(A late Women-In-Horror Month posting with apologies to regular readers: my computer died and took my originally planned post with it. This is a reconstruct… from the best of my failing memory…)
Here in the climate of #MeToo, female writers of Horror do not have far too look for a sad sisterhood.
How quickly must I apologize to male readers of this blog? How deeply must I sublimate the resentments that still haunt every writing decision I make like so many Leng Hounds?
This is how we know there is a problem: “No offense to male writers of the genre, but…”
Because here we are not talking about a casting couch. (Perhaps those of us who are writers of fiction too often seem unsexy in our sweat pants and pinned up hair, locked for long periods of time like mental patients in our writing rooms, we only “glam up” on occasion and usually by accident.) No, our personal Horror stories are more about the annoyances of #MeToo experiences in minimum wage jobs while being unceremoniously rejected by publication after publication – all (of course) touted to be the best in our genre, although we ourselves as readers may think differently.
Why, male writers might think, do we believe we still have a sexist problem in the Horror genre?
Answer: Because if an author like J.K. Rowling uses a male pseudonym (NOT a female pseudonym) to write fiction, then Houston we have a problem in publishing period. And Horror has no J.K. Rowling…
Never mind that no matter how she meant it, I found it somewhat disturbing that Rowling found it “liberating” to write under the pseudonym chosen. Because on one hand it was anonymity. But on the other, it was gender anonymity.
On Being a Female Horror Writer
So here it is: I am not saying that perfectly good, perhaps even GREAT male Horror writers do not suffer unexplained rejection. (And that’s all the apology you are getting.)
I am saying that what happens with male writers in the genre – unpublished male writers – is different. Male writers are allowed to be unpublished without being shamed.
Female writers are automatically assigned to the category of not being good enough to be published – not just not having found the right publication for our work. Our bios are filled with charming cats and doting spouses. We are not likely academics or authorities in any field – at least publicly (because bragging is not ladylike). And a lot of this is our own fault. We think the way we were cultivated to think. It is unbecoming, unflattering, and kind of bitchy to show any sign of aggression (read as “competitiveness” if you are male). And for those of us born around or in the Baby Boom – well, ladies should not be offensive. And if they are, they deserve to be taken down a notch and shown their place.
And then we overthink the thinking that has been imposed on us. Women in most professions today are still not “free.” This is sooo evident in women’s writing — from creating it to judging it.
For one thing, male writers are not forced to live deep inside their heads second-guessing EVERY creative decision they make.
I just lost sleep last night wondering why I keep writing MALE protagonists. What is wrong with me? Shouldn’t I be writing female protagonists? But then if I do write female protagonists, am I narrowing my audience? Will I be assumed to be a Young Adult writer? A sensationalist writer? A writer with no market?
Should that female protagonist’s name be gender-ambiguous? What if she is TOO strong? What does it mean if she has a boyfriend? How should they interact? What if she is too aggressive or not aggressive enough?
Should I write under initials? What if they see my blog avatar and I am outted before they read my fiction? Does it matter?
Will a female editor give me more of a chance if she knows I am female or be harder on me to overcompensate because SHE is a female in the typically male dominated field of Horror?
It took me a few hours to realize I had completely lost the story I was thinking about…
This kind of mental Vietnam goes on forever for female writers in general, but especially in our genre.
One of the most powerful discoveries I have made as a writer is the one where I realize that I am a female writer…which apparently makes some sort of difference…especially in the Horror genre.
Amazingly, what I have found is that where male authors are concerned, their end-product is evaluated at face-value; for female authors, there ensues a search for subtext. For male authors, biographical details are enhancements, for females, they are excuses. To properly “dis” a male author, one simply criticizes them like one does a female author.
Before there is an all-out, knee-jerk reaction from all the men out there, let me clarify: I am not only saying that it is harder for women to find appreciation or publication…what I am saying is that for some pretty interesting and un-admitted reasons, there are always strange, invisible criteria applied to the judgment of fiction works by women. Whether we are talking publication, Literary Criticism, or “simple” editorial decisions applied in anthologies; whether we are talking education, professions, and reputations, if you are a woman writer, people in general are wont to make apologies and excuses for your choices. Everyone becomes an arm-chair psychologist and a genre expert. All of a sudden the writing of a woman is not “just a story” but a running commentary against men, against patriarchy, against society…in other words, you are attempting to be Literary.
This makes it easier to weed out women’s writing from general submissions: if a publication wants playful, inventive storytelling and you are suspected of being a guerilla Literary writer, well this story is just “not for our publication.” Suddenly you are out of your depth as a writer and nobody wants to sort it all out.
And then if you are a woman and you write Horror…well then you, my dear, are miraculously transformed into a rebel.
What kind of woman writes Horror? Is it even decent?
Curses. I bothered my pretty little head about it…
http://popsych.org/two-fallacies-from-feminists/
It has been profoundly interesting to me to discover that because it is not “cool” to like Literature in these times, any writing that is not clearly “anti-Literary” and quasi pulp-driven is inherently subversive. Slap on a female byline, and suddenly it is obvious to everyone but yourself that you are angry, anti-establishment, and man-hating, and write boring, overly saccharine, overly wordy, overly sentimental made-for-a-limited-female-audience trash fiction.
I didn’t come to this conclusion through rejections of my own writing, nor am I saying that is why I personally find rejection with my writing (I earnestly think my writing has flaws that I do not yet know quite how to fix). I am saying that this is what I see as a female writer researching the Horror genre. This is what I read in Criticism of woman in the genre…
Sure, many male writers experience something similar when they write Horror…the difference is that historically once male authors develop a body of work, that work “lives” in reviews, criticisms, comparisons, historical perspectives, collectible comics and collectible publications which go on to have value in the collective body of genre works…if not an underground following. A great deal of women’s fiction in the genre just disappears as old magazines disintegrate or go out of business.
When one considers that in the magazine industry at the turn of the century, it is estimated that over 70% of published Horror genre writing was being done by women…is it not truly weird that not only have most of us not read those writings, but we don’t even know the names of the authors?
Divide and Conquer
When you are a female writer of Horror, you tend to feel isolated and alone. Everywhere you look, the examples of how to write Horror “properly” or successfully are overwhelmingly male. Many like to say that this is because it is mostly men who have shaped and produced the genre.
But they would be seriously wrong. It is only that male writers have found immortality in the world of Criticism, reprints and anthologies. That has led to their constant rediscovery and intense scrutiny by genre experts while new male voices have dominated the last three decades of Horror because that particular period of the genre has focused on male-driven interests. The minute our genre became one giant slash-fest is when most of us noticed it…but the style of writing – including plotlines, dialog, the fast-moving, no-nonsense, take-no-prisoners narrative, the underdog antihero – these are the contributions male writers have made of late. But only of late. We are now on a railway “spur” to nowhere…The genre needs to reinvent itself and rediscover its center
Prior to the 70’s and 80’s, the writing style was much different. It was more Literary, with heavily detailed narrative, an emphasis on suspense, and exhibited a clear evolution from earlier genre works (think Poe and Lovecraft, Machen and James). In this period and prior to it, it was women who were the foot soldiers of Horror.
That is not to devalue the contributions of men of the period – including several heavy-hitters who came from Literary channels to write the occasional tale of the supernatural. But it is to say that women were mass-producing tremendous amounts of published works, while it is largely male writers who are identified as having risen to the top of the genre.
Yet if these women’s writings were so good, why don’t we know who they are?
Sometimes this is because many Literary Critics want to see a clearly defined body of work, and many women’s “bodies” (pardon the pun) are literally ghosts of the past (ladies notice the pun). If one can’t find them, collect them, and publish them, many Critics will not bother with them. The problem is that what happened to women’s writing – including its denigration, its relegation to the pulps, the public chastisement of the female authors at the hands of many male authors and the Critics of the times – means that we can’t find whole bodies of works for many of these writers.
While we are entertained by suppositions that women “get busy” with domestic duties and diversions and are therefore historically “unreliable” in building careers in general, the truth is a bit uglier.
Historically women’s writings simply were not assigned the same value as written works of men.
Women are expected to write for women readers. Men, on the other hand, write for us all.
This is a verifiable fact of history. One doesn’t have to be a feminist or dislike feminists to find plenty of evidence. It is just one more point of divide and conquer. If we stop and argue about that point, I would never get to my point.
Not being valued, the work of many early women writers is scattered about the many different publications of their day, most of them defunct or no longer having those issues available. No one thought to save the works, and just like today, many women were writing to pay the bills that come with the haphazard consequences of unpredictable lives dependent upon the favorable whims of men. Who knows what happened to their handwritten originals and typed manuscripts?
It is also to say that some of those works which did survive are now found in several subgenres and established Literary genres. Gothic, Gothic Romance, Suspense, Mystery, Ghost Story, Thriller, Supernatural Fiction, and straight-up Horror… No one knows where to put them: classified by genre, or by author’s body of work? (Maybe this is why I tend to shy away from re-categorizing Horror as “Weird”… it is predominantly male writers who can meet that particular defining “criteria” to the Literary Critic’s eye…and I am tired of witnessing the seemingly intentional exclusion of women writers).
Frighteningly, I’ve also noticed that not unlike today, many of those women – unlike their male counterparts – were made to pay professionally, personally, and socially for their “bad” choices…specifically the one to write genre fiction. I personally suspect that I myself have had a handful of job interviews simply because employers who found my blog or LinkedIn page wanted to know what I really looked like. (Alas, there are no tattoos, no piercings, no Gothic lips or hair. I am a boring Horror writer.) And I can tell any young female novice of the genre that the adulation of your peers will not last; it will be replaced by a thundering herd of stereotypes about people who like Horror and the kind of women that write it. Those stereotypes will not be nice and they may cost you jobs, friends, and relationships. Unlike male Horror writers who are cool, and refreshingly anti-establishment, as a female you will just be weird and as all feminists are to those who don’t like them – you will be possibly thought dangerously unbalanced. This would be amusing if it did not have tragic, real-world consequences…
But it is just further proof of what I am saying here. Regardless of how our male counterparts think we are being treated or perceived, something ugly is still going on with the reception of women’s genre fiction and the “image” of female genre writers. If it’s out there in the workaday world, and Critics grudgingly admit it, what is happening at the publishing level? Why in the few remaining Horror sections of the fewer remaining bookstores is there only one or two female authors of novels? Typically only 1-3 female authors in an anthology of 15 or more? (Happily I can state that Ellen Datlow and Paula Guran have gone a long way toward changing that trend, but why are they as women typically alone in the inclusion of more female writers in anthologies?)
In Horror, clearly we are still an unwilling part of somebody’s tasteless joke. It took me a while to “get” that, because I am proud to write Horror and proud to be genre. I don’t “get” what other people find “disturbing” about that; I see such judgments as living proof of profound Literary ignorance which certain people appear to be proud to display. I don’t see writing as frivolous, or self-indulgent, or particularly subversive and irresponsible…but as a woman who writes, this is the message being spit in my face. Over and over again… All too often at the cost of employment in a regular job.
Do male genre writers experience the same? It doesn’t seem so, or it doesn’t seem as widespread…
But neither observation surprises me, because this has been the tradition of treatment of women who write genre fiction from the beginning. It used to be the standard treatment for women who write fiction period.
“If a woman writes fiction, there is something wrong with her.” (Darn tootin’…she’s not afraid to think for herself. And in the case of Horror writers, to destroy the world one monstrosity at a time.)
Meme Watch: Feminist Yog-Sothoth Sees All And Would Really Appreciate A Trigger Warning
The bottom line is that women writers of genre fiction have this strange uphill battle going on that we don’t remember starting. We just sat down and began to write stories for good or ill. But the fact remains that there are names missing from our canon which might well belong there but for the fact that they belong to women.
Now… one can toss around all the insults and excuses one wants about these (or any other) women writers. But if you have read women’s genre fiction especially from the late 1860’s into the 1900’s without deciding beforehand that they are man-hating feminists, you would be shocked and surprised at the quality. The ladies did more than hold their own.
Undoing Diversion
To unearth this wealth of writing, one has to be a bit of an archeologist. You are going to have to dig. But you are also going to have to avoid stepping in steaming hot piles of …argument. Because argument is one of the tactics of those who want women’s writings to stay buried and disenfranchised. To do that, the best diversionary tactic is to pit men against women and to humiliate any woman even thinking about challenging dominant opinions. Nothing derails the truth like a wardrobe malfunction and a little name-calling.
If a woman points out that certain worthy female writers are consistently ignored, then we can just call that woman with the annoying voice a “feminist.” And bitter. And jealous. In fact, so is that darn writer she is yapping about…
For one thing, sensationalism distracts from the real issues. If a woman can be labeled a feminist, we give ourselves permission to stereotype her right into man-hating oblivion. Best of all, we don’t have to listen to what she says or justify why it’s okay to maintain the status quo. We get to stay lazy, blind and in the bubble. We don’t have to do anything and there is a crowd of people patting us on the back for agreeing with their loud selves.
We also don’t have to judge history, ancestors, or our own behavior. Women – you see – tend to write fiction that is meant to strip the flesh of pretense from the bones of reality. That kind of thing happens when by nature of your gender, you are privy to the inequalities and injustices thrust upon others…or yourself. After a while you get pissed off. Unfortunately, even now times have not changed enough for women to “talk like men” and speak freely without some sort of repercussion.
All a woman must do is allege that this is true and the Gender Wars erupt. This is how we manage to not change: we divide and conquer. We get busy making it us-against-them, throw some dirty, scandalous rumors in and – voilà! – nobody is talking about the issues anymore.
So I am not going to talk about why men should see the things women see so clearly. What I am going to do is say this about women writers:
http://uppercasewoman.com/2011/10/24/what-feminism-means-to-me-and-proposition-26/
If even one of these issues raises its ugly head in a woman’s prose, she will be called a feminist, her work will be a treatise on some feminist issue, and that is just too darn lofty for the average Horror fan who just wants a good read.
But just try being a woman and not know these things intimately. Men are lucky; they don’t have to think about them. But for women, these issues shape our lives and will inevitably find their way into honest fiction because they haunt us. They dog our every step. Sometimes we even use them against each other to try and impress men.
Whether we hide behind a male viewpoint or venture out to express our own, we don’t get the same choice as a male writer to be separate from the issues – simply because even if we don’t write about them people will root around in our words until they can find some semblance of what they think is there. And if that is not enough, they will talk about our private lives as though that is the reason for our failures and insufficiencies.
Is that why men tend to be “struggling writers” and women tend to be “failed” ones?
We could argue the merits and faults of feminism with men who hate what they think is feminism, or we could preach to the choir. But who I really want to reach is the female Horror writer out there who thinks she is alone in the genre, who thinks women don’t write Horror well, who thinks women never really contributed to the history of Horror.
Like that young woman, I also want to know: why haven’t I heard these names before? Where are the reading lists that include them? Why do I have to have some forty anthologies of “classic” Horror to get a sampling of the women writers of this genre?
The answer is simple if not simply unpleasant: genre writers of the female persuasion were definitively not treated the same as male writers in the past, and because of it, many are overlooked if not lost altogether. In order to change this, we first have to see how we ourselves may be being treated and speak up. We have to stop allowing anyone to make us feel somehow deficient or inferior because we choose to write, or to write genre. We must support Literary Critics who are willing to analyze the writing of women writers, and editors who include women writers of today and yesterday. We are fortunate in having editors at the top of our genre who tend to do that now, but we must never allow ourselves to be lulled into complacence. And we must definitely never allow ourselves to be convinced that it is because of women in the genre that the genre seems to be losing prominence.
It is not about the writing or who is writing it…Horror (like all of publishing) is still battling Technology for the right to exist…
Women have important things to say, and in Horror, important ways to say it. I don’t mind noticing that I am a female genre writer. But I resent being reminded of it only to be made to feel guilty. This is 2020, isn’t it?
And yet we still see a predominance of male writers published in the genre – even though women are gaining some ground.
So for all of you novice and new Horror writers – especially women writers – I say “Hold onto your hair, fellow Horror-chicks. We write among giants.” Following is a list of books that address women writers in and around the genre, writers of the past and present. I am going to name names. And while some of these can be pricey, they are eye-opening and worth the read.
As a female writer of the genre, you would be doing yourself a disservice if you overlook this information and the glorious treasure troves of Horror fiction. If you’re going to be part of a tradition, it helps to know whereof you write…
Because some of those “men” might well have been women.
Literary History and Criticism/Essay
Carpenter, Lynette and Wendy K. Kolmar, eds. Haunting the House of Fiction: Feminist Perspectives on Ghost Stories by American Women. Knoxville: The University of Tennessee Press, c1991.
Davenport-Hines, Richard. Gothic: Four Hundred Years of Excess, Horror, Evil and Ruin. New York; North Point Press, c1998.
Hay, Simon. A History of the Modern British Ghost Story. New York: Palgrave McMillan, c2011.
Joshi, S.T. The Modern Weird Tale. Jefferson, NC: McFarland & Company, Inc., c2001.
Nelson, Victoria. Gothika: Vampire Heroes, Human Gods, and the New Supernatural. Cambridge: Harvard University Press, c2012
Short Story Anthologies
Ashley, Mike. Unforgettable Ghost Stories by American Women Writers. Mineola, NY: Dover Publications, Inc., c2008.
Baldick, Chris, ed. The Oxford Book of Gothic Tales. Oxford: Oxford University Press, c1992.
Bleiler, Everett F., ed. A Treasury of Victorian Ghost Stories. New York: Charles Scribner’s Sons, c1981.
Cox, Michael and R.A. Gilbert, eds. Victorian Ghost Stories: an Oxford Anthology. New York: Oxford University Press, c1991.
Dalby, Richard, ed. Ghosts for Christmas. Secaucus, NJ: Castle Books, c1988.
Dalby, Richard, ed. The Virago Book of Ghost Stories. London; Virago Press, c2006.
Dziemianowicz, Stefan R., Robert A. Weinberg & Martin H. Greenberg. 100 Ghastly Ghost Stories. New York: Barnes & Noble Books, c1993.
Lundie, Catharine A., ed. Restless Spirits: Ghost Stories by American Women 1872-1926. Amherst: University of Massachusetts Press, c1996.
O’Regan, Marie, ed. The Mammoth Book of Ghost Stories by Women. Philadelphia, PA: Running Press, c2012.
Salmonson, Jessica Amanda, ed. What Did Miss Darrington See? An Anthology of Feminist Supernatural Fiction. New York: The Feminist Press, c1989.
Women Authors of Note in Supernatural & Gothic Fiction
Aiken, Joan
Alcott, Louisa May
Alice Perrin
Amelia B. Edwards
Amelia B. Edwards
Antonia Fraser
Atherton, Gertrude
Austen, Jane
Austin, Mary
Baldwin, Louisa
Barbara Burford
Beecher Stowe, Harriet
Braddon, Mary Elizabeth
Broughton, Rhoda
Cather, Willa
Charlotte Bronte
Charlotte Perkins Gilman
Cobb, Emma B.
Corelli, Marie
Crawford, F. Marion
Du Maurier, Daphne
Dunbar, Olivia Howard
Files, Gemma
Glasgow, Ellen
Hull, Helen R.
Jackson, Shirley
La Spina, Greye
Lawrence, Margery
Lee, Tanith
Lively, Penelope
Molesworth, Mary Louisa
Morton, Elizabeth
Nesbit, Edith
Oates, Joyce Carol
Oliphant, Margaret
Pangborn, Georgia Wood
Peattie, Elia W.
Phelps, Elizabeth Stuart
Quick, Dorothy
Radcliffe, Ann
Rendell, Ruth
Rice, Anne
Rice, Susan Andrews
Riddell, Charlotte
Salmonson, Jessica Amanda
Shelley, Mary
Sinclair, May
Spofford, Harriet Prescott
Stewart, Mary
Tuttle, Lisa
Welty, Eudora
Wharton, Edith
Wilkins Freeman Mary
Wood, Mrs. Henry
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