Ghost Town follows a former intelligence operative who finds himself involved in a covert military experiment near the abandoned town of Ehrenberg, Arizona. What was the inspiration for the setup of your story?

I began writing Ghost Town while finishing graduate film school at UCLA in the late 1970s. Influenced by Robert Ludlum, Jason Bourne-style espionage, and the Cold War, I imagined a dissatisfied intelligence operative confronting something far beyond his training in an isolated ghost town. Originally titled Desert Dreams, the novel evolved through many rewrites into a story that alternates between the present-day mystery and the events that shaped the protagonist’s (Richard Hart) life, revealing how his past prepared him for the impossible. Maybe I was cramming in too many concepts, but I was also intrigued by the military running a time experiment and how they could still be doing that in the present day to influence events. If they could change one thing in the past, could they do it again on a small, isolated scale?

The novel explores how fear, violence, and manipulation can distort people’s judgment. What interested you about examining human behavior under those conditions?

Setting the story during the Cold War, I was fascinated by how intelligent, well-trained people could make terrible decisions under pressure. Espionage isn’t just about gadgets and secret missions—it’s about trust, deception, and survival. I wanted to see how ordinary people would respond when the rules they depended on suddenly disappeared.

Which scenes proved especially difficult—or especially rewarding—to write?

The most rewarding scenes were those in the ghost town, where mystery gradually gave way to discovery. The most difficult part was balancing two stories at once—the unfolding present-day mystery and the protagonist’s past—so they complemented each other and steadily built toward the conclusion. The relationship between Hart, Honey, and Boon was a unique balancing act because each had a different view of what was happening in those three days. It was a challenge to mix the paranormal with a sense of horror in this “literary fusion” of high-tech contrasting with life over 100 years ago, where the disenchanted agent did not have access to any of the customary tools he would have at his disposal in the present time.

If readers leave the novel debating one question, what do you hope it will be?

I hope they might ask themselves, “What would I have done?” It is a story about survival and illusion and giving in to the illusion or sticking with reality and trying to understand what is really happening. Every character is forced to make difficult choices with incomplete information. If readers find themselves debating those decisions long after they finish the book, then I feel the story has succeeded.

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