An accomplished author, novelist, and filmmaker, Staci Layne Wilson has crafted a strong legacy for her work in a multitude of genres and fields, whether she works with genre fiction or non-fiction matters. Now, on the occasion of her latest novel, "The Girl in Green," being released by Crystal Lake Publishing, I talk with her about her early interest in writing, the book itself, and upcoming projects.
Me: Hello and thank you for taking the time to do this. First off, when did you get into horror in general? What films or books specifically got you into watching horror movies?
Staci Layne Wilson: I’m Gen X, so I grew up with movies like The Exorcist, Jaws, The Omen, The Thing, Alien, and the like. I was encouraged from a very young age to read novels—my mom was a writer, and I would often raid her bookshelves for the latest Stephen King or Anne Rice, as well as true crime like Helter Skelter.
Me: Who were some of your favorite writers growing up? Do you try to take influences from their style with your own voice in your work?
SLW: As a younger kid, I read series—The Black Stallion, Nancy Drew mysteries, and then got into the Flowers in the Attic books. When I was an older teenager, I got into Clive Barker. I can definitely see myself being influenced by his work in my early short stories (and not in a good way! Haha). My voice took years to develop, and it’s still malleable, as I write across several genres and nonfiction subjects.
Me: What was the starting point of becoming a writer? Were you always into writing growing up? What is your writing process? How do you stay focused on writing?
SLW: As I mentioned, my mom was a writer. She wrote racy Hollywood thrillers in the style of Jackie Collins, then moved on to ghostwritten celebrity bios. I used to handwrite little books on typing paper, then fold them to make booklets—I illustrated them, too! As for staying focused, I’m a full-time writer, so if I don’t focus, I don’t eat. Years of deadlines in journalism taught me a great work ethic. Plus, I enjoy it, so it’s not difficult to stay on task.
Me: Is there any specific genre you prefer to write? Is there a style or format that you find easier to get into, even if you don't have a preference?
SLW: I enjoy nonfiction the most—which is why I usually weave actual events and cultural context into my fiction. No matter how off the rails my characters may go, they are still grounded in realism.
Me: That brings us to your latest book, “The Girl in Green.” Where did the inspiration for the book come from? Were there any unique stories about its conception?
SLW: The Girl in Green started life as a spec script. Being a period piece, it was too hard to find financing. The script ended at about the halfway point of the novel. So, it was fun to continue Amy’s story from L.A. into Las Vegas and to have her meet completely “new” characters I hadn’t conceived in the screenplay.
Me: When writing a new project, what's the one fallback tactic that you're always able to draw inspiration from?
SLW: Research. I love learning about new things, or reinforcing my love of certain periods in history, then finding ways to fit those things into my own stories.
Me: Was there any special significance to making the main character as young as she was? Was it easier to write the main character as a child doing what she did?
SLW: Yes, I’ve always loved the “creepy kid” trope but hadn’t actually tried my hand at it until this story. I grew up reading The Bad Seed, The Other, The Little Girl Who Lived Down the Lane (and watched the movies), plus I saw stories on the news about killer kids when I was young, so it made an impression on me (especially the 50s case of Pauline Parker and Juliet Hulme, and the 1968 case of Mary Bell, who was only 10 when she killed).
Me: With the story employing a period setting for its main action, what type of prep-work goes into making sure it fits into the appropriate time period?
SLW: Well, I was around in the early 80s, so I remember a lot about what it was like then. I did need to double-check the occasional fact, but other than that, it’s mostly about the people and their circumstances.
Me: Was there anything while writing the characters that you were surprised by in telling the story?
SLW: I made up a few things from beyond where the screenplay ended, and that was fun to kind of “discover” more to Amy’s story.
Me: Once it was finally written, what was the process for having it published?
SLW: I had already secured a deal with Crystal Lake for another novel, “Murder in the House of Mirrors,” so they were my first stop. “The Girl in Green” wasn’t quite right for CLP, so they suggested I try the folks at their Sinister Smile imprint, and fortunately, they liked it. Honestly, I don’t know what I would have done if they hadn’t felt that way, because for me, Crystal Lake and its imprints are the gold standard for indie horror.
Me: What do you do to keep your creative energy flowing?
SLW: I drink a lot of coffee! And, I try to keep learning new things while continuing to enjoy the things I love: movies, books, short reads, live music, hiking, my pets, and spending time with my boyfriend and our friends. If you’re emotionally starved, you can’t create much (IMO), so I make sure to keep my tank filled.
Me: Lastly, what else are you working on that you’d like to share with our readers?
SLW: I’m in post-production on a quirky, cultish horror film that I wrote and directed called “Dark House of the Mannequins.” Plus, I run the website, WomenInHorror.com, which keeps me pretty busy.
Me: Thank you for your time!
SLW: Thank you!
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