A Horror World Conversation with Gene O'Neill
By Steven E. Wedel

The uninitiated often thinks of horror writers as a bunch of demented souls who spend all their time thinking up ways to torture small animals and children, or engaging in depraved sexual activities that would make Lucifer blush before he smiles. But that’s only part of the picture – Oh, wait. That’s not what I meant at all. I meant that picture is completely inaccurate, and that Gene O’Neill is living proof of it. Yeah. That’s what I meant.

I first came in contact with Gene back in 2003 when we were both associated with a failed publishing venture that shall go unnamed here. I met him at Horrorfind that year and learned that he was just as nice in person as he was online, despite his beautifully twisted fiction. Now I’d like to dissect him and show him off to you.

Horror World: Gene, thanks for taking the time out of your busy schedule to talk with us. Let’s start at the beginning, shall we? What lured you to the dark side?

Gene O’Neill: My degrees are in psychology, and even before college the darker side of man interested me. I don’t mean that in the sense of good vs evil type of thing. Heroes vs villains. As a matter of personal focus I’m not interested in those distinctions. I believe human nature encompasses both extremes. People do good and bad things, make good and poor judgments. The all evil or all good character in a story is usually a caricature, not a believable character. But, yes, having said all that, I’m definitely interested in the darker elements of human nature.

HW: What made you want to write, and when did the bug to do so first bite you?

GO: I don’t think a person makes a conscious decision to be a writer. I think it’s a gradual thing that goes way back. I probably began developing my writer sensibilities long before I ever thought of putting pen to paper. I know that as far back as I can remember I loved books and stories. There was a kind of oral story telling tradition in my family—my Irish roots. I know that when I read something really good it inspired me to pick up a pen and write. Specifically though, I finally wrote eight children’s stories for my kids when they were infants—and I sold four of those to good markets. I got serious about adult fiction about the time I was accepted to Clarion in 1979.

HW: There’s a link on your Web site (www.geneoneill.org) to a very nice essay on becoming a writer. In it, you discuss learning grammar and advancing to higher and higher plateaus, and the barrage of rejections that come with the territory. What can you tell us about your own beginnings as a writer? Did you ever consider packing up your typewriter and giving up? What kept you going?

GO: That website by the way is maintained by a fan, and I never remember to go there. After I committed to going to Clarion in 1979, I knew I was going to give it a good effort to become a selling writer. I had a story accepted at a pro market about a year after Clarion. But, sure, with constant rejections I felt like quitting many times. My wife has always been a solid support system, and I think that is vital. Without her I’d probably have quit long ago.

HW: One of the things I like best about your writing is your characterization. Nobody’s wearing the hero’s cape, and your villains have realistic motivations. In an earlier interview, you talked about your “humanistic/existential philosophy.” Will you tell us a bit about how that plays into your writing?

GO: I think a writer’s basic philosophy of human nature comes out in his writing. I was raised by my grandparents—working class people—in a Federal Housing project near a shipyard. I saw a lot of rough stuff, but what I didn’t see were good guys or bad guys. I saw people making some mistakes. And they suffered for those bad judgments. But it seemed to me then that folks were doing the best they could—everyone wants a better life for their kids, even if they are ill-equipped to help their kids acquire the right skills. In any event, I think it’s a big mistake to draw one-dimensional characters—overstate their morality, motivation, basic goodness, and such. We’re too complex to fit neatly into that box that just creates a lot of literary stereotypes—the red-faced, boozy Irish cop, the snappish, ill-tempered old maid, and so on. Not accurate. 

HW: You’re adept at both the short story and novel form. Which do you prefer working in? Do you approach a project differently based on its length?

GO: As I’ve become more experienced even my short fiction has grown longer than I initially intend. I think my skill base is best suited for a length somewhere between a novelette and a novella. Long enough to do some character development and back story without any padding. I think short fiction, like poetry, really requires a precision and concision, a deft touch. Of course every writer knows that if he hopes to sustain himself with his writing he must write novels.

HW: When I first met you, THE BURDEN OF INDIGO was just out in its first incarnation. Besides having one of my favorite titles of all time, the book has a wonderfully sad plot, one that really makes the reader think beyond the knee-jerk reaction often associated with what, in the book’s world, causes a person to be burdened with indigo. In keeping with those plateaus a writer faces, will you tell us a little about this book’s publishing history?

GO: It’s been published in trade paperback and hardback by Prime Books—only several hundred copies sold before Prime and I parted ways. Also INDIGO was included with three other stories in COLLECTED TALES OF THE BAJA EXPRESS brought out by Delirium Books in a limited/signed hard back—250 plus copies. 

HW: THE BURDEN OF INDIGO is just one of many titles either already released or coming soon from Bad Moon Books. What do you like about working with Roy at BMB?

GO: Roy is easy to work with, writer friendly. I get input on every phase of the book including recommending the artist. Also copyediting along the way. Liz is a joy to work with, also. She tries to accommodate every writer wish no matter how impractical. Both are very responsive, unlike some past publishers, who almost ignore your e-mails.

HW: What’s your take on limited edition hardcovers in today’s tough economy? For the die-hard but cash-strapped fans of Gene O’Neill, will there be less expensive editions of any of your limited editions coming anytime soon?

GO: Of course I love the look of nice hardbacks. There will be a few limited/signed hardbacks coming up in the future from BMB and Sideshow Press, too. But there will be even more affordable trade paperbacks, too. Upcoming in the very near future in 2010/early 2011—or out now—will be trade paperbacks (or chapbooks) from BMB: JADE and several collections; and from SSP: SIDESHOW EXHIBITS, FIONA & GRAMS, DOUBLEJACK, and CHRONICLES OF THE DOUBLE SPARROW.

HW: BMB will be releasing a very affordable paperback novella from you soon (maybe before this goes to print). What can you tell us about the story of JADE?

GO: It’s out for order now, and is one of the Cal Wild tales linked back to THE BURDEN OF INDIGO. It’s about an unusual young woman, gritty, tough, but compassionate, who feels compelled to fight—with her very special ability—against the condition of wasteland defectives. Great artwork by Steve Gilberts. Terrific introduction by Mike McBride—I think the tale is one of Mike’s favorite Cal Wild pieces. I’ve just copy-edited the set-up, and it’s going to be a fine looking book, as have all of BMB projects to date.

HW: What inspired this book?

GO: Well, I guess it goes back to one of my day jobs. I taught adaptive P.E. for many years, coached participants at the Wheelchair Games and Special Olympics. In the past I’ve written about these folks who don’t have many speaking up for them. I wanted to do a story specifically about wasteland defectives in Cal Wild, one of the many chuckleheads, gargoyles, and quosimodos. Jade, herself, is a quosimodo, but a vigorous advocate for other less fortunate defectives.

HW: Many of your books and stories are parts of larger series. The Green Hornet and Cato from SHADOW OF THE DARK ANGEL, and Cal Wild from JADE and your entry in the multi-author collection SIDESHOW EXHIBITS, for instance. Do you develop a multi-book story arc before you begin the first book, or do you see more of the story after you’ve finished the first book?

GO: No, I haven’t usually started with multi-book arcs in mind. Actually I’m working now on developing a prequel to THE BURDEN OF INDIGO, expanding THE CONFESSIONS OF ST. ZACH into a full novel. Part of a three book set. JOURNALS OF THE COLLAPSE, INDIGO, and THE CLEANSING (a linking of all the separate Cal Wild stories, novelettes, and novellas in one book). Just recently, I conceived this structure.

HW: Gene, there’s so much more I’d like to talk to you about, but we’re running a little long. I want to turn it completely over to you for a minute and let you talk about anything you want, point out what I forgot to ask, or whatever. Go!

GO: Well, my collection TASTE OF TENDERLOIN received a red-starred review from Publishers Weekly (it’s a Stoker finalist now in March of 2010), and I’ve expanded one of those stories into a full novel. Both my agent and myself think NOT FADE AWAY has some excellent literary potential in the mass market. It’s being read by several NYC publishers. So I’m hoping some of my stuff makes the mass market soon. Thank you.

HW: Thanks again for your time, Gene. We wish you the best of luck and look forward to seeing many more great stories from you in the future.

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