Monster Love: Embracing Kaiju as a Horror Subgenre — Because How Can We Not?


For those of us constantly rummaging around the subgenres looking for inspiration and just plain fun Horror, there is a “new” discovery to be made. It is called Kaiju and it comes at us – like all good monsters – from several directions at once: graphic novels, comic books, classic science fiction, classic Horror, and black and white cinema… most obviously from scarier minds in Japan.

The really great thing is: you probably already know it and love it… because especially for Horror fans in the West, the newest thing about Kaiju is its name.

Ki1

http://www.fanpop.com/clubs/giant-monsters/images/36716011/title/godzilla-1991-wogzilla-wallpaper

Love Me, Love My Monster

We’re talking big monsters... Really big. This is Kaiju…

And while if you are a Lovecraft fan, such monsters are already part of your Horror bestiary as part of Weird Fiction, many of us have left them snugly contained within the Lovecraft mythos, and the dusty black and white and colorized Cinema Scope corners of early science fiction cinema.

Therefore, even as we of the Horror genre love them, we’ve also been conditioned to consider giant monsters “done” – as in someone already thought of that… But like all great concepts, what we need to rebel against is the editorial mindset that says exactly that…

Because while the wielding of giant, towering monsters may have been done, it hasn’t all been done… There is plenty of room in our Horror landscape for many more great monsters, for other mythos catalogs… and for ever more apocalyptic destruction of the human ego.

It has been graphic novelists and comic book folk who have led the way in this giant monster revelation. And it is them we should thank heartily; because big monsters are back. And they are awesome.

Ki2

Says Robert Hood in his introduction to The Mammoth Book of Kaiju, there is just “something cathartic about watching giant monsters trash cities.” And he could not be more correct… especially now in our world with so much human arrogance on display. At a time when so many of us are being victimized by the very things that were supposed to liberate us from poverty, ignorance, and isolation, we find ourselves feeling as helpless as teeny tiny people fleeing nuclear-mutated monsters on the beach – with about as bleak-appearing future.

Under those circumstances, it is hard to not root for the monster… who is always both us and our fears.

Never mind the Literary insinuations here, the associations with certain world leaders and their bull-dozing opinions, the metaphor of technology versus the little guy, the absolute sense of loss of control that haunts and torments our daily lives whether we live in a war zone or suburbia.

With giant monsters, our familiar problems are minimized, and our humanity is a thing to be found in common. Here we can give ourselves permission to cheer on a Russian pilot or an American capitalist, to fear for a Japanese boy or a boatload of immigrants caught between the monster-filled deep oceans (with a nod to Freud) and New York harbor or downtown Tokyo.

Yet we can also subversively love the monster… a thing we ultimately discover we created… and which has come for justice.

Ki2a

And it has been coming for us in cinema since at least 1925, with Sir Arthur Conan Doyle’s The Lost World, and in modern Literature since at least 1870 with Jules Verne’s 20,000 Leagues Under the Sea, and yet again in ancient storytelling since The Epic of Gilgamesh emerged from Mesopotamia in 2100 BCE…(Hood 6-9)

Clearly humanity has had justice – if not deep psychological issues – for a long, long time. And we have learned to savor the moments when it all comes messily together.

For example, most of us have wonderfully fond memories of the first time we saw Godzilla trample Tokyo. But other than adjectives like “fabulous,” “terrifying,” and the “unstoppable titan of terror”… for a long time we didn’t have any terminology for it.

Part of this has to do with our own isolationism in the West, and part of it has to do with our level of interest. We had already half-way consigned big monsters and their outdated atomic connections to yesteryear, when suddenly everything “retro” was in – and the more vintage, the better: all of the old B-movies laced with drama and an older idea of terror was suddenly back in style.

With technology and the Nerd Boom came the resuscitation of old kitschy pleasures made more “cool” by computer imaging and more impressive by the achievements of those working with a lot less available, while simultaneously harder to finesse and more creatively achieved special effects. Suddenly we gained a more generic interest in film history and trivia. We took note of the use of lighting and hard-won effects, of actors and locations, of directors and producers.

We have to admit we love them – the monsters, their makers, the actors and the effects – so we fell in love anew.

As Science Fiction and Fantasy received the bulk of the breath of new life and new interest, we started developing a passion in becoming nerdishly authoritative in certain histories. How genres have evolved and who contributed what to the evolution has become a niche hobby.

Bit by bit, even in Horror we have all started wanting to know the histories of genre writing, and we now actually read those boring forwards, introductions, and afterward essays that we used to rip past in our rush to scare ourselves. We are no longer satisfied to hear someone just say something about a canon work or a writer: we want more – we want to be experts ourselves.

And even more significantly, for perhaps the first time in its history, Pulp fiction is no longer disposable fiction…It has a place in our momentum and our hearts. We are digging through old boxes and collections, looking for the stuff most of us threw away and a few had the love and foresight to horde in dark, forgotten places. A whole cadre of private collectors has arisen to catalog the works no one thought held any significance.

And we are finding that all work – even genre work – has significance.

The current gap in Literary Criticism and modern works has opened another unexpected door: through our passion and our own connecting of Pulp works with the evolution of genre Literature, we are legitimizing ALL of the work that has gone before.

While Critics are collecting their theories and thoughts, writers and lovers of writing are gathering their stockpiles of early works, creating more…building a legacy.

So much of this starts with giant monsters – with Kaiju. Because it was film and comics that opened that so-important door.

This almost-academic interest is a sea change in fandom. And it means that it’s not just editors who know stuff, or share stuff, or defend stuff.

Ki2c

http://www.awayfromthethingsofman.com/2016/10/the-big-road-trip-part-3-g-fest-xxiii.html

Led by the example of rabid film buffs and hardcore comic and kaiju fans, more and more of us who roam the fiction genre landscape are wanting details too often referred to and seldom explained. There is a demand for genre history, an actual interest in the history of fiction writing, in the biographies of writers and the publications they appeared in.

It’s been a great time for genre fiction and genre film.

Because it is precisely this passion that is also laying the fabulous groundwork for genre folk to become part of Literary-type discussions. It is subjects like Kaiju that are teaching us that there is a lot more to genre than the Ivory Towers have both believed and inferred. And maybe – just maybe – this lays even more groundwork for the legitimizing of genre as Literature…

While Science Fiction and Fantasy have enjoyed greater academic respect than Horror fiction, in our genre we are well aware of the constant cross-pollination of SF&F into our works, and the constant muddying of the genre waters. Books and films like Alien, Jurassic Park, Jaws, and even Harry Potter are the most easily seen as being both or either genres.

So it is easier to see where Kaiju shares Horror elements, and could have been originated as Horror…large crowds screaming in terror, monsters snacking on slower humans, the insinuation that we ourselves – like Frankenstein’s monster – created the problem, all contribute to the embrace of big monsters by Horror fans.

The flames are further fanned by the reality that with less Horror finding publication, our fanbase is looking around for something else to read, to embrace. The current boom in comics and graphic novels means we – and our money O New York Publishing Machine – are drifting to these artistic offshoots. And we are liking what we are seeing.

Ki3

http://www.kpbs.org/news/2013/jul/10/midday-movies-what-kaiju/

This means that we are becoming closet Science Fiction and Fantasy fans, looking for the Horror. And we may well bring some of what we find back into the Horror genre – for good or ill.

But it also means that both traditional publishing and academics are going to have to start nailing down not only specifically what makes Horror “Horror” as a genre, but why it is important that we look individually at works to allow them into our canon, and not classify authors.

And somebody out there is going to have to admit that Horror is NOT dead, many of its fans do NOT age-out of the genre, and writers are STILL writing it despite the lack of markets and a certain amount of commercial judging.

While for writers it often feels more like American Idol than simple submission of our work, it only proves that the genre is changing faster than its editors and publications can keep up.

And that is another reason we who write Horror need to take a page from our brethren and sistren in the comics and graphic novel independent publishing industry… Just sayin’…

 Ki4

http://www.kanhangadvartha.com/group/pacific-rim-wallpaper/

 Monstersize Me

So let’s take a closer look at what has caught our genre fancy. And just as in the best of Horror, we are going to Mammoth Books to learn about it… specifically to the introduction once again by Robert Hood:

Kaiju is “a Japanese term that has been little known in the West except among aficionados of a particular tradition of monster cinema” until rather recently…” The word means ‘monster” or ‘giant monster’(although more accurately it translates as ‘strange creature’) and the cinematic tradition such monsters spawned is called kaiju eiga (monster film)…”

Now whether you liked or despised films like Monster, Pacific Rim, Cloverfield, or The Happening… You have been witnessing a Second Migration of Kaiju from graphic novels and comics to the Big Screen. And as a Horror fan used to the disappointment of Hollywood’s “scariest ever” promises, you probably saw them.

But you may also have fallen under their spell. As Horror fans, we have also become conditioned to love concept… accepting without question that Horror often loses its scary both in plot and in acting. Horror fans have learned to be somewhat satisfied with the very idea as opposed to craft in the telling.

It’s why we as a genre have split into two camps – the Literary, often too-dull ones, and the Pulp ones, who are all about concept and attempted delivery of same.

This means we excuse the epic fails, and still love the monsters. Like the ones IN Monsters… an otherwise odd, schizophrenic war film with really awesome, totally wasted monsters…

It’s because we see the potential. We take the monster and let him (or her) run loose in the dark of our imaginations. It’s kind of the adult version of kid’s picture books like My Monster Mama Loves Me So, The Monster Under the Bed and Creepy Monsters, Sleepy Monsters… something graphic novel and comic book fans learned long ago. Monsters are all about concept… which Godzilla already taught most of us.

It just doesn’t matter that there is little Kaiju fiction out there…

As Jeremy Robinson says in the foreward of Kaiju Rising: Age of Monsters, “Between 1999 and 2012, there wasn’t a single noteworthy Kaiju novel published…Kaiju as a genre, has been largely ignored by the publishing world. But thanks to technological advances in publishing, small presses and self-publishers now have the ability to tackle subgenres considered too risky by large publishers. Unfortunately the genre (as of writing this foreward), is still largely represented in popular fiction by [the Godzilla novels published in the 1990’s and] Project Nemesis and its sequel Project Maigo [by Robinson himself]…” (xii)

Yet the rise in independent presses and self-publishing and small presses has been exactly what has led to the “boom” in pop culture items such as graphic novels and comics. And while they may not be the Big Houses of New York, they are prospering. And bringing Kaiju right along with them.

The success of Kaiju is propelled by magnificent art, universal concepts, and the extreme flexibility in the universe of monsters. Quite simply, there are no creative limits.

Continues Hood, “Kaiju origins are as diverse as imagination allows, from traditional nuclear mutation, through outer space and interdimensional invasion” (7)… (sound familiar? ) “to the incarnation of emotional and metaphysical states via the imagination of unsuspecting humans, often children” (7)… (both major conventions utilized quite successfully by both Lovecraft and Stephen King, thank you)….

Ki5

http://www.kpbs.org/news/2013/jul/10/midday-movies-what-kaiju/

In Kaiju, imagination is valued for its extremes. And that just equates to fun, and creative challenge. Kaiju easily represents the finger-painting of Horror subgenres. It is a fabulous and seductive starting point for any number of horrors…night terrors…bumps in the night. And it opens the door to Science Fiction elements that can enhance Horror and broaden our audience.

Here we see exactly why Horror fans are often Science Fiction fans. And we see how the which-is-the-real-subgenre argument got started.

Yet Kaiju also does something else: it provides a certain intimacy with the monster that we in Horror haven’t seen much of since Mary Shelleys’ Frankenstein, or Anne Rice’s hopelessly flawed and erotic vampires. Points out Hood, “They all have names” and histories, and a collectively human nemesis which “whatever the imagination can come up with is likely to be utilized at some point, whether or not it makes scientific, physical or economic sense.” (7)

As Horror fans, we are used to the inconsistencies. And we commonly excuse them to get to the Horror…It’s a kind of sacrifice we have come to accept that Hollywood expects us to make, and it may be why novice Horror writers are pre-programmed into bad habits in writing craft… then baffled as to why craft errors matter.

As Horror fans, we don’t care…as long as the monster itself is awesome, which is how we get back to the Japanese, Godzilla, and the uniquely imaginative beasts coming out of that country’s creative think tank. When our efforts fall short, when our story lines vacate the monster’s power, we return to Kaiju.

So while “Strictly speaking then, the term Kaiju refers to monsters [in a particular] Japanese tradition,” and one that is “characterized by a high level of absurdity…[wherein] monsters are much bigger than is physically viable [and] taken literally, the creatures are indeed impossible fantasies, despite the frequent science fiction trappings given them” (6), we easily translate them to contemporary world crises, to Western cities, to our own fears…

Ki6

We have commandeered them for our own uses…Even as we continue to grow our appreciation and affection for the Japanese originals. So we keep going back to the oh-so-deep Japanese well; Kaiju is the DNA imprint for all monsters than came after Godzilla… it must be part of defining the future of all strange monsters.

“They come in all shapes and sizes” (6)… they traverse all manner of mental-emotional landscapes the way that Lovecraft’s monsters still do. The plot is only a vehicle for the monster… and we swoon as the Horror begins.

We cannot help ourselves. We come to adore our monsters the way we adore Tyrannosaurus Rex – completely checking out of the empathetic box for those who would be eaten. We see instead a reflection of ourselves… of justice come for those who have wronged us all…

That is the infrastructure that is the entire Horror genre: the contentious balance between good and evil, justice and revenge, morality and immorality. Perhaps as humans we long for that battle, for the resolution of judgment… for that parent to come home and administer the promised punishment to just get it over with. So we cheer on the monster. The monster is both us and our judge. Watching him stride across the wrecked landscape, stomping on skyscrapers is watching Dad pull into the driveway, Mom’s word’s echoing in our heads: “Just wait til your father comes home…”

It’s not like we in the Horror genre are unfamiliar…

Ki7

But there is just something about Kaiju that continues to bring us back, to reel us in, to invade our subconscious like an interdimensional being asleep under the ocean, subtly manipulating our thoughts like Cthulhu…

Maybe it is Cthulhu…

After all, Kaiju has remained on the fringes of pop culture… Not quite fully let into genre fiction… Lost in its own kind of subconsciousness.

But I think this is changing. It has to. Genre fiction has hit a wall… Editors seeking to improve Literary standing have turned a blind eye to pulp, where the best in genre is incubated. New ideas are not as welcome as publishers claim, if only because everyone is perched too precariously on the edge of print extinction…

But that has left a lot of us out in the cold… And that in turn has weeded out our ranks into those who will “do or write anything to get published” and those who have decided that prostitution of the soul is not worth a few moments of fame.

It is the second group that is bathing in Kaiju, marinating imagination, exploring the importance of good concept and toying with more Literary execution…NOT because some editor somewhere wants to see it, but because WE as writers want the challenge of DOING it…

Monsters are pure drugs that shoot through us intravenously… lodging in that primal place where the best Horror comes from.

Embrace Kaiju as a Horror subgenre? How could we not?

It’s already living there, stomping on the skyscrapers of all things standing between hope and humanity. What is not to love?

What is not to learn? Welcome to the Horror genre, Kaiju masters…

 

Ki8

ありがとうございましたArigatōgozaimashita…

For all that is yet to come!

 

References

Hood, Robert. Introduction. The Mammoth Books of Kaiju. Sean Wallace, ed. Germantown, MD: Prime Books, c2016.

Robinson, Jeremy. Foreward. Kaiju Rising: Age of Monsters. Tim Marquitz and N.X. Sharps, Eds. Crestview Hills, KY: Ragnarok Publications, c2014.

Advertisements

Cthulhu Worshippers: Is the Rise of Themed Anthologies Good For Horror?


When I recently looked across the sea of my past years’ Horror purchases, I was struck by just how many Lovecraft anthologies there were. Themed anthologies are on the steady increase – collections dedicated to one author’s established universe, one established monster, or one Horror concept. And of those themes, the work of H.P. Lovecraft absolutely dominates. Yet as open-minded as I try to be in my Horror story collecting, I found an alarming amount of tentacles on my shelves.

Herein lay a truth: I am a sucker for tentacles. I enjoy reading Lovecraftian fiction…but I do not tend to write it.

So if I did not purchase more generic modern collections, what did it mean? Were they not out there? Granted, I discriminate against vampire collections and I have not yet dipped my toes into steampunk-tinted Horror… But the prolific dominance of Lovecraft struck me as more than coincidence.

So that begs the question what does it mean for Horror writers – this rise in themed anthologies of which Lovecraft dominates?

Too Much of a Good Thing

World class Horror editor Paula Guran states in her introduction to The Year’s Best Dark Fantasy & Horror 2016, “…there were around 15 anthologies of Lovecraftian tales published in 2015 – not to mention other venues that published such stories…”(8)

Fifteen! I am imagining that this is – like – twelve anthologies of Lovecraftian fiction we did not need that year….twelve opportunities for other stories of Horror fiction to have been officially birthed in our world.

Perhaps that is the bulk of the type of Horror being published today. But maybe, just maybe, the singular and collective weight of ALL of the same kind of anthologies in my personal library means something besides my own addiction: maybe it means our genre has fallen into a rut.

No, I thought…surely it can’t be….

And yet the proof is on every bookstore shelf. And it is causing my floors to sag.

ct1

 

 

 

 

 

 

 

Fan Fiction: Let’s Call It What It Is

Believe it or not, it starts with Technology. Technology has caused a lot of changes to publishing in general and to Horror in particular. Horror has grown toward Hollywood like weeds to the sun…

In her essay, “Blurring the Lines,” Amber Benson states, “There used to be a hard-and-fast rule. There was “them” and then there was “us.” “Them” was made up of artists – the people who created TV shows, books, films, music, and visual art. “Us” was the group of people who consumed what they made. “Them” was set apart from “us” because “them” was creating material that was disseminated, on a large scale, to “us” out there in the real world. “Us” could enjoy “them” and their work, but “us” could not contribute to the creations we loved in any appreciable fashion…But then something interesting happened: the internet took over the world, and this hard-and-fast rule slowly began to disintegrate. All of a sudden “us” was able to horn in on “them” and their creative process in a very public way – most notably in the form of fanfiction.” (Jamison, 334)

Enter the world of Big Money. Enter the world of Twilight and Fifty Shades of Gray… That’s right: Fifty Shades started as – believe it or not – a fanfiction of Twilight. And for that mystery of artistic and unholy alliances, one has merely to follow the money trail… Hollywood has discovered the great storytelling in fanfic Vampires and scary entities that populate urban legend. This has led to the migration of the movie public to the bookstore titles traditional publishing has cringed at, yet harvested with tremendous profits.

Such success has in turn inspired fanfic sites to create and self-publish their own anthologies, not always to as profitable acclaim. But Hollywood has noticed. The fanfic writing collective that is Creepypasta (http://www.creepypasta.org/) is the undisputed home of such well-known Hollywood pollinating characters as Slender Man, Eyeless Jack, Jeff the Killer, and The Rake…

To the Horror Establishment’s chagrin, this is where a lot of “real” modern Horror resides – neatly ensconced in the folds of pulpy Fan Fiction, tucked away in secretive places on the internet. And it is thriving there… perhaps because of technology… and with no thanks to more “reputable forms of publishing.” Creepypasta has established its own reputable form… and its ever-growing following is testament not perhaps to content so much as its aspirations to recreate the much adored Horror of Yore…

Much of its content is literarily a bumpy ride, reminiscent of the fireside tale, campy cautionary tales Horror is known for… but it is a ride worth taking – fun, engaging, scary, and pure pulp.

All of that flies in the face of technology and Literature itself – the very tech that threatened to permanently banish Horror to the history shelves – or worse, to sociology….

ct2

The question traditional Horror folk have is that with such “obvious technical flaws” why is fanfic doing so well and in sharp contrast to traditional publishing?

Part of the problem is indeed that invasion of technology that slaughtered traditional Horror. Fanfic took the scythe away from the reaper and built its own platform of resistance. Isn’t it interesting that we acolytes of traditional Horror writing are “borrowing” from those sites and their writers?

To sort this out and give credit where credit is due, we have to admit that for traditional Horror fiction there is a price to pay for having so much in neat, shiny new toys to mesmerize and distract us like a roomful of little children. And fanfic places like Creepypasta have managed to tap into that elusive “something” that old Horror fiction’s corpse remains animated by, the very thing that lurks behind the everlasting light of electronic devices… And ironically, it is that same thing that so much published modern Horror has failed to find; too often it is dismissed as cliché or trite…because handled ineptly or too pulp-like it can be…

It is appropriate that technology has also led to a lot of pushback toward the older styles of storytelling – embracing the chapters of Horror’s own history where writers combined forces with artists and landed in pulpy swamps, creating comic books and graphic novels, seeking independent means of publication and now internet ones. It is, undoubtedly, a rebellion.

One of the largest surges backward has happened in Fan Fiction – that oft-chided subgenre of all genres where it is always and only about the storytelling and known characters. It is often – in Horror – purely reminiscent of urban legends (even new ones and contrived ones), about successful movies and video games. But it is also about the kind of writing traditional fiction writers deign to acknowledge and love to “abhor.”

With Horror fanfiction there is always a component of dark fantasy afoot, laced with what can only be called a rabid fan loyalty, and within its closed communities it provides a creative space made to sow all wild seeds of imagination. There is instant editorial and fan feedback – because its audience knows by heart every sustainable plot and can grasp every new realistic possibility. Fan Fiction forces a writer to mind the lines – to know the character and the fiction world it lives in – to write to spec with twists and caricatures and secrets and alternate endings. These are the speculative, secret-seeming chapters about characters from stories you love. Fan Fiction (officially “fanfic” in their world) is its own world.

This goes against the grain of the isolated, socially dysfunctional curmudgeon most writer’s manuals claim we should be, and whatever delusion we ourselves subscribe to…No wonder there is “rivalry” if not jealousy; our environment is less supportive of our endeavors. And far too many of us consider the running of that lonely gauntlet to be a professional requirement for doing a “respectable” job… We shrink from fellow writers bold enough to just “put it out there” all un-vetted and unadorned.

Back to the Themed Drawing Board

So how did such unsavory fanfic elements leak back into traditional Horror? The answer may be as simple as admitting to the struggle for contemporary Horror to re-discover its voice…to reconnect with our roots and regain Critical respect.

We have no choice but to admit that “traditionally published” modern Horror in America has lost its way… And while it could be a consequence of all of the technology that blossomed around us (willing participants or not), that unavoidable invasion of all things glossy and new that supplanted what the imagination needs to drive darker fantasy and fear: abandoned sites of historical ambiance, the ruins of our own civilization, the decay of our own lifetimes. Our minds dismiss the shadowed failings of our civilization. We are in denial.

Modern Horror writers have noticed. They have questioned the same way editors and Critics and readers have questioned what is wrong with our Horror today that we are not duly terrified by the words? And just like the editors and Critics and readers, we have flooded back to the early writers – the ones who did scare us – to ask how and why. Why did their words work and how do we tap into that zeitgeist?

ct3

That means we are not only looking at Stephen King and Clive Barker, but we are also looking at Lovecraft and Poe and James and Blackwood and LeFanu… We are re-reading our unofficial canon. And we are being influenced.

So maybe the next logical step is themed anthologies… Indeed nothing helps a writer get into the head of his or her idol like writing “in the tradition” of that writer – borrowing that author’s personally tailored conventions – and learning how to “write to specifications” of an editor or market. Getting one’s head in there also exposes weaknesses in the boundaries the author may have touched… It inadvertently uncovers and explores some of the themes and higher concepts that interest (get ready for it) Literary Critics… So imitation can become a lesson in how to create Literary elements – fleshing out your own work with those dual-meanings best recognized by lovers of poetry.

Imagine. But there is also another interesting side-effect to themed anthologies: the pretense of elevating Fan Fiction to a more “legitimate” professional space.

And the fact that everyone just dances around that pretense is rather amazing to me – and insulting to the very real, already legitimate world of fanfic writers…

We should call what we are doing exactly what we are doing: pillaging fanfic for the desperately needed blood infusion into modern American Horror. But we are sharing the same nurturing roots, two branches of the same tree.

At the very least, we are in keeping with tradition here – even Fan Fiction traditions. According to Anne Jamison in her totally fascinating book,  Fic: Why Fan Fiction is Taking Over the World  (Dallas, TX: Smart Pop, c2013) we have been at it since Sherlock Holmes, even as times have changed the way Fan Fiction is derived. Says Jamison, “None of these earlier literary practices are exactly the equivalent as what we understand as fanfiction today…Our understanding of the key relationships – those that exist variously among writer, written, reader, publisher, object published, and source – changes over time. What doesn’t change, or rather, what never disappears, is the writerly habit of writing from other sources.” (35) In other words – imitation.

Imitation is one of the ways writers learn to write. Continues Jamison, “Writers have always entered into and intervened in familiar stories and styles and collaborated on authorship through discussion or other forms of influence…We have long given (or ceded) credit, ultimately, to a single authorial name – and fan fiction, with all its collaborative glee, continues that tradition.” (35)

It is why Fan Fiction is a wonderful environment for learning about story-telling and how important it is to stick to conventions established for certain monsters and to explore all of the possibilities of character – to retell stories until you get the right version told – the one that sings. It is a place in which a writer learns the importance of the reader (who might well more passionately know your character’s potential than even you) and the utter necessity of toeing the line of logic.

These are the reasons writers have “pirated” the concept of Fan Fiction and re-christened the process as writing more reputable product for themed anthologies. Writers – like the editors who solicit them – have accepted the challenge to “write in the tradition of Lovecraft”… to tell “new” stories in a way Lovecraft himself might have approved.

Yet it is subversively (and maybe perversely) almost a Frankenstein effort: are we trying on writerly hats, or are editors so hungry for Lovecraft-level work that they won’t stop until they find a substitute? Why are we so infatuated that we are publishing Lovecraft Fan Fiction in place of original modern Horror fiction?

ct4

I mean, I’m not sure, but I think we should feel insulted…

Don’t get me wrong: even I have written some fanfic-styled things myself – just for the challenge of doing so. They were fun to write and the ghost of copyright hangs over them. But fun and education was neatly tucked into the experience of writing them. The End.  I am thinking that outside of coincidence or anniversary tributes, there should be limits to the traditional publishing of fanfic themed anthologies. I mean if you really want original work…truly new, original work….

What is good for Horror writers may not be good for the genre as a whole… Sure we need to master mimicry the way artists master Masters – to learn the many techniques available to us. Then we need to paint our own pictures, mix our own palettes. We need to explore, to shed fetters, to find new ways of scaring, to play with language and the darker, clawed things that clutter our minds.

While we are casting our creative nets wider, we need to grow up and also cast aside our personal demons with regard to levels of professional legitimacy. Our genre grows from varied roots, and we don’t all have to write Literature or be professional outcasts. Most certainly there are standard differences, vetting differences, editorial differences. But in the end readers want to read good, scary Horror. So do Horror writers, who coincidentally hope to write the stuff that way.

We need to acknowledge with due respect where we get our inspirations, where we place our stories, and the audience that loves them. We need to consider that maybe fanfic is doing so well because those writers are telling the stories people want to read in our genre, because our genre is too obsessed with ideals of perfection and we are not listening to part of our constituency.

That maybe – just maybe – we need to teach, train, coach and mentor writers who DO want to write more Literary Horror.  That maybe we should stop with the whole mystical search for the next writing messiah to bring Big Money back to publishing.

We also need to admit when we seize and repurpose a tradition for our own use and profit, and recognize that the whole real problem is that maybe just maybe there aren’t enough “legitimately recognized” venues for the number of writers in our genre, or enough Horror being traditionally published, or that traditional publishing needs to acknowledge the value – monetary and artistically contributory – that “illegitimate forms of writing” bring to the genre – that therefore, perhaps they ARE legitimate, just different.

I think we must do what only we can do… We need to have faith in our own fiction voices, our own stories, our own versions of characters and plots, even if that means we don’t see a market for them right now. Be true to yourself and your Muse.  Don’t let the mirage of fame and alleged Overnight Success color your choices. As long as we are imitating Lovecraft, let’s do it right: Lovecraft imitated nobody. He preferred to not be published than to sell out for money.

And as for the illusive possibility that you would be discovered and beloved in this lifetime? Well, the public is fickle. If you ever do connect suddenly with a following, you need to have work in the wings, ready to go. If you don’t, someone who does will step in front of you…maybe even out-fanfic you…

And that would be more than a shame. It would be pure, unmitigated Horror.

ct5

References

Benson, Amber. “Blurring the Lines.” (p. 384-388) Fic: Why Fan Fiction is Taking Over the World. Dallas, TX: Smart Pop, c2013.

Guran, Paula, ed. The Year’s Best Dark Fantasy & Horror 2016. Germantown, MD: Prime Books, c2016.

Jamison, Anne. Fic: Why Fan Fiction is Taking Over the World. Dallas, TX: Smart Pop, c2013