past time for a fight. The women came through and I was so proud. I did not add my own work. It was for them.

 

As an editor, what do you look for in a story? What gets you to "yes"?

 

If it excites me and if it catches me in the first three paragraphs. I don't like info dumps or overly wrought work or stories with no point. I'm kind of exacting about those things.

 

Your novel Moon Lake involves a lake monster, but the focus is on the teenage lead characters. Is this the closest you've come to a YA novel? If so, was this meant to attract a younger audience?

 

It was meant as an adult read, but I see how it would appeal to a teen. I'm part kid myself so I'm not surprised I end up with novels meant for a younger reader.

 

You've also written a memoir of sorts, Alabama Girl: Memoir of a Writer—Part 1. What motivated you to write your own story? Is there or will there be a "Part 2"?

 

My mother was such a towering personality in my upbringing and a disruption to the family. I had her and my dad living in my large home when they aged, but each day was like I was twelve again and my mother was the queen in my life. I don't know if I have the heart to write the second part of that book. My son, our only child at the time, died in a house fire. Other terrible things all living creatures confront happened and I just didn't think I could face writing about it. So it may never happen.

 

Do you think about marketing at all when you're in the "creative mode"?

 

Nope. I never had to do that and I can't start now. I just write stories.

 

From your perspective, how has publishing changed over the years? Where do you think it's headed?

 

Publishing has lost its way. The Amazon digital phenomenon started it. Anyone who wanted to write a book did. Those who hadn't read enough. Those who hungered for fame before they knew the rules of grammar. And so forth. We all know what happened. People got used to free digital copies. Why should they pay? Publishers, in some instances, did a rights' grab from authors then overpriced the market. The film and TV scripts have overtaken the reading of books. I weep for the whole scene and hope one day things return to normal. Normal being more than three major publishers, higher advances, more promotion, sharing digital rights with authors, and so forth.

 

We are not tradesmen. We don't make art except with words. From our minds to yours we share worlds. It's an honorary endeavor and as serious as can be. That's what I learned from the great authors who came before me. The world needs stories and novels. People need them. They may not know it, but I do. Since the caveman wrote on cave walls, we should have known now important a life of letters can be.

 

Looking back, what would you have done differently? In short, what advice would you offer a young writer following in your footsteps?

I doubt I'd done anything differently except maybe slowed down publishers who pushed me for the next book. My advice to young writers is to be true to yourself. If you like mystery writing and someone pushes horror onto you, balk, back-peddle, do anything you can to stick with what you love. Read tons of books, of all kinds. Write like a mad person. Trust your gut. And never, never give away your Life of Copyright. If someone wants to give you a million bucks for it to one of your books, trust you can get $1.2 million from some other publisher who won't steal your copyright. Besides being productive, you must be smart.

 

And, last question, what do you enjoy most about writing?

 

Being lost in the story and nothing else exists. Thinking how others feel when they read my words. 

 

 

We miss you, Billie.

 

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Print Books Are Not Dinosaurs ... Yet

For the past few years, digital devices and e-books have gained great popularity in schools and homes—and most school-age children have access to the technology. Smartphones and iPads proliferate in many of our schools. Many educators believe that print books will soon become obsolete—or at least decrease in use—as children mature in a world ruled by technology.

Yet, so far, this hasn’t been the case. According to Scholastic’s 2015 Kids & Family Reading Report, the print book is not dead yet. Most students have read an e-book—61% in 2014 compared with 25% in 2010. However, for students ages 6–17, print books are still preferred—65% compared with 60% in 2012, and 77% who had read e-books said that the majority of books they read (especially for pleasure) were in print.

A preference for print books may be a growing trend in our society overall. According to the Association of American Publishers, e-book sales have steadily declined since 2012. Comparing AAP survey results from January 2015 and January 2016, sales of paperback books grew 4.3%, while e-book sales declined 24.9%. (However, in the same period, sales of hardback books fell 18.7%.)

According to a 2015 survey of librarians by the School Library Journal, 56% of schools in the U.S. reported that they include e-books in their libraries, but only 6% of librarians reported a high student interest in e-books. Their observations show that, while students may use e-books for research and school projects, they prefer print books for pleasure reading. They appear to prefer a book “in hand”—there is an apparent physical, tactile element to reading.

This seems also to be true for college students. A new study, recently reported in Tech Times, indicated that 92% of those surveyed preferred print books over e-books. Interestingly, of those who preferred e-books, many expressed concern over the environmental consequences of publishing paper books.

Our teachers use digital books in their classrooms more and more. The next generation of students, taught how to use technology at an early age and now entering our lower schools, may change reading habits. But it’s too early to tell if they will have a greater affinity for e-books. So we are left to wonder how trends will change in the future of education. Most likely, students (and ultimately adults) will develop the ability to use both mediums—print and electronics—for accessing information and enjoying the “fun” of reading. Perhaps this dual ability will positively affect the literacy of our students.

But it’s clear from current research that print books are far from extinction.

First published in The Source for Private School News, Vol. 16, No. 3.


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