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Max Woosley

Q: Do you feel like a prophet, after the WTC and Pentagon attacks? I imagine it was hard to take, seeing it actually happen when you’d been so deeply involved in the research. Where were you when it happened? A: I was at work and received word that an airplane had struck one of the WTC buildings. Since I work in a vault without TV, I thought it must be some hapless single-engine piper or something. When I received word that a second aircraft hit, I knew it was terror.


People around me immediately started saying how close the attacks paralleled my book. I was not pleased at all and said to one of them, “Don’t you get it? Probably ten thousand people are dead or are going to die. Whether there are parallels or not is not the point.” I’m certainly no prophet and don’t feel like one.


Q: I understand Tom Clancy got contacted by Washington, D.C. after publication of The Hunt For Red October because of all the specific (and supposedly secret) info contained in his book. Unless it would violate security, has anyone contacted you about your book or any info in it? A: I have not been contacted by any authority. I have contacted President Bush, Jeb Bush, and even sent a letter to Governor Davis of California. I did receive an email from one of Jeb Bush’s aides. He thanked me for the information and assured me that Mr. Bush had forwarded the material to the national level. Still nothing from Washington.


Q: What specifically got you interested in terrorists and writing about them originally? A: A discussion at work upset me. Several people were discussing (this was in 1997) that terrorists could never mount a large-scale attack here in America. I told them they were wrong and in the ensuing discussion, got the idea to write Holy War.


Q: How did you do your research into militant Islam (or should I say Muslim?) warriors and their cells? Were you able to conduct all your research from the U.S., or did you travel to Muslim countries for some of it? Can you tell us something about the avenues you used to do your research?


A: While a member of the USAF, I traveled inside the Soviet Union as an inspector. I found out that there were a large number of Muslims in that country. I did a little research via word-of-mouth inside the Soviet Union but the bulk of my research was done at the local library. I also called the local Muslim Mosque and received a lot of information. They were most helpful.


Holy War by Max Woosley

Q: I think it might be scary, doing this type of research. Have you ever been put into a situation that seemed threatening to you? A: I have not been put into any situation that was even remotely ‘scary’. I do take certain precautions to protect my family.

Q: What are your thoughts about the cause of terrorism, i.e., did your research indicate it was caused by poverty and hopelessness primarily (terrorists in general), or as a vendetta against Israel and Jews (Muslim terrorists specifically), or a combination of those and other causes? Is religion always involved with terrorists? A: Religion is not always involved with terrorists. I wrote an article “Politics or Religion” before the September 11 debacle.


Basically, it says that sometimes it is impossible to separate the two. Terror is extremely broad. To localize a bit, terror by foreign nationals against America is generally caused by our foreign policy. While I believe that America is the greatest nation, by far, in the world, we do not always wear white hats. I do believe that as a nation we always strive to “do the right thing.” I am proud to be an American. Osama bin Laden has been vocal about why he hates us. Our stand with Israel and our apparent non-concern with Muslim concerns is Osama’s rallying cry. The Quran does not sanction terror!


Q: Are terrorists always “led” by wealthy people? Which do you believe came first, if so–that a previously wealthy person was attacted to a cause that already existed, or that being a terrorist enables some individuals with good brains and business sense an outlet and motive to acquire wealth, to feed the organization? A: Terrorists are not always led by the wealthy. One shift has occurred in recent years. Terrorist groups were largely funded by states. Now these groups are being funded by individuals. Honey, diamonds, and sadly, drugs on the streets of America are funding terrorists. To be clear, large sums of money are not needed. When Ahmed Ressam testified at his trial (this is the guy that tried to blow up LAX) he stated that he was only given fifteen thousand dollars. Most of that went to living expenses such as hotels and food.


Q: In the same vein (and I’m assuming you did believe this, not just happened on it for a story line), what things made you decide an attack on U.S. soil was highly probable? And why by Muslim terrorists? A: The last decade has seen an increase in terrorist attacks against US sites outside the country. USS Cole and the embassies are a couple of examples. The LA Times carried an article about the trial of Ressam. In it they state Ressam, “testified in detail about how he and other jihadists in bin Laden-financed camps in Afghanistan were taught how to attack electrical power grids, airports, railroads, large corporations, hotels and military installations during millennium assaults. They also were taught how to track down and assassinate political figures, he said.” While this article appeared in July 2001, it mirrors what I believed in 1997 and 1998 while writing Holy War. We are an open society and are easy targets. My protagonist agonizes over this point on page 68 of Holy War. “We’re in trouble, big trouble. America is too open a society to prevent this type of attack. We’re too trusting, too faithful, and if you think about it, too honest.

America is complacent. We should have been working to prevent this from happening. A well-planned series of attacks by a small group of foreign nationals, with the help of American sympathizers, and backed by all the money necessary is capable of causing major damage to the American people as well as to America’s resources. Why hasn’t the FBI reacted already? And better yet, why didn’t America’s considerable intelligence resources know of the impending jihad and stop it before it began?” Muslim terrorists were an easy pick since they are the most well-trained and have the most hatred for America.


Q: And, did your research indicate a high probability of such a U.S. attack in the near future? If so, can you say how and what caused you to come to that conclusion? Did your story line grow out of that probability? A: Osama bin Laden had been threatening a Holy War or Jihad against America for some time. I believed that in 1998 he developed, or was developing, a plan to attack the American homeland. There were many indicators such as the attacks against American holdings overseas and the USS Cole incident. I believe that the lack of American response led Osama bin Laden to believe that Americans were cowards. I believe President Clinton’s weak response by attacking an empty or nearly empty training site by cruise missiles was the second worst thing he could have done. Doing nothing was the worst and President Clintion did that on other occasions. So, I believed that Osama thought he was strong and we were weak. He felt ‘right’ in his beliefs that Americans were corrupt, that they were evil, and that attacks were justified.


Q: Was your book intended as a real warning? If so, what made you decide to use fiction to put forth that warning? A: I wrote Holy War to ‘prove’ the possibility of attacks against America’s homeland. And that they would be easy to make by a small force. I used fiction, hoping that I could get it published before the attacks began. I hoped that many Americans would find the reading enjoyable and therefore gain some attention for my fears. Hindsight tells us that if Americans had kept their eyes open and notified authorities about suspicious events, we could have prevented SOME of the September 11 (if not all) attacks. One point, before September 11th Americans refused to have their ‘freedoms’ infringed upon, such as delays in airports for security purposes. Now, we are welcoming them.


Q: Again, did you primarily research Muslim terrorists, or terrorists in general? A: I only researched Muslim terrorists since I believed they were the most logical choice.


Q: I doubt any Muslim terrorist groups would have female members–does this seem, from your research, to hold true of all nationalities of terrorists?

A: This is certainly not true of all terrorist groups. Many have female members.


Q: I’m showing my ignorance here–are the Muslims and the IRA primarily the only terrorist networks–at least the only well organized ones? A: This is not true. There are many groups of terrorists. Until September 11th one of the most visible was a group in Columbia.


Q: Does it seem logical to you, given your extensive terrorist research, that something like the Anthrax letters would be the handiwork of a Muslim terrorist cell?


A: I don’t believe the Anthrax is the work of Muslim terrorists, although it could very well be. Anthrax is a poor weapon for terrorists because it is too difficult to spread. However, if terrorists simply want to sow terror then Anthrax letters are one viable method.


Q: I’m sorry, I haven’t read Holy War (yet! :>) ). Does it contain anything similar to recent events–i.e., attacks through airplanes, biological weapons, etc.? If not, what types of attacks does it cover (and don’t give away the ending, please–I do want to read it)? A: There are MANY parallels to Holy War. My terrorists shot down aircraft on takeoff, used chemical and biological weapons, and flew an aircraft toward the White House and diverted to attack the Pentagon.


Q: What is your sci-fi book To Live Again about? Does it follow a similar theme, within a sci-fi framework? A: My SF novel has nothing to do with terrorists. A scientist invents matter transportation then plots to store her ‘image’ on a computer so that the computer can recreate her if she dies. Interestingly however, my second, unpublished novel, Double for my Sins, and my third, also unpublished, Womack’s Dust, contain terrorists.


Q: Was To Live Again the first book you had published? A: Yes, To Live Again was my first written and first published novel.


Q: How did you get that first book published? Did you have an agent? (Many booksellers are frustrated authors, and it is always interesting to them about how an author gets that first book published.) A: Getting published was not easy. In fact it was most difficult. I spent seven years just finding an agent. Hundreds of letters to agencies were rejected and not one even asked for material to review. Most said they were too busy or were not taking on new clients. Many of the agencies I wrote about my work even advertised they were looking for new authors or that they were friendly to them. Still nothing. Finally, my wife (smart lady that she is) told me I should try the internet. So I did and within two months, I had an agent. Two years later I was finally published.


Q: Did you publish articles before writing To Live Again, or the other way around? In other words, the progression of your career as an author apart from research and writing on your job. A: I have written seven novels, two have been published. I wrote my articles after my success with To Live Again, trying to garner some attention for my second published work, Holy War.


Q: Tell us how you decided you wanted to be an author. Was it a natural outgrowth of your work, or did you get into your work because you are a good writer? A: I was encouraged for years to write. Family, friends, and coworkers all told me I should write because I told an interesting story. The clincher for me was when my supervisor told me that of all the people he had had work for him through the years, my work was the most succinct and effective in relaying the information he needed. Theodore Kleiser told me he never had to ask questions about a report from me, but almost always did for others.

Afterward, I seriously considered writing.


Q: Can you give us some info about future books you have planned? Are you working on one now? If so, when is it to be published? A: My promotional work for Holy War is consuming me right now. To be honest, I am itching to get back to writing. I have two novels I’d like to write. One is Kirlian Shadows, a book about an advanced photographic technique that ‘captures’ identities on film and No Stars without Night about a team of doctors ‘growing’ replacement bodies for themselves.


Q: What do you personally enjoy reading? A: I have always been an avid reader. The average American reads only 1,000 books in a lifetime. I passed that number somewhere in the fourth grade! I read everything from suspense to science fiction. Amazon.com really likes me, I spend lots of money there. I haven’t ever read a Romance novel and probably never will, but all the rest are fair game.


Q: Without being too nosy, what personal info about yourself would you like to give us, so we can get to “know” you as a person as well as an author? A: I am a fifty-year-old male with ten children. They range in age from 30 to identical twin boys who are almost three. I am married to a very intelligent lady who helped me in researching Holy War and provided some sound advice about one of my FBI characters. I work for the Department of Justice as a researcher (strange enough) but long to write full-time. My hobbies are racquetball, table tennis, golf, and fishing when I get the time.


Thank you, Max.


Interview by Shirley Bryant.

 

dorothyphotob

Q: Can you tell us a bit about yourself, and your writing career? And what books of yours have been published?


A: I’ve been writing ever since I was in the third grade, when I began writing for my elementary school newspaper. I wrote (and starred in) the sixth-grade play, a comedy. I wrote for, and edited, my high school college newspapers, and wrote for the college magazine. Writing has always been a large part of my life! I intended to be a journalist, and during college I worked on a big-city newspaper and in the advertising department of a large department story. But after college I was sidetracked into teaching, so at first my main publications came in the field of education.


I wrote many articles for teachers. In 1965, while I was using a new instructional system to teaching reading to first graders, I realized I needed to have much more practice material for the children, to accompany the books and workbooks furnished to me, so I wrote some stories that I knew would help the pupils practice on their own. The publisher of the new instructional system published these stories, paying me a minimal flat fee for each, and I used them in my own classroom. They helped the pupils gain reading independence.


Almost immediately, a large New York publisher bought the rights to those books from the instructional system and, without paying me any royalties, published the books by the thousands. I saw them sold in department stores and even supermarkets.


Soon I was burned out as a teacher and, after a year of study at the doctoral level, went into publishing, becoming a supervising editor for a large Boston publishing house that specialized in instructional material. While working there I continued publishing articles, mostly for teachers but some general enough to be reprinted in books, along with a couple of children’s books and stories.


When I left full-time editorial work for free-lancing, I continued both editing and writing, mostly textbooks but also articles for general magazines and newspapers. With Paul Keene I published Fear Not to Sow Because of the Birds , a book of essays on country living (Globe Pequot, 1976) and with Dr. Patrick Groff I published Word Recognition; The Why and the How (Charles C. Thomas, 1987). I also published an instructional book for primary teachers called Toad Charts, Paper Faces, and Other Ideas for Visual Comprehension (Scott, Foresman, 1988). For some instructional publishers I revised or edited workbooks or textbooks, many of them written by college professors.


Most of my writing was, however, contributed to the work of my late husband, Dr. Harold Seymour, the historian of baseball. Dr. Seymour’s three-volume study of the national pastime for Oxford University Press is still the classic work on the subject. He was the first academic to write baseball history. I was his collaborator, taking over all the research and organization, and gradually taking over the writing, too, as his health declined. He passed away in 1992, and I completed his third book for him.


annelikesred

Meanwhile, I have been working on a vegetarian cookbook that is different from anything on the market. Its focus is people who want to cut back on meat but miss meat a lot. These people want to enjoy meaty-tasting entrees, so I have devised a hundred of such entrees from a popular granular soy product called textured vegetable protein that can be made to taste amazingly like meat. Through my company, Patrician Publications, I am publishing Meatless Meat with the publishing services of Xlibris Corporation. The book is now in production. It will be ready about the same time as Ann Likes Red.


Q: Were you initially excited about or resistant to Jill’s idea of republishing your book?


A: I was surprised! I had forgotten about Ann Likes Red and the other little books published in 1965—until I began receiving letters from women longing to read it again and desiring to share it with their own little girls. One of them directed me to the listing for Ann Likes Red on Amazon.com, where I was astounded to discover many nostalgic messages about the book from women who wanted to buy it and couldn’t find it except for occasional (and expensive) rare old copies that occasionally came on the market. Amazon.com ‘s listing stated that the book was out of print, and the women who posted there asked that it be reprinted.


It was then that Jill (and another publisher) wrote me asking to sign me to a contract to reprint the book. I liked Jill’s approach—she sent me copies of her work and told me a lot about her company and how she had started it. With the help of her attorneys, Jill had searched for and found me (under my new name) through another publisher.


But I didn’t own the copyright to Ann Likes Red ! I had sold it for a small flat fee in 1965, and that company had sold the rights to a New York publisher—which had since gone out of business.


I worked with the U.S. Copyright office to re-establish my rights to the ten children’s books, paying them for the rights. Jill’s attorneys helped me research the history of the books’ owners. And now I own my own stories again!


Q: And how do you feel about the idea now, after seeing your book(s) in print again?


A: Delighted! Jill has sent me proofs of the Ann Likes Red cover and the folded-and-gathered pages. The book looks wonderful, better than the original. Jill invited me to write a short piece for the new edition, and I wrote an Afterword.


Moreover, the many women who wrote me asking for the book are now writing me about how thrilled they are that they will soon get a chance to see the book once more. Before the book went into production, Jill had already received many advance orders from women all over the country. I’m still amazed to discover how much effect this simple story of an independent little girl had on so many women of their generation. Many said they read the book over and over and over, until it was memorized; checked it out of the library every week for years; and still quote the book to their friends. I have written a couple of articles about my experience with this book. One is already accepted by an e-zine, Blue Ear. It analyzes the appeal of this story to girls.


Q: Without giving away any company secrets, has seeing your work in print again gotten the creative juices flowing and gotten you writing more stories (assuming that you haven’t been writing all along)?


A: I’m one of those people who needs no stimulation to get creative juices flowing. I rise about 4:30 A.M. to get started, and I work about eight hours a day, even though I’m now 73 years old. Besides articles, which I produce often (especially for the internet), I’m working on several projects. Most of my time at the moment is being spent on my second web site,

http://www.HaroldSeymour.com , which I plan to open this fall. It’s devoted to the work of my late husband, the historian, and the literary prize (the Harold and Dorothy Seymour Medal) named after him and me, which is given annually to the author of the best book of baseball history or biography published in the previous year. The Medal is awarded by the Society for American Baseball Research, with 7,000 members worldwide.


For the new site, I am having the winning books reviewed by scholars, along with the books that have reached the finals in the Seymour competition. The site is being designed and mounted by a web designer with an interest in baseball history, Ralph Wallace of Digital Innovators in Chicago. He is contributing his work gratis. He also designed and mounted my own web site, http://www.DorothyJaneMills.com .


Besides writing the new web site I’m working on the promotion for Meatless Meat ; helping with the promotion for Ann Likes Red ; and continuing promotion of The Sceptre . I have several more book presentations and autographings coming up this fall. I’m also researching the sequel to The Sceptre , called The Labyrinth.


Q: What originally got you into writing children’s stories in particular?


A: I think I’ve covered that above: my interest in education.


Q: Do you illustrate your own stories? If not, did you get a choice about who did the illustrating? Did you take them to a publisher pre-illustrated originally?


A: The original publisher, an educational company, had the books illustrated, choosing from its own stable of illustrators.


Q: Was it easy for you to get that first story published, when you started out?


A: Actually, my first little stories were published in children’s magazines. Yes, it was easy.


Q: Okay, now I’ll put you on the spot–how is Jill to work with (big smile here)?


A: Jill is special. Her attention to detail is admirable. She improved the cover art, both the front and the back covers. She realized that the new edition had to be differentiated from the first one, by means of a note from the author. She worked with her printer to get the shade of red just right—really a cardinal red, not an orangey red. And she kept me informed every step of the way. We are in constant touch via email and phone. She gives me individual attention—a method of working untypical of today’s publishers.


Q: Are you helping Jill in any way to get publicity for your stories and her publishing company?


A: Yes. I like the way Jill welcomed my participation in the promotion of Ann Likes Red. She knew that because I’m experienced in promoting my own work and that of others, I could help her with this. I wrote the initial press release, and she edited it. I sent it to several places. I also helped by giving her some addresses of catalogs and reviewing magazines that I had collected.


Q: What advice would you give to an aspiring children’s book author?


A: Write what you think is needed and desired by children. Try it out on children you know. Then look for a publisher who handles that kind of work. Also learn how to promote your own writing.


Email interview by Shirley Bryant.

 

Leonard Kessler

Mr. Pine’s Purple House is currently being republished in a new edition by Purple House Press.


Q: Can you tell us a bit about yourself, and your writing career? And what books of yours have been published?


A: I grew up in Pittsburgh, PA, went into the Army in 1942, and was assigned to the 28 th Infantry Division as a scout and observer—meaning, since I was an artist I was trained to go behind enemy lines, make sketches of enemy positions, and return with the information for our intelligence troops. Suffice it to say that it was not the best kind of job for a young artist. I returned to Pittsburgh in 1946 and was a student at Carnegie Tech (now Carnegie Mellon University), studying painting and design. In 1949 my wife and I, along with fellow students Philip Pearlstein and Andy Warhol, left for the Big Apple…New York. I wanted to become a painter, Pearlstein wanted to be a graphic artist, and Andy just wanted to be Andy. Well, Philip became a realist painter, Andy first was a commercial illustrator…then one of the giants of pop art (and was still Andy), and I became a writer and illustrator of books for kids. Life is a series of detours.


That first year I painted, Pearlstein had made contact with a producer at one of the networks. They wanted to produce a show for young kids that would focus on art…Phil and I would devote each episode to one aspect of drawing and painting and there would be a guitar player strumming background music with just our hands on screen, drawing and painting. I wrote a TV script for the first three episodes. After six months, the network did not have the funding to produce our educational program, and an art director friend suggested I turn the script into a kid’s book. The first publisher I gave it to sent me a contract. The book was “What’s In A Line?”, published in 1951 by Young Scott Books, Wm. R. Scott Publishers.

2001…I have been making books for fifty years, and I have enjoyed every day looking for that skinny six year old kid I used to be.


I’ve written and/or illustrated more than 200 books for eighteen different publishers, including the Mr. Pine series, the Old Turtle series, “Is There An (Elephant, Horse, Hippo, etc.) series, and have illustrated books for other authors, also. Mr. Pine’s Purple House was originally published by Wonder Books, and now in 2000, a new edition for Purple House Press.


mrpinepruplepruplechatkay12

Q: Were you initially excited about or resistant to Jill’s idea of republishing your book?


A: One day last April I had two letters forwarded to me. One was from the Author’s Guild and one from Harper Collins Publishers. They were from Jill, telling me about her work as a seller of out of print books, and how much she loved Mr. Pine as a little three year old sitting on her Dad’s lap. She wanted to start a publishing company, and told me that Mr. Pine’s Purple House was the one of the first she wanted to publish, since she had loved it so much as a child. My first reaction was to try to sell the idea to one of my two publishers, but then I decided to call Jill. I was so impressed with her sincerity and her absolute desire to be a publisher (and most important, her love for the book) and I have always made decisions quickly and decide from my gut feelings, so “Jill”, I said, “you can have the book”. Then she asked “One more favor…could I name my publishing house Purple House Press?”. “Of course”, I said, “and I will be happy to design your logo.” Thus the purple turtle reading a book was born.


Q: And how do you feel about the idea now, after seeing your book(s) in print again?


A: It has been a rebirth for me…for my career…although I have never really retired. How can one retire if one never had a regular nine to five job? I have always been a free lancer. When we lived in Rockland County, New York, one day little Greg (four years old) walked into the studio (always open to neighborhood kids), saw me at the drawing board and asked “Mr. Kessler, could I ask you a question…why don’t you get a job or come out and play with us?” “Greg” I said, “this is my job, I am making books.” “Oh” he says, “that is a job…but can’t you still come out and play?”


And now I am back again at the drawing board, the word processor, the Mongol #2 pencil…such a joy…I can’t wait to work each day. Thank you, Jill Morgan!


Q: Without giving away any company secrets, has seeing your work in print again gotten the creative juices flowing and gotten you writing more stories (assuming that you haven’t been writing all along)?


A: I guess I have never stopped writing. I am always thinking about stories in my head. I have kept an idea box. Today there are still about 200 good ideas, even after my wife, Ethel, and I sift through and discard some. I figure if I do two books a year that would take me to August, 2100. Right now I have three new manuscripts in progress.


Q: What originally got you into writing children’s stories in particular?


A: That TV script…the educational program that never was to be.


Q: Do you illustrate your own stories? If not, did you get a choice about who did the illustrating? Did you take them to a publisher pre-illustrated originally?


A: I was an art major…painter. I guess I wear two hats…author and illustrator, and I love to wear both of them.


Q: Was it easy for you to get that first story published, when you started out?

A: I mentioned above that I gave the book to Young Scott Books. Here is the real story. When I took the dummy to my friend, George Hornby, he told me that the two publishers who might be interested in a concept book were Scott and Knopf. I had no knowledge of how to submit my dummy, so one warm day in May, 1950, I walked into the offices of Wm. R. Scott Publisher with my little dummy under my arm. I had a pencil attached to the jacket. I asked the receptionist if I could see the editor. “Do you have an appointment? Do you have an agent?” My answer was “What’s an agent?” I can recall the look of exasperation on the receptionist’s face. At that moment, May Garelick, the editor, came out of an editorial meeting; she looked at the dummy and was fascinated with the pencil. I told her it was my book “What’s In A Line.” She looked at the dummy, looking through the pages quickly, and said “Leave it.” “I can’t”, I said, “I have to go up to Knopf to see the editor.” May slowly took off her thick glasses, looked me in the eyes and said slowly “Young man, if you walk into Knopf without an appointment and ask to see the editor, they are on the 18 th floor and they will toss you and your dummy with the pencil out the window!!! Crash!!! Leave it here.”


That summer Ethel and I were working at a children’s summer camp and on August 11 th , Ethel gave me a thick letter from Scott. “My first rejection” I thought. It was a letter from May Garelick and a contract. I will never forget that moment…that glorious day. In the past fifty years I have received more than 200 contracts…one day I got two in the mail…but nothing was sweeter and more delicious than that first one. The next best day was when Jill sent me the first copy of the new edition of Purple House…there are second acts in life.


Q: Okay, now I’ll put you on the spot–how is Jill to work with (big smile here)?


A: Working with Jill is smooth and professional. It has been a real pleasure. She has kept me informed on each step in the production of the book. We have kept in contact by letters…proofs…email…telephone, and we enjoy working together. The result is the lovely new edition of the intrepid Mr. Pine and his Purple House. Four stars for Jill!


Q: Are you helping Jill in any way to get publicity for your stories and her publishing company?


A: Mostly with ideas, but also a great story in the Sarasota Tribune, sending out email to colleagues, alumni publications, and other periodicals. Also sending an autographed poster for the book.


Email and mail interview by Shirley Bryant

 
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