Q&A with the extraordinary

Michael D. McClellan sits down with Oscar-winning actor George Chakiris to talk about his legendary role as Bernardo in the 1961’s Academy Award Best Picture-winner, “West Side Story.”


Check it out on the FifteenMinutesWith YouTube Channel!


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Written By: Michael D. McClellan |

To underestimate Michael Fairman is to do so at your own risk.

Drop him on a red carpet and he outshines the cabal of nervous journalists fidgeting around him; throw a high-profile tribute package his way and he turns it into high art; give him a show to produce and he gives you an experience worthy of the 16 Daytime Emmy broadcasts that include his fingerprints. Clearly, Michael Fairman has built a standout career on daytime television, his name synonymous with soap operas, his brand the gold standard for celebrity journalism, but it’s the way that he’s gone about his business that sets him apart. The multihyphenate comes at you from all angles – writer, producer, content consultant, content creator, editorial director, and now, singer/songwriter – infusing his work with passion while refusing to wallow in the muck.

“I hope, my reputation is one of the things that sets me apart,” Fairman says from his home in Los Angeles. “I’ve worked hard to earn the trust of the stars that I interview, and they know that I’m going to treat them with respect. At the end of the day, you’ve got to be able to live with yourself. This isn’t about making a quick buck.”

Fairman’s do-it-the-right-way approach has served him well. He’s on a first-name basis with some of the biggest names in daytime television, from Eric Braeden to Dr. Oz, and he’s as equally at home on a soap opera set as he is in his own living room.

“At least until COVID happened,” he says with a laugh. “That changed everything.”

Photo courtesy Brian Kaminski

The pandemic, which shut down production across daytime programming, also cost Fairman his job as Digital Content Producer for the Days of Our Lives’ groundbreaking DOOL app, a project he helped to bring to life for over four-and-a-half years. The DOOL app provided weekly updated content with the cast, and Fairman had been a driving force behind its success. The news was a gut punch. Knocked down but not knocked out, he regrouped and poured even more of his energy into YouTube Channel, aptly called “The Michael Fairman Channel,” which contains his music videos (original songs and covers), celebrity interviews, a clever new game show (more on that below), red carpet and backstage coverage from award shows and events, and segments that he’s produced for the Daytime Emmys. He’s also continued his long-running entertainment news and celebrity features website, Michael Fairman TV and has been developing a few top-secrets projects. It’s the kind of pivot that speaks to Fairman’s evolutionary mutability – the quicksilver ability to grow and change and live spectacular multiple lives in the public eye – and guarantees that his is a brand that can’t be pigeonholed.

“The pandemic forced content creators to come up with a unique approach to engage their audience,” Fairman says. “It gave me the chance to expand my celebrity interviews and give fans even more video content in exciting, fun, and interactive ways.”

Fairman has done that and more with his new game show, Soap Opera Know-it-All. Online and interactive, Soap Opera Know-it-All is the first-ever virtual game show for diehard soap fans, pitting contestants from all over the country in a battle over the soaps and the trivia they love. This latest addition to the Michael Fairman digital universe is already a huge hit with fans.

Photo courtesy Brian Kaminski

“I’ve received so many submissions from people wanting to be on the show,” he says of the eight-episode series. “The graphics are cool, as we riff on Jeopardy! We’ve got buzzers and music and everything else you’d want in a game show. Stars from The Young & the Restless and The Bold and the Beautiful even appeared on the second episode, and the stars of Days of Our Lives are appearing in the third, asking questions about their characters and their shows. If you’re a diehard soap fan, what more could you ask?”

Available on the Michael Fairman YouTube Channel, Soap Opera Know-it-All has already generated considerable buzz.

Soap Opera Know-It-All!

“It’s so funny, I had an epiphany to put this show out, and everybody – the soap community, the pundits, the journalists – seemed to embrace it. More than one person has wondered why this hasn’t been done before. It was truly an untapped experience.”

Adding to the intrigue, contestants compete for the ultimate prize: A virtual meeting with their favorite soap star.

“The winner will get to have a Zoom or Facetime conversation with the star of their choice,” Fairman says. “If the star isn’t available for some reason, then we’ll go with choice number two. Along the way, the contestants are winning swag bags and other fun things from different shows. Soap Opera Know-it-All is another fresh way to connect with fans. You have to stay relevant and ever-changing, given the digital climate that content creators live in today.”

Reinvention comes naturally for Michael Fairman. He’s the ultimate showbiz chameleon, a celeb-connected force-of-nature who, as a child, worshipped his favorite characters and devoured their storylines, an itch that’s never let up. It’s unsurprising then that soaps turned into a career, even though he didn’t set out to make it so. His love of music has reemerged, surprising many; Fairman, at an age when most others are winding down, has launched a music career with a string of infectious singles. Up next: Better Late Than Never, a follow-up to his deeply personal – and insanely danceable – Other Side.

Other Side (Official Music Video)

“Putting together Better Late Than Never was an interesting experience, because the pandemic made it impossible to record in the studio. Everybody recorded from home. I used an SM7B mic, which is the kind that Michael Jackson used to record Thriller. We had to do everything virtually with my engineer, to track all the vocals and all of that, but you can’t tell if it was produced in a studio or not. The quality is that good. It really speaks to the technology available today, and the creative ways to get product out during a pandemic. I was in awe of so many top artists and unknown acts, who dropped new albums and singles during the past year when touring and playing live was impossible to do.”

Better Late Than Never stays true to Fairman’s roots, a pop-and-R&B-infused track that’s at once Spotify-fresh and decidedly old school, in that infectious, groove sort-of-way.

“It’s Tinashe meets Stevie Wonder meets, perhaps, Nick Jonas,” Fairman says. “I wanted a really cool vibe that was both current and throwback at the same time. I’m really excited for this song to drop.” Look for Michael’s new single to debut just in time for summer.

Fairman’s honeyed voice on Better Late Than Never proves that he’s more than a soap wunderkind. There’s a playful seriousness to his music; he’s not Katy Perry, who made an art of excess – maximalist pop, bras squirting whipped cream, carnivalesque live shows – but his songs compel you to have fun, even if the lyrics are rooted in adversity.

Photo courtesy Brian Kaminski

“Everyone goes through dark times in their lives,” Fairman says. “For me, it’s about overcoming them. You can either give up or fight back. My music is about hope.”

While Michael Fairman’s music career is better late than never, it underscores the success he’s had doing everything else with his career; producing the Agnes Nixon and General Hospital 55th Anniversary tributes, creating SoapCity for Sony, hosting and co-producing the Inside Salem: Days of our Lives Podcast launching Michael Fairman TV, and so much more. Most of us realize, as we age, that we can’t make the puzzle pieces of our lives fit and we make peace with that. Michael Fairman keeps reaching into his past to discover more and more about himself. The experiences act as rocket fuel for his art, with moments big and small serving as inspiration for the next chapter in an already amazing career. The world may have changed, but Michael Fairman is going to keep doing his thing, with no regret for yesterday and no fear of tomorrow.

Read the entire Q&A with Michael Fairman, below:


FOLLOW MICHAEL FAIRMAN



You grew up in the Midwest. Please tell me a little about your childhood.

I am from Milwaukee, Wisconsin. When I was growing up, I felt unsafe to go to school. I was bullied by the other kids. So, I took solace with my mom at home, and there was a period of time where I wouldn’t go to school at all. So, I would watch soap operas with her. I would watch One Life to Live, which was my favorite show, but I’d also watch All My Children, General Hospital, and The Young and the Restless to name a few. I became a sponge; I soaked up every character, every important date, and every storyline. When it came to soaps, I knew it all. I loved the genre because I felt like these people were my family. These were the friends I didn’t have at school. So, the bullying that I experienced as a kid proved to be invaluable to me later in my life and career. That’s really how it all started. Nowadays, when I hear and read about young people who have been on the receiving end of cyber-bulling or attacks for just being there authentic selves and who they are, or whatever makes them different than the “norm”, it always strikes a chord in me. We all have to do better, and pay attention, to what we say and how we say it, as it can leave a lasting impression on a young person’s life.


You originally had dreams of being a singer.

As a very young kid, I knew that I wanted to do music. I wanted to sing, I wanted to have an album out, I wanted to do pop, soul, and R&B. I had no interest in Broadway. My dream was to be on top of the music charts. There just wasn’t much opportunity to do that in Milwaukee. There was Chicago, which was geographically close, but it wasn’t Los Angeles or New York. So, I left Milwaukee at age 17, moved to L.A. I struggled to connect with the L.A. music scene at that time. I thought, “I don’t know if I’m in the right place for the kind of music I want to do.” Back then, in the early ‘80s, New York was amazing. You had Studio 54 and all of that. I was like, “You know what? I think I’m gonna go to New York.” I moved cross-country and played a lot of nightclubs in Manhattan, like Sweetwater’s, which was primarily an R&B club. That’s the kind of music that I gravitated towards.

Michael Fairman’s virtual interview with virtual interview with
Y&R‘s Sharon Case, Mark Grossman and Jordi Vilasuso

How did you end up getting into the world of soaps?

As a young kid, I loved producing things. I loved the aspect of taking all these different elements and putting them together into something entertaining. I would make my mother and my sister sit through my little shows, but I never thought, “This will be a career.” Fast forward. I’d moved to New York, and there was a popular nightclub called Tatou. The Daytime Emmy Awards were held in New York City at the time, and I started doing a benefit called ‘Night of the Daytime Stars’ the evening before the actual Emmy ceremonies, which featured the casts, nominees, and presenters from daytime television. We did it to raise money for AIDS research, and it became a staple event. That’s how I got into the soap opera world, professionally.


When did you put your singing career on hold?

I had reached a point in New York where the grind of doing the showcases became too much. Back then, there was no Digital Age like we have now. You had to play live, and if the A&R rep from the record label didn’t come down to that venue, you were screwed. Let’s say you hired a band, you did all the promotion, and you put out the leaflets or whatever you did to promote it…and then nobody on the A&R side shows up. It had nothing to do with how good you were. You’d fronted this money, had done all of this work, and gotten your hopes up that you might get signed to a deal. They RSVP, and then the A&R rep doesn’t make it because he had another commitment that suddenly came up. It was an emotional rollercoaster, and I got burned out.


At one point, you started splitting your time between L.A. and New York. How come?

I flew out to L.A. in 1991 and worked for Dick Clark Productions on the Daytime Emmys. They needed somebody who knew the soaps, so I was brought in to help the head writer craft the script for the Daytime Emmy Awards Show. I was living in L.A. and doing TV production half of the time; I was living in New York and working in the music business the other half. Ultimately, I decided to move back to L.A. permanently, and started getting a lot of production gigs for television. It was a fun time. I did the Soap Opera Digest Awards, the Daytime Emmy Awards, and the American Music Awards. Then, I got a job at E! working as a writer/producer for a talk show called Pure Soap. So, that’s kind of how my involvement in TV production evolved.

Photo courtesy Brian Kaminski

You worked for E! from 1994-97.

E! was very different back then. I was a writer/producer working on several shows, including one called Celebrity Close-Up. I might get a Nicole Kidman assignment, so I would have to put together footage of Nicole Kidman and then write the story around that. You don’t actually have Nicole Kidman there. You’re just writing around the footage. It was a great boot camp, a great place for learning. And then, with Pure Soap, we were the first talk show in soap operas. It was great, because I would do all the segment packages, interview most of the people, and then put it all together. E! was a great place to learn things that would help me later on in my career.


In 1997, you left E! and moved over to Sony, where you executive-produced the soap opera website, SoapCity.

Sony had Wheel of Fortune and Jeopardy in an interactive gaming environment on the Internet. They wanted to do something with The Young and the Restless and Days of Our Lives, because they owned these properties. Since I had all of the expertise and knowledge when it came to these shows, I was made the executive producer of SoapCity.

There was nothing like this at the time on the web. Soaps were still a big deal – there were 13 or 14 shows at that time – so we literally created the individual show sites for Y&R and Days, and also created the brand SoapCity to market them. Our content included news and exclusive interviews. We then built show sites for The Guiding Light and As the World Turns, and expanded our coverage to include ABC’s shows, even though we didn’t have their official sites. I had a four-year contract and a team of 10 people, and am so proud of how much content we produced within that time.


SoapCity ended up going defunct. What happened?

The business executives wanted to monetize it, which I get, but this was the early 2000’s timeframe and they were so far ahead of the game in terms of trying to make money on downloads. That was the beginning of the end for SoapCity. Up until that point, it was this amazing platform that soap fans could just enjoy and eat up. Still, I look back on it as an amazing experience. We were pioneers in the respect that it was something that hadn’t been done before, and I’m very proud of what we created.

Dr. Oz Interview – Dr. Oz Show – 45th Annual Daytime Emmy Awards Winner

Is it true that you produced a special for Prince?

I worked for ABC in Concert when I lived in New York, and one of our specials was The Ryde Dyvine by Prince. We flew to Paisley Park to shoot it during the dead of winter in Minneapolis, there was snow all around, and it was freezing cold. At one point, I’m standing there as a producer, still in disbelief that I’m at Paisley Park. Prince was, and is, a huge idol of mine. I remember turning around at one point, and Prince was right there in front of me!  He smiled at me and said, “Hi, friend,” and that was it [laughs]. He just stood there, not talking, because Prince didn’t talk much at that time to anyone! It was a bit of an awkward moment, but in the most beautiful way possible. It was Prince for God sakes!


As a producer of the Daytime Emmy Awards, what are some of your favorite moments?

I have been fortunate that on several of the years I have been involved in the production that some major soap opera milestones happened, and some, of course, have remained my favorites. I produced the General Hospital 55th Anniversary Tribute, the Guiding Light tribute when it took its final bow, and Days of Our Lives’ Bill and Susan Seaforth Hayes Lifetime Achievement Award package. I’m very thankful that so many of these have landed in my lap. Over the years, depending on the structure of the production, I’ve also created many nominee packages, where I’ve had to pick that one moment to showcase that nominee in their category. I’ve also been a frequent advisor to the executive producers, providing them insight on what happened during the year in soaps or daytime television as a whole.

However, the one segment I’m most proud of is the Agnes Nixon tribute. Unfortunately, when you’re doing an award show on a network or cable channel, all you have is two, maybe two-and-a-half minutes to tell the story. So, you have to make cuts. It’s very difficult to do, because the powers-that-be often force your hand and you have to cut people out. On my “Michael Fairman Channel,” I extended the Agnes Nixon tribute to a 20-minute version. I feel it’s such a great piece, because I was able to interview former One Life to Live and All My Children stars for it, including:  Cameron Mathison, Erika Slezak, Kim Delaney, Robert S. Woods, Peter Bergman, Michael E. Knight, Thorsten Kaye, Andrea Evans, and so many more, and all of these people gave it its full life and impact, and showed the power of Agnes’ storytelling, and the legacy she has left behind.


Tribute packages are highly visible. There must be a tremendous amount of pressure to get them done on time, and to get them right.

That’s where the producing skills come in. I really do like the challenge of putting it all together. What’s the look and feel going to be? What are the clips going to be? Who needs to be represented? How do we tell this story? How do we do it in an effective way that’s done in a short amount of time? So, that’s basically what I’ve done on most of the shows.

Chloe Lanier Interview – General Hospital – 45th Annual Daytime Emmys – Younger Actress Winner

I’m sure that this type of work challenges both sides of your brain.

I think one of the things I’ve had to learn about producing, is that you need both the left and the right side of your brain to succeed. Your product comes from the creative side, and but then you have to be able to organize it. A lot of time is spent putting the pieces together. It’s not necessarily the most fun, but the key is being able to put it all together from a practical standpoint and also still be creative with it.

Being independent as my own brand and not aligned with a known media entity has been a double-edged sword, because a lot of the time I’m a lone wolf. I’m one of only a few reporters that has their own website, Michael Fairman TV, while most soap opera sites are ran by the networks or media companies and conglomerates. It was a conscious decision to go that route. I do my own thing because I felt I had to make my own space. It gave me much more freedom to create what I feel is relevant and important. The downside is that we’re in a difficult economy. I don’t have a marketing team behind me like a Soap Opera Digest may have. So, it’s always been this yin-yang for me. There are always questions running around in the back of my mind: Can I keep doing this independently? Does it make sense being my own guy? Should I do something else as part of a bigger organization? I wrestle with that constantly.


What ranks as your biggest soap moment?

My all-time favorite performance ever was Judith Light as Karen Wolek in One Live to Live, when Karen takes the stand and admits that she’s a prostitute. It was the most amazing performance I’ve ever seen, and to this day it holds up well. It was such a transcendent, captivating moment. In terms of pure talent, I think Judith is one of the greatest actresses ever. Period. She’s amazing.

Coincidental story; I was an extra on a film when I was an actor in L.A., and she was dating Robert Desiderio at the time, who eventually became her husband. She was on the set that day, and I was like, “Oh, my God, Judith Light is here! I’ve got to meet Judith!” So, I get my chance to introduce myself, and I explained that I was torn between living in New York and living in L.A. At the time, she herself was living in New York doing One Life to Live. I nervously asked her what she thought, and what she would suggest…should I go to New York? Should I stay in L.A.? All the while, she’s looking at me like I’m probably certifiably insane [laughs]. But I made a friend that day, and when I came to New York, Judith got me a part as an under-five on One Life to Live. I am very fortunate, because Judith has been in my life in some way for many years.

Camila Banus Interview – Days of Days 2019

Biggest soap thrill?

Fast forward. Outfest is an LGBTQ film festival here in Los Angeles, and I got hired to produce a 25-year retrospective of HIV/AIDS in film and television. We’re talking Philadelphia, Angels in America, the whole gamut, and I had to put together this nine-minute tribute for the event. Then they told me that the presenter of my retrospective was going to be Judith Light. My mouth dropped! That was a thrill of a lifetime!


What is the greatest misperception when it comes to daytime TV?

There is something to be said about daytime television. These are some of the hardest working people in the industry. They always figure out a way to get their scenes and episodes done with no time to spare. I never like it when they get a bad rap. I don’t think people understand how hard it is to do these shows. I’ve seen it firsthand. I know how hard it is to do eight shows a week. It’s a grind. The actors are doing an obscene number of pages of a script on a daily basis. It’s not like it used to be in the ‘70s, ‘80s, or even the 1990s, when the actors had time to rehearse. The day was blocked and structured so much differently back then. Now, they hardly have any time to rehearse. Think about it; they get all of this dialogue thrown at them, they barely have time to look at it, and then they go do it with only one take. That’s what goes on.


You make interviews look easy. Are you naturally introverted or extroverted?

That’s a great question. In my personal life, I think I’m more of an introvert, but when the camera is on and it’s time to go, then I’m able to turn it on and become an extrovert. When I was doing my Soap Nation Live! podcast, or when I hosted the NBC Days of Our Lives podcast, I knew that I had to be on my game when we went live. The same is true today; whenever I do a show or conduct an interview, something in me clicks. Interestingly, many of the actors that I interview are the same way. They aren’t showy and flashy in real life as fans might expect. They’re not out there trying to be the life of the party. But they can turn it on for an interview or a PR event.

Photo courtesy Brian Kaminski

What’s your secret to a great interview?

The number one rule is that you’ve got to make the subject feel comfortable. Whether you’re a journalist, a reporter, or a host, it is absolutely critical that you earn the trust of the subject. They have to feel comfortable with you, otherwise you’re not going to produce a great interview. It’s not always easy, but you have to win them over so they feel at ease. I have been very fortunate, because the people that I’ve built relationships with know that I’m not going to do anything to them that is going to harm them. I’m not going for the jugular. My reputation makes it easier for me to earn the trust of someone new, but I still have to back it up when we start talking.

The second rule is to be authentic. I don’t know how to be anything other than my authentic self. I’m probably the worst person to have on your poker team because you see everything in my face [laughs]. The only way that I can live with myself and get through each day is to be me. I don’t know how to do it any other way.

Lastly, I think you also have to have fun with people. Nobody wants to go into an interview feeling like, “Am I going to hate this?” You want them to want to talk to you, and not feel like it’s drudgery. Imagine being an actor, and you’ve just done 20 interviews, and then Michael Fairman comes in for the final interview of the day. You’re exhausted, but you’ve still got to do this interview. Well, I think it helps if Michael Fairman is on point, keeps it light, injects a little humor, and helps make the experience as painless as possible…and, maybe even a little fun.


What are some of your biggest interview pet peeves?

As someone who’s interviewed people for many years, you know when you’re in the hands of a good interviewer. There’s nothing that I hate more than watching somebody interview someone, and they’re not listening to what the other person is saying. The subject has just said something meaningful, and the interviewer isn’t responding to it in real time. A lot of interviewers are so focused on running through their list of questions that they won’t deviate from the script. I’m like, “Get off the paper, know who you’re talking to, and act like a human being. Have a real conversation.” I guarantee you, the piece that you’re doing is going to be great if you choose to have a real conversation with your subject.

The other thing that drives me nuts is when someone doesn’t do their homework. I might be standing on my spot on the red carpet at the Daytime Emmy Awards, and there might be someone from a fashion magazine standing next to me. They might know fashion, but they don’t have a clue who many of the soap stars are, and they’re asking me to give them the details. I’ve got a job to do, too. So, do some preliminary research before you show up.


Journalism is not for the faint of heart.

I’m sure we all have those moments of like, “Am I a glutton for punishment?” And you wonder if you’re making a difference. There are times when I don’t know. I could write a story, and I’m convinced that it’s going to get so much traction, and that people are going to love it…and then nobody reads it. And then I’ll write something that I think isn’t going to command attention, and then I get this incredible feedback. It makes you wonder if you’re barometer is off [laughs]. Journalism can be a thankless job. It’s very hard, and I don’t think people even understand the amount of work it takes. At the end of the day, you want people to read or see your work. That’s why you do it in the first place.

It’s same thing with my music. As I’ve said, a big reason for getting back into music is because I don’t want to regret anything. Making music is fulfilling, but I still want people to hear it. I would love to get one of my songs on any of the pop, R&B, A/C or dance charts. People say it’ll never happen, but that’s something that I aspire to. You have to keep challenging yourself. I keep challenging myself to write another catchy song from my heart and my experiences, and to make sure when my voice comes on listeners streaming platforms (and hopefully one day the radio), that they know its identifiably me with my own distinct vocals and sound. At the end of the day, you don’t want to look back at your life and have regrets.

Photo courtesy Brian Kaminski

COVID impacted every corner of our economy, including Hollywood.

There was so much at stake, as I’m sure is the case in every industry, so there was a lot of pressure to figure out ways to get back to work while staying safe. A lot of money has been put into these productions just for the safety protocols that didn’t exist pre-COVID. They’re getting tested at all times of the day, there’s Plexiglas put in between the stations, and they’re shooting a whole different way. Each show’s doing it a little bit differently, but that’s just what they’ve had to do. And congratulations to them for getting up and running. And I want to say that daytime did it first. The Bold and the Beautiful was the very first American network show back in production, not just the first soap opera. The other shows were quick to follow their lead. Because of COVID, I still can’t go to the set and interview the stars, but I can bring the stars to the fans by doing Zoom interviews virtually.


COVID also changed the way actors connect with their fans.

When I first started in the digital space, there were only a few outlets out there. With social media, anything is possible. COVID helped change the landscape as well; actors are interviewing other actors. They’ve launched their own shows on YouTube. They’ve launched their own podcasts. The space also has become more saturated and it forces you to up your game. I don’t want to be the eighth person to interview someone – by then everyone is already sick of seeing and hearing the same thing [laughs].


Please tell me about the Michael Fairman YouTube channel.

I really want my Michael Fairman YouTube channel to be all things, Michael Fairman. I want it to be the place to go when you want those in-depth celebrity interviews. The content runs the gamut from short clips to longer interviews that range from 30-to-60 minutes. The short clips are from interviews that I’ve done on the red carpet at award shows. I hope that the channel connects with those avid fans out there; I try to maintain a balance of being the voice of the fan, being a subject matter expert, and helping promote shows. There are other people out there that are much snarkier in their stance and brand, but that’s not the way I’ve chosen to go. Not saying I’m right, either. They have been extremely successful.


You started out pursuing music before moving into TV production. Now, you’ve coming full circle.

The really hard part is that I buried the singing to focus on TV production, and I didn’t let anybody know about my secret passion until a few years ago. Getting back into singing has been the greatest. Interestingly enough, part of the problem is that people see celebrities – or anyone with an audience, for that matter – as single-faceted. They associate them with one thing. Fans associate me with soap operas, so they want to know if Genie Francis is going to be on General Hospital. It’s been a little difficult with that audience to say, “I’m singing, download my single, check out my music video.” Some people in the soap universe have been supportive, but others just don’t want any part of it. That’s why I’m trying to develop a separate audience for my music career.


Were people surprised when you started making music again?

Most people in that world were shocked. We live in an interesting time – there was a day when motion picture actors were only in motion pictures. They weren’t on TV. We’re not in that time anymore. It’s liberating. I like seeing the actors that I love on daytime television doing something else. The soap fans support over the years to my work in that field does not go unnoticed by me. They have been amazing, So, I hope they will come around, and welcome the fact that I’m also doing other things now.

Eric Martsolf and Stacy Haiduk Interview – Day of Days 2019

Other Side is a fantastic song. How did it come to be?

Interestingly, the song was very easy for me to write. That isn’t always the case, but this one was different because a couple of things happened in my life. First, my mother had passed away of Alzheimer’s, which was devastating. There’s something to be said about a mother and son bond. She was the one in the family that loved the soaps, and she was a very big champion of my music. Then, I was at a Christmas party when I learned that George Michael had passed. He was my absolute favorite singer-songwriter. He had those amazing, beautiful, soulful lyrics, and he was a master at the delivery of those songs. When I heard the news, I was so upset that I couldn’t breathe. To this day, I am not sure I have fully recovered from it.

My point being, those losses gave me pause. I thought, “Why am I wasting whatever time I have left? Why am I not writing and singing?” I was blessed with this natural gift to sing, but I had been neglecting it to focus on other things. So, that was the impetus to write Other Side.


What’s the meaning behind Other Side?

The song is really about facing your darkest times. How do you find hope amidst whatever is in front of you? How to you rise above? For me, I had suffered from chronic back pain for many years and I had already been through multiple spinal surgeries. Suddenly, I was facing the prospect of another surgery. At that time, I also didn’t feel like I had the support of people around me. It was cause for reflection; when you step back and look at the big picture, you only have yourself at the end of the day. The message of the song is simple: If you can find one thing to hold onto during the darkest, most horrific times in your life, regardless of how small it may seem to others, it can get you through to the other side.


Please tell me about the video for Other Side.

I released the song on Spotify and Apple Music on March 5, 2020, and then COVID hit and everything shut down. The timing wasn’t good; we were going to shoot the music video in March, but we were suddenly locked down in L.A. and production stopped, so I had to keep rejiggering the concept of the video and how it would go with the song. It was the end of summer before I was able to get a crew together in a place that would let us shoot. The video wasn’t originally going to be shot in a boxing ring, but it was such a perfect analogy of fighting the fight, and of getting back up no matter what life throws in your way.

Then, to have what happened with COVID and racial injustice and everything else that transpired, it made perfect sense to include imagery associated with the pandemic and Black Lives Matter and equality. It also shows some of the struggles that our war veterans go through, as well the struggles of those suffer from domestic violence. The message being, whoever you are, whatever you’re going through, you can persevere and get through to the other side.

Can’t Let You Go (Official Music Video)

Your song, Can’t Let You Go, has a great dance groove.

First of all, I love Dua Lipa, I think she’s amazing artist. I was inspired to write Can’t Let You Go based on what Dua Lipa had been doing before the release of her most recent album, Future Nostalgia. I actually did a cover of Dua Lipa’s song, Electricity, on the Michael Fairman YouTube channel. I wanted to have something that you could dance to, so I wrote Can’t Let You Go with her in mind.


I’ve read where your song, Thing About Me is a response to some Twitter trash-talk.

I remember being in the recording studio and someone said, “What do you want to write about?” And I was like, “You know, I’m really sick of the way people are coming at me on Twitter.” There was just a lot of negative stuff. Fans were convinced that I was favoring one soap star over another, and I was getting trash-talked all over Twitter. There were so many haters. I was like, “Alright, here’s the deal. I’m going to come out with my first single, and you’re going to be surprised that I even sing. You don’t know a thing about me.” It was really a strong stance to come out with; you hate on me, but you don’t know a thing about me. It’s easy to sit behind a keyboard, faceless, and tear somebody down. It’s really an act of cowardice played out on social media.


Can’t Let You Go is another song with a great dance vibe. The lyrics sound deeply personal.

I wanted to write a dance/pop/R&B song. I wanted it to be something really cool. Can’t Let You Go has been used on The Doctors syndicated talk show. As far as the lyrics go, it’s really about what you do when a relationship ends and you’re trying to move on, trying to move yourself forward, but you just can’t let go. You’re stuck. So, this song is about breaking free in order to move forward and love again.


Is ageism a factor in what you do as an artist?

I am so inspired by the young artists of today. There are so many amazing singer-songwriters and pop artists out there. I listen to their stuff all the time, and when I try to converse with people my age, they’re like, “I don’t know who that is.” My point is, age is a number because in your mind, you’ve got to keep up, keep young mentally, and stay involved with what’s going on with pop culture. I want to know what’s going on. I think a curious mind and a desire to be on top of what’s happening keeps you young.


Final Question: If you had one piece of advice for other aspiring journalists, what would that be?

I would say that I think the key to success in this kind of field is to remain relevant and find a topic or niche that perhaps no one is doing or approach it in a new way. We’re at a time where there are so many people pushing into this space. If they’ve got a ring light, a camera, a computer, and a microphone, and they’ve set up shop in their homes, they can create content.  So, constantly evolve and hone your craft and find your voice – the thing that makes your work distinctly you is what ultimately will make people take notice whether in print, online, or on video.

Written By: Michael D. McClellan |

The Sahara has changed, but it remains a desert without compromise, the largest and most oppressive on earth. There is no place as dry and hot and hostile. There are few places as huge and as wild. It is roughly the size of the United States, 3.6 million square miles filling the northern third of Africa, an area so vast that it spans 11 countries. It’s so arid that most bacteria cannot survive there; its loneliness is so extreme it is said that migratory birds will land beside travelers, just for the company.

Doc Hendley knows a thing or two about the Sahara.

The North Carolina native has spent plenty of time in the region as part of his Wine To Water non-profit, helping to provide clean water to victims of Sudan’s government-supported genocide. The award-winning humanitarian has not only been baked by the Sahara’s intense heat, he’s been shot at, ambushed, and extorted by its people. He’s had to talk his way through roadblocks set up by SLA rebels and Janjaweed fighters alike, dropping the names of local commanders and tribal leaders in order to be allowed to pass. Just a fifth of the Sahara’s vastness is sand of popular imagination, formed into the great dune seas called ergs in Arabic; the rest is rock and gravel plain, and high rugged mountain. Hendley knows this well. In 2005, he navigated the volcanic mountain range known as Jebel Marra, only to be stopped by young boys in filthy camouflage – SLA soldiers – who fired warning shots from their AK-47s, and who morphed back into children only after learning that Mohamed Isa, then one of SLA’s top commanders, had requested a meeting with Hendley and his team. In places like South Darfur, one of the 18 conflict-ridden states of Sudan, clean moya – the Sudanese Arabic word for water – is more valuable than guns. Scores have died from drinking contaminated water fetched from dirty pools. Children are most at risk, the cholera causing severe diarrhea and dehydration, their mothers powerless to stop the bacteria’s deadly rampage. Cholera can kill within hours. Survivors suffer the losses long after. To those born by chance in a hard land, Doc Hendley is nothing short of a messiah.

Doc with a rebel group in Darfur, Sudan
Photo courtesy Wine to Water

It’s unsurprising that the humble North Carolinian sees himself as anything but a savior, even though his work with wells, filters and water bladders provides clean drinking water to thousands in places like South Darfur. Friendly and plainspoken, Doc Hendley is as ordinary as they come, the kind of guy who might serve your beer during happy hour at the local pub – which is something he did plenty of during the early 2000s, while bartending and playing music in nightclubs around Raleigh, NC.

“The things I learned as a bartender were incredibly valuable when I traveled to western Sudan,” Hendley says. “When you’re starting out, it’s not so much about how good and fast you are at mixing drinks, it’s about how quickly you can build a relationship with the people sitting in front of you at the bar. Those skills not only helped me get things accomplished in Darfur, there were times when they also saved my life.”

In 2009, CNN held its third annual global search for everyday individuals changing the world. The Top 10 CNN Heroes were chosen from more than 9,000 nominations submitted by viewers in 100 countries. A panel composed of luminaries recognized for their own dedication to public service made the selections, a blue-ribbon panel that included humanitarians such as four-star general Colin Powell, philanthropist Wallis Annenberg, and Sir Elton John. Hendley’s story stood out. On Thanksgiving night, 2009, he was honored during CNN Heroes: An All-Star Tribute, which aired from the famed Kodak Theatre in Hollywood. That he was even on the stage that night, introduced to the world by Julia Louis-Dreyfus, is no small miracle – and not just because Hendley had managed to survive nearly a year in one of the most dangerous places on earth.

Doc Hendley’s work has taken him all over the world, including Haiti following the 2010 earthquake
Photo courtesy Wine to Water

“Let’s just say I wasn’t the most focused kid growing up,” he says with a wry smile. “It took me a while to figure things out and find my purpose.”

A preacher’s son, Hendley was cut from a different cloth than his sister and three brothers. While they all shared their parent’s passion for church, it was clear from an early age that their brother was different. He wasn’t a bad kid; he just wasn’t someone who followed the crowd.

“I went to church,” Hendley says. “I believed in God. I just wasn’t always on the same page with the rest of my siblings. I had a restless streak.”

Nicknamed “Doc” because his baby sister couldn’t pronounce his name, Dickson Hendley was also born with a naturally rebellious nature. He was twelve-years-old when a biker rumbled to stop beside the family’s Chevy Suburban during a Myrtle Beach trip. Hendley was mesmerized by the imposing figure at the light beside them. Everything about him – his cowboy boots, his riding leathers, the fierce independence he projected sitting on that deep-throated Harley-Davidson – seemed larger than life. The connection was instantaneous.

Rebel With A Cause – Doc Hendley
Photo courtesy Wine to Water

“I was always a loner. Bikers were solitary figures who lived for the open road, who didn’t conform to what others expected of them, and who made up their own rules. I saw a lot of myself in them.”

Growing up, Hendley had few friends. He preferred hanging out in the woods by himself, his BB gun in tow, exploring the world around him. As he got a little older, he’d hunt squirrels and rabbits, camping out under the stars. He was on his own time, making his own rules, doing his own thing. In school, he had trouble finding his footing, both socially and in the classroom.

“I was never a very good student growing up, was never a great athlete, and I was awful at following the rules, so I guess it’s no surprise that I was in trouble a lot. I always had a lot of energy. Unfortunately, I chose to use that energy for some pretty negative things.”

Hendley didn’t seem to fit in anywhere, but that didn’t concern him in the least. Sure, he was aware of the obligatory middle school cliques – the jocks, the popular kids, the artsy types – but he didn’t lose any sleep over being labeled an outcast. As an eighth-grader, he tasted whiskey for the first time – on a school choir field trip, no less. He continued to drink beer and whiskey through high school, usually out camping where he wouldn’t get caught. He started riding at 15, bought his first bike two years later, and continued to cultivate his James Dean image. By then the girls had started to take notice. After graduation he found a seedy biker bar on the outskirts of Sanford, North Carolina, where he spent long hours and eventually ended up working, serving beer and liquor to the local clientele while finishing up a semester at Central Carolina Community College.

“My second home,” Hendley says of the 19th Hole. “People there didn’t put on airs. They were real people who liked to talk and tell you their stories. I got to hear it all – stories about marriages, divorces, milestones, missed opportunities, you name it. If I wasn’t a good listener before I began working there, I was definitely one when I left.”

Doc Hendley in a playful moment at a refugee camp in Sudan
Photo courtesy Wine to Water

Later that summer, Hendley bought a Harley from a friend who had moved to New Zealand. The bike was shipped to Los Angeles; Hendley bought a Greyhound ticket, bussed across country, and then rode the bike home. The trip back took nearly three months.

“I took advantage of my summer and went everywhere,” he says. “I just went where I felt like going, wherever the open road would take me – to Vegas, to Tahoe, to Reno. I went into Canada. I saw the redwoods in Northern California. I did Mount Rushmore, Wyoming, the Badlands of South Dakota. There was no real plan, other than to see as much of the world as I could. I’d wake up, hop on my bike, and go.”

Hendley eventually made his way back to Raleigh, just in time for the fall semester. There was a new college bar in town, and he quickly landed a job serving drinks to the students who packed the place. He also made a new friend, Tasha Craft. She worked at a bar across the street, and the two of them hit it off from the jump. She was unafraid to call him out on his carefree lifestyle and lack of focus, unflinching in her assessment of Hendley as an underachiever. He was barely attending class, blowing off assignments, and setting himself up for a life spent slinging drinks, one happy hour at a time. Tasha let him know about it. Her words hit hard. Hendley decided to take a break from bartending between semesters, head to his parent’s house in Boone, North Carolina, and get his act together.

Little did he know at the time, but his life – and the lives of countless others around the world – were about to change in beautiful, profound, and unimaginable ways.

There are myriad reasons given for the current crisis in Darfur, including one that traces back to the mid-1980s. As drought gripped the region, sand blew into fertile land and the rare rain washed away alluvial soil. Suddenly, the land could no longer support both herder and farmer. Many tribesmen had lost their stock and scratched at millet farming on marginal plots. In 2003, another scourge, now infamous, swept across Darfur. Janjaweed fighters in military uniforms, mounted on camels and horses, laid waste to the region. In a campaign of ethnic cleansing targeting Darfur’s blacks, the armed militiamen raped women, burned houses, and tortured and killed men of fighting age. Through whole swaths of Darfur, they left only smoke curling into the sky.

Doc Hendley knew none of this as he traveled home between semesters. He only knew that something was eating at him, and that his future was as formless as the gray winter sky overhead. Then, running an errand for his mother, he learned about Samaritan’s Purse, a humanitarian organization headquartered in Boone. Its focus was providing aid to victims of war, poverty, natural disasters, disease, and famine. By the time the conversation with his mother’s friend wound down, Hendley’s mind was in overdrive, so much so that he found sleep impossible. The phrase came to him sometime in the middle of the night, unexpectedly, hitting like a bolt of lightning. He snapped straight up in bed.

Doc Hendley – Digging wells in Cambodia
Photo courtesy Wine to Water

Wine to water.

Hendley spent the rest of the night on his parent’s computer, discovering the world’s water crisis for the first time. He emerged the next day transformed.

“Everything crystalized,” he says. “I suddenly saw a way to not only make up for lost time, but to also make a difference.”

He called Tasha the next morning and hatched his plan for the first Wine To Water fundraising event. That it was held at a bar was not only apropos, it leveraged Hendley’s network of patrons. The fundraiser was a rousing success.

“More people showed up than we thought, and we raised a lot more money than we expected. It was a great way to start.”

Hendley soon had a meeting with Ken Isaacs, the director of Samaritan Purse’s international projects. Isaacs offered him the chance to get involved with his nonprofit, and Hendley jumped at the opportunity. Locales were discussed. Hendley asked to be dropped into the worst place in the world.

He spent the next year in Darfur.

“That trip changed my life,” Hendley says. “It was hot and it was dangerous, but it was also one of the most rewarding things I’ve ever done in my life. Darfur really set the stage for everything else.”

In 2007, Hendley launched Wine To Water. Since then, he’s smuggled water filters into Haiti and sneaked into war-torn Syria. He’s been honored as a CNN Hero, spoken to packed houses, and taken the stage for two Tedx events. There have been successful water projects in the Amazon and Tanzania. The one millionth person has been reached with clean water. And then, when the coronavirus pandemic hit, Hendley turned his attention closer to home, with Wine To Water’s Box Program providing more than 150,000 quality meals to those in need right here in the United States.

“If you find something that motivates you that much, it doesn’t matter who you are, then you can have a huge impact on the world around you.”

No, Doc Hendley isn’t a messiah.

He’s just an ordinary guy doing extraordinary things.

The world’s a better place because of it, that’s for damn sure.

COVID changed everything as we’ve just seen, including Wine to Water.

A lot has changed for us. I’m very thankful to say that, as an organization, our team is strong and capable. When something like a pandemic hits, you really have two choices; you can be fearful and freeze, and say to yourself, “Oh my gosh, everything’s gonna change, nothing’s ever going to be the same.” Because, in that moment, it’s only human instinct to freeze and hope for everything to blow over. Or, you can choose to react to the situation that’s presented, adapt, and take action. We’re an organization that doesn’t freeze very well. We adapt and react very well. So, when the coronavirus pandemic hit, we immediately began to pivot and shift to the changing environment.


Please give me an example.

Water and sanitation are our mission. That’s what we have done for years. It’s in a sector in the humanitarian world called WASH – water, sanitation, and hygiene. We’d never really gotten too deep into hand washing before – if we found a school that was really bad, sanitation-wise, and they needed hand-washing stations, we would install one for the school, but it wasn’t something that we were doing on a massive scale. When the pandemic hit, we knew hand washing was going to be vitally important for communities in the developing world. A lot of these small villages barely have water, much less the hand-washing supplies for people to practice safe hand hygiene.

Doc Hendley – Handing filters out on the border between Haiti and Dominican Republic
Photo courtesy Wine to Water

How did you work to solve this problem?

We have water-filter factories based in various locations around the world that make water filters out of local materials. Those factories immediately pivoted and also began to make handwashing stations. They had welding machines, so they began to put them together with buckets, soap kits and all that kind of stuff. Since then, we’ve produced thousands of handwashing stations that have gone all over the world – throughout the Amazon jungle, Nepal, and East Africa. We’ve literally reached tens of thousands of people in recent months.


How has your organization been able to help frontline workers in the developing world?

PPE is something that frontline workers in the United States had a hard time accessing during the first few weeks of the pandemic. Now, for the most part, we’re able to get masks, gloves, hand sanitizer, and things like, and we can get these things anywhere and anytime we want. In the developing world – such as in some of the really remote villages near Maasai Mara, or in the Serengeti, or in some isolated regions of the Himalayan mountains – PPE is not so easy to access. Our teams are now distributing PPE for essential health care workers in those communities. Sometimes that means delivering to actual healthcare facilities or small clinics. Sometimes it’s just a local midwife, or a village elder who deals with everyone’s health. We’ve been able to get out PPE and kits to these individuals. That’s something that we’ve never done before.


COVID has been devastating here in the United States, not only in terms of lives lost, but also when it comes to people trying to feed their families and take care of their loved ones.

The service industry is what has really allowed us to be where we are today. In those early days, it was the servers, bartenders, and restaurant owners in the service industry that really believed in and supported our mission. Then, in 2020, the Governor of North Carolina shut down all restaurants for in-person seating. My brother owns and operates a restaurant here in my local community, and he had to lay off 50 people. He was in tears. He was one of tens of thousands – if not hundreds of thousands – of restaurant owners who had to do the same thing. We knew we had to do something to help.


How did Wine To Water step up?

We’ve got this great team, but we’d never responded to anything quite like this on a local level before. We had to ask ourselves, “What are they going to need?” Rent was an obvious thing, but a lot of these people – whether it’s a single mom coming in to grab a shift in the evening, or a college student who’s in debt – are living paycheck to paycheck. When faced with a pandemic, not only are they going to have a hard time with rent, but you have to wonder how they’re going to eat good food. So, we decided that we’d start by feeding some of our own staff before gradually expanding it to see what happened.

Doc Hendley – Working in a Wine to Water factory in the Dominican Republic
Photo courtesy Wine to Water

It sounds like your Box Program has been a huge success.

That first week in our region in western North Carolina, we announced that we were gonna open it up to anyone that was having a hard time finding something to eat. All they had to do was come to us and we’d make sure they got a meal. We worked with a local bakery to provide baked bread. We were able to get local pastas and pasta sauces. We got frozen chicken that they could cook. We packed it all into boxes, 40 meals per box, and we said weren’t turning anyone away. We gave away 16,000 meals that first week. That was in the spring. By the end of February, we were approaching 200,000 meals.

If you would have said to me at the beginning of 2020, “Wine To Water is a water sanitation organization. Do you think that you’re ever going to feed people?” I would have been like, “No, I don’t think that’s in the cards for us.” But we do now, and I’m glad that we do it. It’s added such a really cool element for us, just being able to turn around and give back to the people that gave to us for so long. Now we’re there in a time of need for them.


Which gets back to your organization being agile and able to adapt.

A lot changed in those first six or seven short months. As I said, when something bad like a pandemic happens, the natural response is to freeze. When you’re afraid, a lot of times you don’t move. One of the things I’m so proud of about our team is they froze for maybe a second, and then they said, “What are we gonna do?” And then they began to pivot and run. It’s scary when you make a leap like that. You think, “Is it okay for a water organization to feed people?” We didn’t know, but we just knew that we loved our community and that we wanted to help them. So, the Wine to Water Box Program was born out of that.


We now have a vaccine and hopefully an end to the pandemic. What’s next for the Box Program?

Now that people are starting to get their jobs back, we’re in the process of evolving it into a disaster response program. When a hurricane hits the Gulf, for example, we’re gonna be able to ship these boxes to those who need them most. The boxes will morph a little. There’ll still be a few days’ worth of good food, but we plan to include some other things – maybe some hand sanitizer to help with hygiene, maybe a headlamp to help deal with the power outages – so that the boxes become more like emergency response kits.  Basically, we’re gonna take something that was a really great service to people during the pandemic, and mold it into a long-term benefit for our own people right here in the United States.


Let’s go back in time. Where did you grow up?

My family is originally from Greenville, South Carolina, which is where home base was for me as a younger person. We weren’t there long; my dad was a preacher man, so we had a hard time staying in one spot. He worked at a church in Georgia, and then he worked at another church outside of Chicago. Then we moved to Greensboro, North Carolina, where my dad took a job in the family business that my granddaddy started, which was the first time that we really stayed in one spot for a while. That’s where I went to high school.

Staying in one place during my high school years was great, but I guess I’d gotten bitten by the bug with all of that moving around. I tried college for a couple months, but that didn’t really work out well for me, so I moved to Montana in the late ‘90s and worked on a horse ranch. Then I spent a year in New Zealand before moving back in 2000 and getting into bartending. I took some classes at a community college, got accepted into North Carolina State University in Raleigh, and continued to bartend. I didn’t realize it then, but that really set the stage for what I’d later do with Wine to Water.

A woman and her child wash their hands at a Wine to Water well in Nepal
Photo courtesy Wine to Water

It sounds like the service industry is in your DNA.

Bartending was my passion. The last bar I worked at was an Irish pub, and I loved being there at happy hour and seeing all these different walks of life – company CEOs sitting next to school teachers, stay-at-home moms sitting next to construction workers – which made for all these great conversations. I think I fell in love with the service industry because every time I tried to plug myself in somewhere, I never felt like I fit. I didn’t quite fit into the church world I grew up in, and I never perfectly fit into the academic world for sure. It was in the service industry that I got to be myself for the first time in my life.


Wine To Water was born in December, 2003. Where did the idea come from?

My whole life I never really excelled at much of anything. Growing up, I’d never really excelled at school or sports. As a bartender, I loved people but I wasn’t really the best at making drinks. I failed at a lot of stuff. I messed up in a lot of stuff. Especially at that time in my life – it just seemed that I was making mistakes back-to-back-to-back, and it was a bit overwhelming for me to try to work through all the mess. So, I was on Christmas break before my last semester of school, and asked for a couple of weeks off from my job at that Irish pub in Raleigh. My parents had just semi-retired to the mountain community of Boone, near the Tennessee border, so I went there to take a break from everything.

I remember it was the middle of the night, and I was tossing and turning in my bed and couldn’t sleep. The phrase ‘wine to water’ kept running through my head, over and over, which was backwards from the miracle story I’d learned about growing up. My dad had delivered many sermons based on Jesus turning water into wine. I just couldn’t figure out why the phrase itself was suddenly stuck in my head, playing backwards.

I ended up going downstairs to my parent’s computer and researching water, and I was blown away by the stuff I learned. I had no idea that there was a water crisis. No clue. I’d never learned about it in school. I’d traveled a lot, but I’d never traveled to the developing world. So, I didn’t know that a water crisis existed. I stayed up all night. I learned that there were young mommas walking with their kids, some of them up to four-or-five hours before the sun would come up, trying to get something that I have come out of my tap every day. And then, I learned that when they get that water, it looks more like chocolate milk or coffee. And that water, unfortunately, is the number one reason why a child isn’t going to see its fifth birthday, and why a lot of these mommas are going to bury one or more of their children, because of diarrheal disease they get through the dirty water they’re drinking. So, that night was the beginning. I jotted down all these notes on how I could maybe help the people that I was reading about. It took me six weeks to pull together the first Wine To Water event. That was February, 2004. By August, I’d quit my job and moved to Sudan.


How did bartending help prepare you to lead Wine To Water?

I think it was the most important decision I could have made, as far as to prepare myself for starting and running an international nonprofit. College played a role, but it was a very minor role in comparison to the skillset I learned through bartending. The ability to build a relationship with somebody who is completely different than me, the ability to make a connection with someone with a vastly different background, some of that comes naturally. But, bartending really helped me learn how to talk to anybody, from that white-collar CEO to a blue-collar construction worker, and everyone in-between.

Making a friend and drinking a Coke in Uganda
Photo courtesy Wine to Water

Give me an example.

In Sudan, I might be in a situation where I have to make a connection with a rebel leader. For me, I didn’t say to myself, “Gosh, here’s a scary rebel leader that’s controlling an area with guns.” I immediately knew that the first thing I had to do was make a connection, and the best way to do that was over a meal. If you’re sitting and sharing a meal with someone, everyone becomes human. We all need to eat, we all love good food, and we all like to have good conversation. So, my first goal, whenever I’d meet a rebel leader or a village sheikh, was to ask if I could come and spend a few days with them and just hang out. I’d tell them that I didn’t have anywhere to be. My job was to get to know them and their communities, to see how I could serve their communities by providing them with water. In most cases, the response was overwhelmingly positive. The first meeting would usually start off with tea or coffee, and then you would eventually share a meal. It wasn’t like I had to hurry, because I didn’t have to be anywhere. So, those relationships were so easy to build because it was so natural. I don’t think I would have had that kind of success, had I not had that kind of experience in the service industry.


It sounds like people in developing countries are basically the same as people back home.

In Sudan, I was in as opposite a place as a guy like me could have ever imagined. I’m a Southern, white guy who grew up in a Christian home, and now I’m living in a 95% Islamic, tribal, Black, African community. I thought “Gosh, I don’t know if this is going to work out,” because I’m about as opposite of a person as anyone in these communities could imagine. I quickly felt ashamed that I allowed myself to think that, because the people in those villages overwhelmingly embraced me and my team. They welcomed us into their homes despite the differences. They loved us and made us feel a part of their community. These people would have given you the shirts off their backs. There might be this old lady living in a mud hut, and she might only have one chicken and one goat, and if I was a guest in her home she would gladly say, “Let’s eat this together.” I felt a sense of shame, because I’d allowed myself to believe the lie that the world tries to tell us about people that may be different from us. If bartending taught me anything, it’s that everyone has the same basic wants and needs, regardless of wealth and social status. Everybody wants to be happy, to be healthy, to be reasonably prosperous, and to be secure. They want friends, peace of mind, good family relationships, and hope that tomorrow is going to be even better than today. I was reminded of that when I met the people in Sudan.


I’m not sure that same level of generosity is universally displayed here in the U.S.

I come from a small-town community in the South, and the thing that I wrestled with after my year in Sudan was, “I wonder if people in our own community back home would treat them the same way that I was treated?” I still wrestle with it now because, unfortunately, I don’t think we’re doing a very good job of embracing and loving people that are very different from us.


There are cynics in the world who think that one person can’t make a difference. You’re living proof that that’s not the case.

I think that there are a lot of lies that we get told, just like the lie that I believed about not being welcomed into the communities of these developing countries. Another lie that we’re told, very indiscreetly, by what we see on the news – whether that’s on TV or something we read online – is that it’s only people like Brad Pitt and Angelina Jolie that can make a difference. That only Bill Gates, or Steve Jobs, or the Mark Zuckerbergs of the world can make a difference. Not only do I not agree with that thought process, I believe that normal, regular, everyday people have the ability to profoundly change the world. It’s imperative that the world stops believing that lie, because the world needs us right now. We don’t need any more movie stars, or big politicians, or CEOs of big companies to tell us what the world needs. We need the school teachers, and the construction workers, and the stay-at-home mommas who are at the bar on a Friday for happy hour. We need those folks right now. I wish they were the ones calling the shots. We need them to stand up and realize that they have the ability to make a massive impact – and not just on a global level, but in our own communities. We need that now more than ever.

Doc Hendley – Takes a break from digging wells in Cambodia
Photo courtesy Wine to Water

You’ve traveled to some dangerous places – countries with unstable governments, threats of violence, things like that. How do you navigate that?

I don’t really know much about politics, and I don’t really understand a lot of it, but I think the government was created to give people a voice. The idea was that the government would represent the people, because people want to be heard. The more I traveled, the more I learned that that wasn’t happening. What I’m learning more and more as I travel to places like Darfur in Sudan, is that as much as I would love for the people to have a voice, there are just so many things that are corrupt and rigged. I can spend all of my energy wishing it wasn’t that way, but I’d never get anything done. So, I have to recognize it for what it is, and not let that stop me and just keep moving. At the end of the day, I have to be able to navigate the cultures in the world.


There were times when your relationship-building skills meant the difference between life and death.

In the early days, a mentor of mine said that when you start doing this work, you’ll be going into some areas that aren’t safe or secure, and that you will need to make friends with the guys that have the most guns. That’s just what you’ve got to do. It started out literally that simple. In Sudan, I learned that the rebel groups were trying to protect their people, because the government was coming in and dropping bombs and committing genocide. So, I had to go to the different rebel leaders and communicate with them and build that relationship.


It sounds like government corruption can make it both difficult and dangerous to fulfill your mission.

Take Haiti, for example. I’d been trying to get supplies and water filters into the country. We’d even constructed a factory in Haiti, run by Haitians, to build water filters there. Haiti’s government collapsed when the earthquake hit. For the first time in modern Haitian history, there was a year where humanitarian groups were able to operate without having to deal with corruption. These groups came in droves, and they were able to serve and help and love many people – but the second the government offices started being rebuilt and the politicians started retaking their seats, then the corruption started all over again.

Within a year, the trucks that I had going across the border from the Dominican Republic to Haiti were being stopped. We’d never been stopped up to that point; we were just bringing in supplies to help people. Suddenly, we’re being stopped and told that we need to pay thousands of dollars to get through the border. Maybe I wasn’t as diplomatic as I could have been, but I told them that we weren’t paying that money. It just didn’t make sense to me. I even went down there myself and tried to get it across by driving straight through the border. That didn’t work out so well – we almost got into some trouble with that. I ended up driving this truck to the south of the island, where we hired someone with a massive, wooden fishing boat that looked like it was from 2000 years ago. We loaded all of the supplies onto it and sailed the ocean through the night. I had my team meet us on the beach, where we secretly unloaded everything and got the job done.


I’m sure that Haiti is hardly the exception.

The reality is that you have to deal with a lot of these countries where the government wasn’t created to be a voice of the people. Instead, you have dictatorships that only meet the needs of the elite. We recognize that. Does it suck? Yeah, it sucks. Is it going to stop us from doing our work? No, it’s not going to stop us. Because we’re a small, grassroots organization, we can fly under the radar a lot better than these massive, multibillion-dollar organizations that have to ask permission for everything. When it comes to corrupt governments, we’re not really good at asking permission [laughs].


What you do can be very dangerous. How has having children changed your perspective?

That’s a great question. When things first got going in those early years, back in 2003 and 2004, I wasn’t married and I didn’t have kids. I’ve been married for almost 15 years now and have three kids. I’d like to say that I wasn’t afraid when I first started traveling, but that isn’t the truth. I was afraid to go to a place like Darfur, but it was really the fear of the unknown. It wasn’t, “My gosh, I might not come back.” It was a fear of not having been there before.

I had two kids when I sneaked inside Syria after the war broke out. Generally, there’s a lot of anxiety in the days and weeks leading up to a trip like that. There are a lot of questions running through my head. But then you become a father and you think about other things. What if I don’t come back? What if my kids don’t get to have their father around? I never had those questions before. So, having kids definitely changed my thought process. it. However, once you’re on the ground, the job at hand helps to keep your mind occupied and the fear just goes away. In Syria, we were able to get 1,500 water filters to the families we were trying to help.


You hear of actors being nervous before they take the stage, and then everything changes when the curtain opens. Is it like that?

It’s hard to explain, but a calm comes over you. Whatever happens is gonna happen. On that December night in 2003, I don’t think I came up with this idea on my own. I really believe that this is a gift that was given to me. In doing this, I don’t always get it right. I fail a lot. But, by doing this, that, I’m being obedient to this gift that I’ve been given. I’m trying to follow what is meant for my life. So, the second I get on the ground in Syria or wherever, it’s just like, “This is where I’m supposed to be and what I’m supposed to be doing. Whatever happens, happens.”

The same thing happens when I get an opportunity to be on the stage and talk and speak. People ask me if I get nervous and I do get nervous speaking in front of large groups of people. I don’t know how many I’ve done, but I get terrified every time. Sometimes I have so much anxiety that I almost pass out. But the second I step foot on that stage and start sharing my story, the fear just goes away.

Doc Hendley accepts his award from Julia Louis-Dreyfus
at the 2009 CNN Heroes: An All-Star Tribute

Do you see yourself as a leader?

That’s a tough question. My thoughts on leadership have evolved a lot since I started Wine To Water. In the early years, I thought I’d love to lead people and be considered a great leader. I think a lot of people think that way. As the years went on, the glimmering light of leadership faded quickly for me. I was like, “I don’t really know if this is something that I want so much.”


What part of leadership don’t you like?

It was very tangible for me to see this organization that I love so much begin to grow – we gained so much exposure from CNN and having the book come out – and then, for some crazy reason, we started to plateau. About 10 years in, we kind of started dying off and that’s when I realized that I couldn’t keep the wheels on this thing. I wasn’t great at hiring and firing, and I wasn’t great at having the hard conversations with staff members when they weren’t doing the best job. To me, the relational confrontation really was more terrifying to me than a physical confrontation. I realized then that I wasn’t cut out for this, that my lack of leadership was choking the organization, and that Wine To Water was struggling because of me. The buck stops here. So, I began a search. I found somebody, David Cuthbert, who came onboard and agreed to be our CEO. He brought a lot of great experience – 10 years of leadership in military special operations, and 10 years of leadership in the private sector – and he helped to build a highly functioning team. In five years as Wine To Water’s CEO, he helped grow our organization from four people to a team of over 50 today. We have international headquarters in Nepal, East Africa, Colombia, Haiti, and the Dominican Republic.

Then, after five years as our CEO, he decided that it was time to step down and serve on the board. We had a discussion, and he was like, “Do you want to step back into this role?” I had learned a lot from him, so I felt like I was ready this time around. I’ve been in this role for a year now, and I love it. He helped to develop a number of leaders who are amazing at leading their teams and great at doing their jobs. That really helps me, because I still get to do what I’m good at. I’m a dreamer, someone who can help the organization shift when something like COVID hits. I can help the organization be nimble and maneuver. I’m not an operations guy. Thanks to David, we have those people on staff now. That allows me the freedom to dream and chase ideas and fail along the way.


You don’t strike me as someone who seeks the limelight. What was it like to be recognized by CNN Heroes in 2009?

That was a very surreal experience. I remember getting on the stage and looking out, and, I was kind of in shock. Being backstage moments before that, with all of these different celebrities who were going to introduce the nominees…it was surreal. It was such an honor. The next sixth months were a blur. I had an opportunity to write a book about the story of Wine To Water, and from there I got to share the story through what seemed an endless stream of speaking engagements.

It’s funny, but in the early years of Wine To Water I couldn’t help but think about how awesome it would be if the whole world knew about our mission. I wanted more people to hear our story, but I couldn’t quite figure out how to do that. Then I thought how great it would be if some Hollywood movie star told our story. I just thought that would be super cool. So, it was totally surreal when CNN Heroes came along when it did. Movie stars were talking about Wine To Water in a way that I had fantasized about early on. It was a great way to get the word out about our cause. But the thing that makes us unique is that our organization isn’t made up of big-name people. That’s what I love about who we are. We’re a team of ordinary people who come together to do extraordinary things.

Doc Hendley and his family
Photo courtesy Wine to Water

Final Question: If you had one piece of advice in terms of making a difference, what would that be?

I hear it a lot: A lot of people, especially the younger generation, want to do something to make a difference. They tell me that they want to start an organization like Wine To Water, and then they tell me that they don’t have all of their ducks in a row. They feel like they’ve got to have their act together first – a college degree at a minimum, or a master’s degree, or maybe even a doctorate. Again, I think that’s one of those lies that we’ve been told that limit us. Subliminally, we’re told that we need to have all of this stuff before we can do this or that.

My advice to those who want to make a difference is simple: The best thing you can do is just start. Don’t wait for permission. Don’t wait until you have enough degrees. Just do it. Go ahead and take that first step. Is it gonna be an immediate success? Probably not. Are you going to fail? Probably so – and probably more times that you care to count. But I promise you, you’re going to learn a lot more from your failures than you ever will by hitting the ball out of the park.

Written By: Michael D. McClellan |

Write what you know.

That shopworn idiom has served many an author well, launching the prolific careers of modern-day novelists such as John Grisham, who pivoted from law and legislature to pen The Firm, and Agatha Christie, who grew up hooked on Sherlock Holmes, and whose 78 crime novels have sold 2 billion copies. It’s also a formula that John DeDakis has used to great effect, the journalist-turned-novelist drawing inspiration from time spent in Washington’s political orbit to craft a series of critically-acclaimed books that feature his strong-minded protagonist, Lark Chadwick. DeDakis also plumbs the unimaginable pain in his personal life – the suicide of his sister, and the loss of a son to an accidental heroin overdose – to infuse both plot and character with the kind of rocket fuel that makes putting down his books damned near impossible.

Scholarly in wire-rimmed spectacles, with a kind face and tufts of thinning gray hair, DeDakis’ 44 years as a journalist represent the foundation stone on which his literary career is built. His most recent novel, Fake, is a reflection of our nation’s politically-polarized zeitgeist, an America cut into two distinct halves, the news that we consume dismissed by the other side with immediate and overwhelming skepticism. If Trump’s four years in office did anything, it accelerated the growing divide between us, weaponizing social media to tear at the very fabric of our democracy. DeDakis cleverly taps into this mistrust. Fake opens with popular First Lady Rose Gannon dying suddenly (and mysteriously) during an interview with White House correspondent Lark Chadwick, thrusting Lark into a media-bashing frenzy fueled by fake news. As she works to uncover the truth, she soon finds herself the target of personal attacks. The book’s premise shines a spotlight on the disruptive power of fake news, and DeDakis proves himself up to the task: Fake is the rare thriller that lives up to the billing, a tension-filled page-turner that ups the ante in a genre overrun with hype.


Despite his literary success, John DeDakis is anything but an overnight sensation. He’s a grinder who got his start working in radio and television newsrooms in Wisconsin, Germany, Virginia, Washington, D.C., and Atlanta. He’s interviewed the legendary Alfred Hitchcock, covered President Ronald Reagan, and worked closely with CNN’s Wolf Blitzer. His career as a journalist came first, an opening act that spanned four decades before transitioning into his current gig as an award-winning novelist. It took him 10 years to publish his first book, Fast Track, which would serve as the connective tissue between one career based on facts, and another steeped in fiction. Surprisingly, the neophyte novelist chose to write from a female’s point-of-view, even though he’d never attempted anything like that before.

“To my astonishment – and relief – I discovered that writing in a female voice wasn’t as hard as I expected,” DeDakis says. “Beginning with my mother, I’ve always found it easier to talk with women than with men because, in my experience, women are much more open and nuanced about expressing their emotions. I’m fascinated by the stories they tell, and the way they tell them. Lark Chadwick came to me naturally, which was a pleasant surprise.”

DeDakis is from Wisconsin. His father was a lawyer, and DeDakis cut an incongruous figure against the backdrop of the Vietnam War, dreaming of a political career despite his generation’s strong antigovernment sentiment. The investigative journalist in him was also apparent early on: DeDakis was equally comfortable debating how to remedy the forlorn landscape of Detroit’s drug-infested, decaying East Side, with its houses charred by arson, sagging porches, and front lawns turned to thickets of brown weeds, as he was weighing whether to send American soldiers to fight and die in the jungles of Vietnam. He took this curiosity with him to the University of Wisconsin-Madison, where he volunteered at a campus radio station. Not only did he get his first taste of reporting, he also tasted tear gas while covering an anti-war riot in the wake of the Kent State massacre. Vietnam, it seemed, was everywhere. With the prospect of being drafted looming, DeDakis decided to enlist in the Army.

“I figured it gave me more control over my future,” he says. “I might still end up in Vietnam, but there might be options available other than combat.”

Photo by Lisa Strickland

Surprisingly, DeDakis found himself shipped off to Germany at the eleventh hour. His time as a campus reporter paved the way for him to spend the next two-plus years working for the military’s radio and television wing in Frankfurt. It was here that he interviewed Alfred Hitchcock. The 40-minute one-on-one with the five-time Academy Award nominee sealed the deal on a career path. Returning stateside in 1974, DeDakis resumed his pursuit of a BA in Journalism from the University of Wisconsin-Madison, earning the degree three years later. From 1976 to 1983, DeDakis was a reporter at WMTV (NBC-15) in Madison, a just-the-facts-ma’am journalist covering energy and transportation issues. Then, from 1983 to 1988, DeDakis was a General Assignment correspondent with CBN News in Virginia Beach, Virginia. Fortuitously, DeDakis was CBN’s White House correspondent during the last three years of Ronald Reagan’s presidency. In addition to interviewing Reagan, he also interviewed former president Jimmy Carter.

“I might not have known it at the time, but that period in my life really set the stage for the fiction writing that I would do later,” DeDakis reflects. “Because I’d spent time in the White House, I knew some of the challenges that Lark would face in her own career.”

In 1988, DeDakis jumped at the chance to work as a writer at CNN, the network then in its eighth year of existence. He moved to Atlanta, and nine months later was promoted to editor. It was the start of a long and distinguished career at the news channel, one that would provide fertile ground for the development of Lark Chadwick.

“My time at CNN was invaluable when it came to character development,” DeDakis says. “Lark expects the truth, although she rarely gets it. There were so many things I learned at CNN that really fed into who Lark is. I started writing Fast Track in 1995 while I was at CNN, Atlanta. It took 10 years get that first book published.”

DeDakis moved to D.C. in 2005, taking the job of editor for Carol Costello’s show, CNN Daybreak. Daybreak was cancelled almost as soon as he arrived in town, and DeDakis was reassigned to a new show, The Situation Room with Wolf Blitzer, which began airing around the time that Hurricane Katrina hit. The Situation Room found an immediate audience, and DeDakis found his groove. He worked his way up to Senior Copy Editor for the unflappable Blitzer, working on a daily basis with the man who’d reported on everything from the withdrawal of PLO and Syrian forces in Beirut, to the first Israeli-Egyptian peace conference in Egypt.

“It was a great experience,” DeDakis says. “Wolf was a well-respected name in the industry, and someone with a reputation for doing things the right way. He’s someone that I’m sure Lark would admire greatly.”

Write what you know.

When John DeDakis’ sister, Georgia, committed suicide in 1980, she was just 38-years-old. Bright and articulate, Georgia could have been a concert pianist or a surgeon. Instead, she decided to take her own life. This isn’t the sort of pain that DeDakis had expected to plumb when he started to write Fast Track, but he soon found himself drawn back to the Georgia’s death, revisiting that dark day and its aftermath.

Fast Track introduces the world to Lark Chadwick, a young woman searching for purpose as she solves the mystery surrounding the car-train collision that orphaned her as an infant. Because the novel deals redemptively with issues of suicide, DeDakis had no choice but to follow the breadcrumbs back to his past. Part of what makes Fast Track so compelling is DeDakis’ willingness to meet these demons head-on. Reading Fast Track, we’re reminded that suicide doesn’t discriminate: Fashion designer Kate Spade appeared to have it everything – worldwide appeal, a successful brand, and, most of all, a beautiful, 13-year-old daughter. She hanged herself anyway. That DeDakis would venture back to such a horrific event in his own life is at once brave and ambitious.

Photo courtesy John DeDakis

“It was an emotional journey,” DeDakis says. “Survivors of someone who commits suicide go through the trauma, which is overwhelming, and then are left to deal with the stigma, shame, and isolation that comes next. Once I got to the place where I was ready to tackle the material, the process of writing Fast Track became cathartic for me.”

The car-train collision in Fast Track also pulls directly from DeDakis’ past. In 1959, he witnessed a car-train collision in Chadwick, Illinois. The crash killed three people, including 11-year-old Raymond Stage, two years older than DeDakis at the time. DeDakis named his protagonist after the town.

“That first book really set the stage for everything that’s followed,” he says. “Lark has been at the center of the other books I’ve written. It’s been quite the journey so far.”

Write what you know.

In 2016, John DeDakis released his fourth book, Bullet in the Chamber, which draws heavily on his own experience as a White House correspondent covering the last three years of Ronald Reagan’s presidency. It also draws upon his grief following the fatal heroin overdose of his youngest son, Stephen, in 2011.

“The book’s title and the cover image of a bullet in a syringe reflect my belief that a pusher who sells a fatal dose of heroin should be charged with second-degree murder, because it’s like selling a pistol with one bullet in the chamber to a person who will use it to play Russian roulette.”

John DeDakis and his son, Stephen
Photo courtesy John DeDakis

In Bullet, Lark once again finds herself at the wrong place at the right time: Front-row center when the White House press briefing room is suddenly attacked. The president is missing, the first lady’s life is at risk, and Lark’s personal life is falling apart when the man she loves disappears. What unfolds is a story about journalistic integrity – and skullduggery – at the highest level. The tightly-written page-turner has received wide acclaim, winning numerous awards.

“In this book, I fictionalize Stephen’s story and pour it into a thriller about drugs, drones, and journalism told from the point of view of my long-time protagonist” DeDakis says. “It wasn’t something that I took lightly.”

Bullet reminds us that the opioid epidemic in the United States is no longer relegated to places like Atlanta’s Bluff neighborhood, notorious for its gangs and its open-air heroin market, where dealers swarm unfamiliar cars looking for new customers. Opioids have rolled through Middle America, decimating entire towns and snuffing out some of our best and brightest, killer drugs omnipotent in their reach and godlike in their sway over the addicted.

“Stephen had an emergency room experience that revealed he’d been using heroin, DeDakis says. “Up until then he’d hidden it very well.”

When Stephen borrowed his dad’s car and went missing in 2011, a parent’s worst fear was realized.

“When he disappeared, it was out of character for him, so I was pretty sure heroin was a factor,” DeDakis says. “As a parent, part of you goes into denial mode when something like that happens, but as each day passed it became harder to hold onto hope.”

Stephen’s body was found a week later, leaving DeDakis devastated. After years of grief therapy, DeDakis decided to incorporate the traumatic experience into Bullet.

“Part of the reason I wrote Bullet was for the catharsis of it. I found a way to take Stephen’s story and imbue it into the ongoing series that I’d written.”

Write what you know.

John DeDakis retired from CNN in 2013. He’s won an Emmy for his role in CNN’s coverage of the 9/11 terror attacks. He’s published 5 novels, teaches writing, edits manuscripts, and is currently working on his memoir. Oh, and Fake likely won’t be the last we see of Lark Chadwick. There are ideas rolling around, characters being developed, plot twists calling his name.

Wolf Blitzer and John DeDakis
Photo courtesy John DeDakis

The journalist-turned-novelist is a natural-born storyteller, and his female protagonist is itching for more adventure.

That’s good news for the rest of us.

Let’s go back to your roots. What was life like in Wisconsin?

Life doesn’t always turn out the way you expect, and that’s what I tell all my writing students. In journalism, we call it a story. In real life, it’s usually a crisis. In fiction, it’s a plot twist. We all have those plot twists that cause our life to go in new and unexpected directions.

In my case, the plan was to go into politics. My dad was a lawyer, he and I were going to go into practice together, and I was going to use law as a stepping stone to a political career. And, if my career trajectory had turned out the way I had intended, I would have been the guy sworn in on the Capitol steps in 2008 instead of that guy from Kenya – or whatever country Trump falsely accused President Obama of coming from. But, for the good of the country, I changed direction and didn’t become our nation’s 44th president [laughs].


You came of age just as the Vietnam War was heating up.

In 1968, I went to the University of Wisconsin. The Vietnam War was a big deal. It was in an all the papers. Whenever I’d go to class, I was bombarded with viewpoints from both the left and the right, and I was pressured to take a position, either for or against the war. What annoyed me was that the rhetoric was so overheated. I just knew that whoever was trying to spin me was leaving out something salient that would undermine their position. So, I was always suspicious of both the left and the right.

I was in a lot of bull sessions about the war, and I always walked away with more questions than answers. I’d argue the right-wing line of my Nixon republican parents, and when I was at home on Thanksgiving, I’d argue the left-wing line I was hearing in school. When I was alone, I was confused. I volunteered at a campus radio station, because it seemed to me journalism was a good perch to sit on to sort it out. I covered an anti-war riot after Kent State and got tear gassed. When my parents learned that their little boy had gotten gassed, they encouraged me to transfer to a smaller school.


Did you fight in the war?

There was a draft back then, which was one of the reasons that the Vietnam War was so controversial. If your draft number was below 150, then you could get plucked from campus and thrown into the jungles of Vietnam. My number was 14, but I had a student deferment, which meant that I was okay for a while at least.

I transferred to the University of Wisconsin-Madison. Playboy magazine had voted it the No. 1 party school in the country, and I saw it as my personal mission to be the No. 1 partier [laughs]. I didn’t succeed, but I did such a good job of trying. My GPA was so low that I lost 20 credits and my student deferment when I transferred. That’s when I decided to enlist in the Army to avoid the draft and have more control over what I could do.

Two weeks before I was to be shipped out to Vietnam, my orders were changed to Germany. I spent the next two-and-a-half years at the headquarters of the American forces’ radio and television network in Frankfurt, Germany, doing interviews for a special events radio unit. One of the first interviews I did was with this guy named Alfred Hitchcock. I discovered what I was good at and what I loved, so when I got out of the Army and went back to journalism school.


You worked as a White House correspondent. How did that help you in writing your most recent book, Fake?

Well, it helps to have been there. You understand how much of a bubble the president is really in, and how tightly controlled the access is to the president. I mean, not every reporter can get into the Oval Office. When there’s a presidential event, it’s handled by a pool of reporters that rotate. I don’t think a lot of people realize that. There’s someone from a wire service, someone from a television network, someone from a radio network, and a still photographer. It’s a very tightly held group of people, and it rotates on a daily basis. Access to certain things is tightly controlled and extremely limited.

There are other things I observed from having been there. For example, the briefing room is very small. It only seats 50 people, and anything else is standing room only. If you spend any time there, you learn that the briefing room was built over the old White House swimming pool. FDR had the pool built when he was president because he had polio, and he swam in the pool as a means of therapy. Then, when Kennedy came along, he would swim in the pool fairly regularly, but he would also cohort with some of his paramours. Then, when Nixon came along, he built the press room over the pool. Reagan was president when I covered the White House, and videotape was only beginning to be used. Over the years it’s evolved. Instead of just being a big living room with chairs and a microphone, they’ve incorporated theater seating and wired it for radio, television, and the Internet, so now it’s really high tech. A big part of writing Fake was updating my knowledge of the technology that’s changed over time. I had to rely on some of my friends who still cover the White House, or who did at the time I was writing the book, to get an update on how it’s done now.


Your next big career move was to CNN.

I was pretty much behind-the-scenes at CNN. In 1988, I started as a writer at the CNN headquarters in Atlanta. Within nine months after I got there, they made me an editor, and editing is what I did for the rest of my career. It’s analogous to being a hockey goalie. Nobody ever sees the great saves in journalism. They’re only aware of you when something bad makes it on the air – factual errors, bad writing, misspelled words, bias, that kind of stuff. My job was to protect the anchor from saying anything bad.


How did you end up in Washington?

I transferred to D.C. in 2005 while working with Carol Costello, who was the anchor for the early morning show, CNN Daybreak. They canceled the show right after got there, and that’s when they reassigned me to a new show called The Situation Room with Wolf Blitzer, which started airing around the time of Hurricane Katrina. My schedule flipflopped completely. It changed from working overnights to prepare for a show that went on the air at five in the morning, to working through the morning and afternoon to prepare for a show that started at 4PM. The environment was interesting. This was before they remodeled the newsroom, so you had all these people were crammed into this tiny space – it felt like the engine room of the Titanic – people on top of each other [laughs]. Then, they built a new newsroom a couple of floors above the D.C. Bureau, which allowed us to spread out.

Photo by Lisa Strickland

You were one of Wolf Blitzer’s editors at CNN. What’s it like working with Wolf?

Wolf is smart enough that he can anchor the whole show without any script, but we had a stable of writers that was probably the best in the business. It was amazing to see how fast they wrote, and how clearly – all I usually had to do was look it over and turn it in.

It was very fast-paced, because the basic premise of the show is that it’s happening now. Even though we had an idea of what the day was going to look like, things would always change. As a result, there was always writing that was going on during the show, and updates that would be happening a nanosecond before Wolf would get the script. It was nerve-racking. Wolf is amazing – he’s unflappable. They throw changes at him all the time, and he just rolls with it. He’s not a diva. It was amazing to watch.


The Persian Gulf War made Wolf a household name.

A lot of people seem to think that Wolf was overseas and reporting from under a table, but that’s not actually true. Wolf was the Pentagon correspondent at the time, had been on the job for a few months, and had commented to his wife that this CNN thing wasn’t working out. She said, ‘Just give it a little more time, Wolf.’ And then Saddam Hussein invaded Kuwait. Wolf was on the air hour after hour after hour. He’s said that he owes his career to Saddam Hussein.


Let’s talk about your first book, Fast Track.

When I first started experimenting with writing outside of broadcast journalism, I was doing research for a biography of a friend of mine who had been murdered. I had access to his widow, his mistress, his writings, and some very interesting tape recordings. During the course of my reporting, I was digging up information about him that even the family didn’t know, which prompted his widow to request that I put it on hold. I respected her wishes, but eventually took a lot of the things that I learned in my research and poured those details into my first novel.


Where did the idea for Fast Track come from?

I was teaching myself the craft, and one of my exercises was to write a story about a personal experience. I started out with recounting of a car-train collision I’d witnessed when I was nine years old. I was in the dome car that was near the front of the train. It was the middle of the night, and I had a vantage point where I could look down past the engine to see the tracks ahead. Out of the corner of my eye, this automobile came out of nowhere and didn’t stop for the crossing. It just drove right in front of the train. We hit it. In my mind, I can still see the impact. All this debris came down on the dome, and we came to a stop. The collision killed everybody in the car.

Well, as I was writing about this during my exercise, I remembered back to a radio news report about a similar car-train collision in which an infant survived. I thought: What if that kid grew up and wanted to find out more about her past? This was about 15 years after my sister had killed herself, and I suddenly found myself revisiting what had happened to her. Those kinds of things don’t just leave you, so the thoughts and emotions just came flooding back. I ended up taking elements of her story and combining them with some of these other things from the collision. That really became the beginning of the story.


How long did it take you to get Fast Track published?

I started writing Fast Track in 1995, while I was still an editor at CNN in Atlanta. It took 10 years to get the agent that I have now – I was passed up by 38 others – and the manuscript went through 14 major revisions along the way. So, it really took a long time to figure it out, hone my craft, and find someone who felt that it was something they could make money on. Fast Track finally came out in 2005, right as I made the transition to D.C. I didn’t leave CNN until Troubled Water came up.


Lark Chadwick is the lead protagonist. Why write in a female voice?

There are really two reasons that I write as a female. One is a superficial reason; when I was starting to write this character, someone suggested that I should write in a way that stretches who I am, and since I’ve never been a woman before – at least in this life [laughs] – I thought I’d give it a try.


Did you find it difficult?

It wasn’t as hard as I expected, because emotions aren’t gender specific. We all have the same emotions. While I discovered that I could still draw from my own life, it also helped that there were a lot of women in my life at CNN – young women who worked as interns, young women in their mid-20s – who would tell me stories about their boyfriends, careers, families, and things like that. I would just listen to their stories, to the point where their voices became embedded in my subconscious. It also helped to have beta readers who would read early drafts of the story. A lot of these young women would give me their feedback on what was working, and, more importantly, what wasn’t working. That became invaluable to me.

I didn’t realize the deeper reason until I went through grief counseling after my son died of an accidental heroin overdose. I worked through things with my grief counselor for nearly two-and-a-half years, and then the grief counseling center invited me back a year later to give a speech at a fundraising banquet. As I was writing the speech, I discovered that I write as a woman because I’m trying to create a character that I wish my sister had allowed herself to become. Lark does not let a guy define her. She’s not a victim. She still falls for the bad boys, but she’s going to figure it out and not get trapped by her circumstances. That’s the spookiness of the subconscious. The deeper reason for writing Lark was hidden from me until I wrote Bullet in the Chamber.


Let’s talk about your second novel, Bluff. Did you know that you were going to write a second book with the same protagonist?

No, because I didn’t know I was going to be successful writing the first book. I can’t even remember when I thought about writing a second book, but I’m sure it was right around the time when Fast Track was published.


Bluff is set in Wisconsin, but Peru plays a big part in this novel.

One of the women I used to work with at CNN was an anchor, and we would play tennis after work. She told me about how she and her boyfriend went hiking along the Inca Trail to Machu Picchu, in Peru. In Fast Track, one of the characters is Lionel Stone, a newspaper editor who becomes Lark’s mentor. As part of his backstory, his daughter dies in a mountain climbing accident, so I embellished that and created a mountain climbing accident in Peru. I just went with it from there.


Why did you visit Peru?

I’d written about seven drafts of the novel, and I was working from online pictures of the Inca Trail. I realized that I couldn’t fake this, that I really needed to go there and see it for myself. So, I booked a trip and spent 10 days in Peru. It was a great experience. I came back with so much material that could be used in the rewrite…anecdotes, texture, descriptions, things like that. The trail had been hidden from the Western world for centuries – it’s only been discovered in the last 100 years – so, I think just having gone to Peru and walked the Inca Trail made the book so much better.


Your third novel, Troubled Water, is set in Georgia. Why there?

My second son, James, was a student at Columbus State University in Georgia. We visited the school and the setting just seemed perfect for a book.


Tell me about Troubled Water.

In the first two books, Lark is a reporter at a weekly newspaper in southern Wisconsin. In Troubled Water, she becomes the cops-and-courts reporter in southern Georgia. It’s a daily newspaper, but it’s a troubled newspaper, so she’s getting into a bad situation – she just doesn’t know it.

As she is heading to this new job, she stops by the side of the road to relieve herself, and she discovers the body of a young woman who’s been strangled. It turns out to be the first victim of a serial killer who later strikes again. Lark has the inside track because she discovered the body, so she thinks she knows things about the crime that no one else knows.


Does Lark get in over her head?

The story explores the dynamic of working with the cops while she’s also navigating her new journalism job. The photographer that she has to work with is a little manic, but she’s also attracted to him, so there’s a little romantic flirtation going on. And then there’s the presidential race that she gets in touch with as well. So, there are a lot of things going on at the same time.


A Bullet in the Chamber has received critical praise. It’s also a very personal story for you in many ways.

Bullet is another book that came to me in a way that I didn’t expect. My son was missing for over a week, and I knew that heroin was likely going to be a factor in my son’s disappearance. I woke up from a dream with an image of a bullet in a syringe. That stayed with me, and eventually became the idea for the title.


The bullet being a metaphor for a lethal drug overdose.

I felt that if the cops could make the connection between the sale of the hit that killed my son, then they could charge the pusher with second-degree murder. In my opinion, it’s like selling a pistol with one bullet in the chamber, knowing that the buyer is going to play Russian roulette. The pusher doesn’t care about the consequences, he only cares about making the sale. It’s not first-degree murder. He doesn’t intend to kill anybody, but he still knows that it’s a distinct possibility.

As I was writing the book, I soon realized that it wasn’t as clear cut as that. I talked with everyone from prosecutors to cops, and I realized that it’s not so simple for the police to make that kind of connection. That’s something that Lark struggles with in the book, because a person who’s close to her is addicted and dies of a heroin overdose.


Was writing this book a form of catharsis for you?

I had Lark as a character, but it’s still based on the collateral damage that surrounded my life when Stephen went missing, and then was found dead. So, a lot of those scenes are ripped from reality, and yes, I was writing them as a catharsis. They’re also subplots to the bigger picture; I was also trying to create a story that was entertaining, and something that someone would want to read, even if they didn’t know me or cared about my personal story.

Since publication, it’s provided me with opportunities to talk with people about things like addiction and suicide. These are still stigmatized issues. The saving grace for me is that I’m able to write and talk about them. I think that it helps people realize they’re not alone. Grief is so isolating. You feel like you’re the only person who feels this way, that the world is going on without you and you’re stuck in this moment that will never go away. So, I try to help people understand that it’s possible to get through it, learn from it, and heal.


Let’s talk about Fake. Lark finds herself in D.C.

Since Fake is part of a series, you have to live with the characters that you’ve already created. In my third novel, Troubled Water, Lark is working as a cops-and-courts reporter in a fictitious Georgia town. She’s covering Will Gannon, the Governor of Georgia, who’s running for president. The dynamic continues in Bullet in the Chamber, where he’s become the new president and she’s started covering the White House.


Where’d you get the idea?

I was actually going in a different direction, but then Trump was elected president in 2016. The reason I wrote it this way is that I was troubled by Trump’s criticism of journalists, his portrayal of them as the enemy of the American people, and his assertion that they make up stories. I know from having been behind the scenes for nearly 50 years, making up stories is a firing offense at any reputable news organization. Although I resented Trump’s criticism and felt it was gratuitous, I didn’t set out to write an anti-Trump polemic. What I’ve always tried to do in all of my novels, is to give people a behind-the-scenes glimpse as to how journalism really does operate. Sure, there are some scoundrels. But there are also plenty of people who really try to play it straight.


Lark herself is a victim of fake news.

As journalism has evolved, social media has become much more front and center, and there’s a downside to that. We’re all journalists now because we have a smartphone and a social media account. Anytime you post something you’re a publisher – and yet, there is no editorial oversight. There’s no one saying, “Where’d you get that? How do you know that’s true?” People can post anything they want as ‘the truth,’ and in some cases it reaches millions of followers. There are real consequences to false information. So, one of the things that I tried to depict in Fake is the downside of being the victim of fake news.

John DeDakis

Let’s talk about your creative process. Do you set daily quotas on how many words or pages you want to write?

I’m really good at procrastination. I mean, that’s part of the process [laughs]. The thing I tell my students is that if you’re ruminating about your story, you’re still writing it, even if you’re not banging out 1,000 words a day. I try to help them realize that it can be a trap to set some of these goals. As a writer, how do you feel about yourself if you only do 800 words a day, or 250, or even zero? If you’re not careful, you can begin to feel that you have no business being a writer because you don’t have the discipline it takes to meet a self-imposed quota. You are human, so you need to allow for that. I share that advice with my students.


What is your creative process like?

One of the things that I really try to do is turn off my internal editor and write the first draft all the way through. I found that I can write a first draft in about nine months. I may not always know where I’m going, and I may not know exactly how I’m going to get to Point K, for example, but I know that I need to get to Point C first. Along the way, I allow for serendipity. I allow for not knowing where I’m going and just writing by the seat of my pants, to see what shows up. And I don’t look back; the story is going to keep going forward, and I’ll fix things during the rewrite.

There are times when I’ll compromise with my internal editor. I’ll sit with a chapter for a day or two, proofread and copyedit it, and then rough it in so that it’s decent. Then I’ll lock it in and move on, as opposed to constantly looping back to the first chapter. I’m a firm believer that if you keep going back to the beginning, you never make any forward momentum. Finishing that first draft is a real psychological hurdle, but you have to trust that you’ll get there. At that point the manuscript is this steaming pile of clay, but at least you’ve got something that you can really start to shape.


How do you deal with writer’s block?

I’ve learned that writer’s block is basically fear; fear of making a mistake, fear of getting it wrong, fear of not being good enough. This may sound counterintuitive, but the cure for writer’s block is to write. It’s not gonna be perfect the first time. There are times when it’s gonna suck. At least you’ll have something that you can look at objectively, and then you can make it better.

Being stuck in a rut is hard to escape, especially if you allow yourself to keep digging. I learned that as a radio reporter; when you’re on a deadline, you’ve got to write.

I was working at a radio station in Madison, Wisconsin, and the studio and transmitter was in a cornfield. I remember going outside and getting down on my knees and saying, ‘Lord, help me to write fast.’ It was almost as if the prayer itself needed editing, because it sounded like I was telling God to make me write fast, and that I was demanding it right now [laughs]. Well, I got up and went inside, and I never really looked back. I was able to write pretty fast after that, and since then I don’t usually get hung up.

Lisa Strickland and John DeDakis
Photo courtesy John DeDakis

When you’re working on a novel, do you have self-imposed deadlines?

I didn’t impose deadlines on myself when I wrote the first four novels. That’s probably because there were so many other things going on in my life that took priority. Writing fiction was gravy – it was what I did when all of the dad-stuff was done.

The only time I really imposed a deadline on myself was when I was writing Fake. That’s because, as I was writing it, Trump was president and he was just doing crazier and crazier things. I realized that in order for this book to really be effective, it needed to come out before the 2020 election.

Around November, 2019, I said to my agent, “I need to have this book come out in 2019. When do you need the manuscript?” She said, “Two months.” I hadn’t even finished the first draft yet. November to the end of January was a mad dash to finish the first draft, get it to my beta readers, and then make revisions. I got it to my agent by the end of January, so that it could come out in September, 2019.


How did you handle working under a deadline?

That was a real rush for me to get it done, but I already knew how to write under deadline. To put it in perspective, my normal writing day when I’m working on a novel is between two-to-four hours. Anything beyond that and I become less effective. During that two-month period, I was writing much longer than that. It wasn’t frantic, it was just intense.


Are you an introvert or an extrovert, and do you enjoy promoting your work?

I am a shy extrovert, with introvert tendencies. One of the things I discovered is that I liked marketing more than I thought I would. I think I always pictured marketing as analogous to being an obnoxious used car salesman. The idea of shameless self-promotion is anathema. I just really cringe at it. And yet I discovered that marketing isn’t selling, it’s telling. All you have to do is just tell someone that you’ve written a book, and then tell them a little bit about it. If they’re interested, great. If they’re not, they’re not. You’re not responsible for the outcome, you’re just responsible for letting them know. I’ve also discovered that there are endless ways to connect with people, even more so now with the Internet. It can be a tremendous time suck, so you’ve got to have a good marketing team. That’s when I decided to hire Lisa Strickland, the founder of Brava Creative Group. We make a good team. She does a lot of the stuff that I don’t want to do. And she’s able to do it extremely well.


How long have you been working with Lisa?

We met when I was still at CNN. I was taking the Metro one day, and she got on and sat next to me. Nobody talks on the Metro. The train came to a stop and the door opened, and it looked like she was getting ready to lunge out the door. I said to her, “Do you know where you’re going?” She told me the stop, and I said, “That’s the next one.” That broke the ice. So, between that stop and the next one we started talking. My stop was her stop, so we got off together, grabbed a drink, and have been talking ever since. It’s cause and effect. That’s how life is lived.


What are you working on now?

The working title of my memoir – and it could change – is Pivot Points – A Life of Plot Twists. The basic premise is that life doesn’t turn out the way you expect. The book will highlight the plot twists in my own life, and the lessons that I’ve learned from the choices that I’ve made and have been forced to make. It will tell the story of my journey: Covering the presidency, then moving into journalism, and then getting into fiction after my sister committed suicide – which is something that deepened after my son’s death. I hope to tell it in a way that inspires others who’ve had to cope with grief and overcome their own struggles. There is always hope.


You’re enjoying retired life. What else keeps you busy?

I was still at CNN when I started editing people’s manuscripts. So, over the course of having written several novels, I now teach people how to write novels. My career has taken another twist to where I am now, as a manuscript editor and a writing teacher and a writing coach. That’s what I do in my retirement right now.

Photo by Lisa Strickland

Last Question: If you had one piece of advice for others, what would that be?

Don’t give up. There is always a reason to hope. That’s true when it comes to writing, and it’s also true in living, too. I think that there are certainly times when things seem hopeless, but it’s important to see the bigger picture, the bigger possibilities. There are many types of advice out there, but I really feel that refusing to give up is the best advice I can give.