Angela Randazzo Crafts Magical Worlds Where Imagination, History, and Heart Collide
Angela Randazzo, award-winning author and playwright, brings fantasy, history, and humanity together through her richly imaginative storytelling.
Blushing Heroes, Ghostly Voices, and a Young William Shakespeare Reborn in Magic
Angela Randazzo discusses blending history and fantasy, writing across mediums, and transforming vulnerability into strength, while sharing insights on creativity, persistence, and building imaginative worlds for readers of all ages.
A ngela Randazzo arrives at the page with the rare confidence of a storyteller who has not only mastered multiple forms, but reshaped them into a singular, unmistakable voice. In an era where many writers are encouraged to specialize, Randazzo moves fluidly between stage, page, and screen, building imaginative worlds that feel at once whimsical and grounded, theatrical yet deeply human. Her body of work—spanning children’s literature, young adult fiction, and drama—reveals an artist committed not just to storytelling, but to the enduring emotional resonance of story itself.
From the playful ingenuity of The Tiger Turned Pink to the expansive, myth-infused vision of Wicked Will, Randazzo’s writing consistently transforms the ordinary into the extraordinary. She has a gift for locating wonder in vulnerability—turning something as simple as a blush into a heroic force, or reimagining a young William Shakespeare as a boy on the brink of magical discovery. This instinct—to elevate, to reframe, to illuminate—is what makes her work linger long after the final page.
Her background as a journalist lends her storytelling an unusual discipline: even at its most fantastical, her work is anchored in authenticity and meticulous detail. Yet it is her theatrical sensibility—her ear for dialogue, her instinct for timing, her visual imagination—that gives her stories their vivid pulse. Whether crafting a ghost tour steeped in local history or developing a multi-platform literary universe, Randazzo demonstrates an unwavering commitment to both craft and creativity.
What emerges in this conversation is a writer who understands the demands of her art without losing sight of its joy. She speaks candidly about the challenges of voice, the realities of the industry, and the persistence required to sustain a creative life. But above all, she reminds us why stories matter: because they transform, they connect, and they endure.
In this interview, Randazzo invites us into her process, her inspirations, and her ever-expanding imaginative worlds—proof that storytelling, in the right hands, is nothing short of magic.
What inspired you to use a physical trait like blushing as a heroic superpower for Toby in The Tiger Turned Pink?
This story started out as a play, The Tiger Turned Pink and was visually sweet as the audience would see the tiger glow pink under a rose spotlight. The play was published by the Dramatic Publishing Company and had a long run at a theater in the North Hollywood district.
I reimagined the story into a children’s book that became Toby A-Glow-Glow. Toby’s transformation began as a playful visual idea, but it quickly became symbolic. Blushing is something children often feel embarrassed about, yet it reflects sensitivity, honesty, and emotional awareness. His “blush” becomes not something to hide, but something that helps him shine.
He thinks his way out of a problem and doesn’t give up, using his glow to escape from hunters who captured him and his friends. He turns his vulnerability into strength and shows that what makes us feel different can also make us powerful.
How did your experience as a journalist for the Los Angeles Daily News influence your approach to researching historical figures for your ghost tours?
I was a feature writer for the Los Angeles Daily News, telling stories about people and their lives. My journey as a news writer started long before I was with the Daily News, and that style of writing taught me discipline in research and respect for factual detail.
When writing historical pieces like my ghost tours, I approach them with the same mindset – verify the facts and then find the human story within them. The difference is that in storytelling, the monologues and scenes I wrote were humorous and theatrical, adding atmosphere and emotion. But the foundation still came from the real history of the person portrayed.
Having worked in plays, screenplays, and children’s books, which medium do you find most challenging when trying to capture a character’s voice?
Each medium has its own demands, but I find children’s books deceptively challenging. With fewer words, every line has to carry more weight, and the voice must feel authentic without overexplaining. In a screenplay, dialogue and action share the load, but in children’s storytelling, the rhythm, tone, and emotional clarity all have to work together very precisely.
What was the most memorable moment you experienced on the set of The Godfather, and did it shape your perspective on the film industry?
I played a bridesmaid in the wedding scene, and it was an incredible experience. I met Marlon Brando in an unusual way. The house on the estate was used by the principals, and I chose to use that bathroom instead of the porta-potty.
I knocked on the bathroom door, and who should open it but none other than the Godfather himself. I said, “Of all the places to meet Marlon Brando.” He graciously gestured to the room, and I trotted inside. I sat on the seat – it was still warm!
I’m not sure how that shaped my perspective on the film industry, other than to remind me that life can be very funny sometimes.
How did your role as co-chair of the Committee of Women Writers impact your views on the progress of diversity within the Writers Guild of America?
Our goal was to promote the hiring of women and minorities in the film industry. The hiring statistics year after year were abysmal. We tried different approaches – inviting studio executives to meet and greet women writers, holding seminars, and sending scripts written by women and minorities to literary agents.
It was a lot of effort that produced very little response. Eventually, the WGA sued the industry and won monetary compensation, but with no real change in hiring practices according to the statistics. It made a good headline in The Hollywood Reporter – studios vowed to hire more women and minorities. The jury is still out.
Your work often blends history with performance; what is the most surprising fact you discovered while writing the Ghost Tour in Strathearn Park?
The ghost tour was great fun and ran for 20 years at Halloween as a family event. I was always delighted to see parents and kids enjoy the show as the audience was guided to each location within the park.
The night was dark, the moon high, and each spooky ghost would tell the story of their life. As the writer of these scenes, it surprised me how many unusual people lived in the area. There was a cult leader in the 1950s who was literally blown up by his followers. Then there were pioneers going back to the early Spanish settlers. It really gives you a sense of history and how what we enjoy today was built because of their efforts and passion.
As someone who has produced and directed in both New York and Los Angeles, how does the creative energy differ between the two cities?
It seems to me the creative energy is the same, although the intensity may differ. There is a difference in the ambiance. Off-off Broadway theaters on the lower west side are in a condensed area, so the creative level appears more intense.
In Los Angeles, it’s easier to get around and there’s a more laid-back attitude. New York actors tend to be ferocious, while Los Angeles actors come off subtler, but inside the creativity is just as intense. Both are ambitious and willing to work hard.
What particular challenges did you face when adapting your play The Tiger Turned Pink for a Dutch-speaking audience?
As I mentioned, the play is published by the Dramatic Publishing Company, and they handled the adaptations into different languages, not me. It is thrilling to know that people all over the world are enjoying the fruits of my imagination.
DPC sends me listings of where my plays are performed, including Bats in the Belfry and Zara, or Who Killed the Queen of the Silent Screen. I once saw that Bats was performed in Nova Scotia. I knew it was somewhere near Canada, and I had to look it up on a map. That was fun, knowing that in a place far from where I live, I had brought joy through a performance of my play.
How do you balance the technical requirements of a screenplay like Guardian Angel with the more whimsical demands of children’s storytelling?
Each form of writing has its own requirements. I wrote screenplays and teleplays in the professional world as a member of the WGA, and a writer must know the format and follow it.
I am naturally a playwright, drawn to writing dialogue. When I branched into novels, I had to learn how to write description. I would ask myself, how many ways can I describe a tree? I would write the scene in dialogue and then go back and change sections into descriptive narrative.
I’m better at writing novels now. Some writers prefer to stay with one form, but I enjoy working across different mediums. I’m also an artist, so I illustrate my children’s books, which helps tell the story. Whatever the medium, the story is always the core.
What specific writing tips would you offer to aspiring authors who are looking to transition from short-form journalism to long-form creative storytelling?
News reporting and storytelling are two different worlds. I have done both. Within news writing, there are different areas – straight reporting focuses on the facts: who, what, when, and where. Feature writing has more flexibility and includes elements of storytelling, but the writer must still stay with the facts.
In creative storytelling, the writer is free to go wherever their imagination takes them. Usually, a writer is drawn to a style of writing and should follow their heart.
Your three-part fantasy adventure, Wicked Will series reimagines a young William Shakespeare in a world of magic, mystery, and historical intrigue. What inspired you to explore Shakespeare’s early life in this way, and how do you balance history with imagination?
Wicked Will grew out of my fascination with Shakespeare, not just the playwright, but the boy he must have been before the world knew his name. I began to wonder what kind of imagination a child would need to grow into the writer of The Tempest, Hamlet, and all the great works that followed. The idea took hold: what if those stories didn’t come from nowhere? What if they were inspired by real adventures – dangerous, magical, and filled with mystery? In Wicked Will, I place young Will in the very real world of Elizabethan England – political intrigue, exploration, the Tower of London and then open the door to magic. Through reimagined characters such as Professor Prospero and his quest for enchanted stones, Will’s early adventures begin to echo the themes that will later appear in his plays. Did you know that in Hamlet there are clues that have been linked to the search for the Holy Grail? Will finds himself drawn into this mystery and much more. The novel is grounded in real places, real figures, and the texture of the time, but the story expands into a world of wonder and magic. Because it is rooted so deeply in England’s history and literary heritage, it feels like a natural homecoming for British readers, and I would welcome the opportunity to see it published more broadly in the UK market. For me, this is where the legend of Shakespeare truly began…with an irascible boy and his wild imagination.
What is your most important piece of advice for aspiring authors who are struggling to find their unique voice in a competitive industry?
This question is the reason I named my website Writing Ain’t for Wimps. It’s not easy. It takes fortitude, commitment, and a certain amount of stubbornness, not just creativity. I divide writing into two parts: the creative and the marketing. The creative is where you express yourself, find your voice, and tell your stories. This is the fun part, where you allow your imagination to soar. But finding your voice doesn’t happen overnight – it comes from writing, rewriting, and staying with it even when it’s difficult. My advice is that whatever you are writing about, do research on the topic. You will discover a wealth of information that feeds your imagination and gives you ideas you might never have considered. The other part, marketing, is where many writers struggle. It requires you to step outside yourself and advocate for your work. The world of self-publishing and traditional publishing both have their ups and downs, but in either case, a writer needs passion and persistence to be heard. In the end, finding your voice means trusting it and having the courage to keep going. Hear me roar!
