Late-Breaking, Horror-Shaking News: Editor Paula Guran Inches Toward Retirement


If you don’t know who Paua Guran is, you aren’t reading enough Horror…

Guran has been one of the three major contemporary editorial contributors to the genre, most recognized for her excellent work on the Prime Books annual “Best of ” collection, The Year’s Best Dark Fantasy and Horror, but also for her prolific work on countless anthologies that for decades have served up some of the more interesting and innovative Horror anthologies – often with a delicious side of Dark Fantasy and fairy tale influence.

She is, by far, my favorite American Horror editor. And in times when it is increasingly hard to get our hands on British Horror, her collections have offered a complimentary creative contrast to Ellen Datlow, whose influence continues to showcase better constructed Horror with Literary inclinations, but without that feel of adventure. Guran has been the “heart” of the genre, going for the emotional center.

In her latest annual Best collection for 2018—her forty fifth anthology – she announces in the About the Editor note that “after more than a decade of full-time editing, she’s now freelancing..” having downsized her life and her work to more relaxed levels with “mixed feelings.” (Year’s 511)

She is not alone in those feelings… American Horror is taking a hit.

And I have one thing to say:

Noooooooooooooooo!!!!!

G1

Say It Isn’t So…

The rise of the anthology in Horror fiction has done several very important things: it has provided a forum not unlike early Horror magazines in which readers have a chance to “discover” writers they could not find anywhere else, to “discover” new writers in the genre, and to get a feel for what Horror writers are writing about. But they also have provided a unique opportunity to understand what the field of editing is all about – not the sweat and grit of proof-reading or slush-pile skiing, but the kind of work editors used to do – back when they discovered writers and nurtured them a bit, guiding them into other publishing and awards territory – in essence, contributing to the genre an editorial style – not so much as a star-maker, but as a representative of chosen stories, subgenres, and “accent”…

In the Olden Days, readers read books curated by certain editors. Editors had fan-bases. We seem to have lost that connection with editors. And it is a shame.

Datlow, I think, will always be underestimated by readers for the work she has done for the genre – because her anthologies carry less obvious “voice” and because of her own preference for what I see as literary artistry. But Guran will be equally obviously missed for the solid sense of presence and voice in her selections. Where Datlow to me represents refined technique, Guran is just plain fun. With Datlow, I see something of the intended editorial future of the genre; with Guran I see the pulp roots of yesteryear bleeding through. Between them both, we had a fine balancing act doling out tradition and inspiring different aspects of our Horror future.

Now it feels like the wheels are coming off…

We are losing a highly representative voice of “accessible” and “achievable” Horror goals, leaving some of us to feel we are being refined right out of our own genre.

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Guran has been around the genre for some time…quietly rattling the cages of some pretty awesome beasts. According to http://paulaguran.com/about/:

“In an earlier life she produced DarkEcho, a weekly email newsletter for horror writers and others, for over six years (1994-2001) and was recognized with two unprecedented back-to-back Bram Stoker Awards for Nonfiction from the Horror Writers Association (1998 and 1999) as well as an International Horror Guild Award (1999) and a World Fantasy nomination (1997). She began producing the horror portion of the pioneering professional Web publication OMNI Online in 1996 and became the Literature Editor of Universal Studios’ HorrorOnline in October 1998. (Many of the now-outdated interviews, articles, and reviews she produced from 1995-2006 are archived on DarkEcho website—which she will, someday, cleanup and sort out—she hopes.)”

Do you realize what an awesome resume that is? All before she became the Senior Editor for Prime Books…

Yet there is more to Guran’s impact upon the Horror genre.

Ultimately, a major part of her legacy-in-progress will be her own contribution to the “shading” and gender-blending of Horror. She has been integral along with Datlow in the decisive attempt to bring more diversity to the ranks of published authors. Between the two of them, we see far more women being published and being awarded in the genre, far more minority voices, helping to eradicate that myth that only white males write great Horror.

But we have so much farther to go… I hope Guran has an understudy…. somewhere out there…

Someone who will rise in the genre to become the kind of editor she has been – one with eyes in the back of her head and at least one of them focused sharply on the future.

But editing is not something that publishers seem interested in grooming. They seem product-focused, not genre-focused… seeking what sells, not what shapes.

And our educational system is conducting itself in very similar ways. Editing tends to be one course in all of the university writing or classics undergraduate major courses, too-often about nonfiction, and it often isn’t required. No one talks about how to edit fiction. No one teaches it. No one really writes about it.

In fact, the only way one can learn it is by teaching oneself – reading other writers’ work, reading how-to’s written for writers on how to “fix” flawed fiction, reading essays on the emotional and etheric experience of editing. Nothing is out there offering a blow-by-blow instruction or introduction. And there are just not enough established and reputable publications out there who will hire an editor-wannabe for the purpose of mentoring into a powerhouse editor of a single genre.

This is slipshod and irresponsible. And it is all we have. The field of editing has become crowded with MFA folk who know no more about editing than I do, who are also writers who would rather be writing than editing, who “fall into” editing opportunities without any particular credentials or training, and often who appear to be some kind of network hire, a “connected” person instead of a proven editorial savant.

How can we get great editors if we are treating them the same way we are treating writers in our genre? Staring out over an open field of wildflowers with a glassy-eyed shrug, and deciding to judge only those who make it into a special-delivered vase on our desk?

We need editors who are trained….Like it needs to be its own DEGREE…. supported by study in classic Literature, Literary Criticism, and training in Craft.

We also need more flexibility in how academics look at the genres. Sure, genre writing is rarely Literary. But that doesn’t mean it shouldn’t be capably executed or that its editors should not be very well-read in the genre they intend to edit.

Between training writers and training editors in mechanical basics and academic Criticism in and around the foundation of Classic Literature – how can we help but grow a few Literary writers and better readers? How can we miss creating better editors who create better books, which create better sales and better Publishers?

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Eclectic is Good. And It is Necessary.

As much as an editor like Datlow is to be appreciated, editors like Paula Guran become beloved. The only predictable thing in her anthologies is the unpredictable… There will be tales that are offbeat, unique in protagonist or setting… clear roots to the better traditions of Horror no matter how campy or Literary. And that is important.

Eclectic is good.

Eclectic is necessary.

And we cannot let our Establishment ever forget that, because in the rush to Literary style we have started to lose some serious essence.

It has often felt as though in our genre we are so focused on elevating our Craft, of impressing dead Literary Critics that we are totally forgetting the fan out there – the reader of Horror who wants some fun along with that technique, who wants more than anything to be scared – if only for a moment.

Everything in Horror does not have to be perfect.

Perfection is what we aspire to…It is for the Poes and Lovecrafts among us… even if those unknown writers are outside the field of current favoritism, as Poe and Lovecraft once were.

We cannot and should not denigrate writers of lesser genre fiction – those reckless storytellers of urban myth and trite, overused plots, nor those writers whose voices speak from outside our comfortable norm. From those places we might just see a writer take off on jets of inspiration and innovation. And it is those writers who need to read the work of other chance-takers. It is those writers who need to feel the recoil when the patterns of poor technique or overdone plots become obvious – but like with new and would-be editors – who can’t if they don’t read enough of all of that lesser-regarded writing for creative comparison to the Greats of the genre – past, present, or future…

This is what an editor like Guran offers: diversity from the roots up: from who is writing to what is being written about…

For example, in the 2018 Year’s Best Dark Fantasy & Horror are works and writers such as  “Welcome to Your Authentic Indian Experience” by Rebecca Roanhorse, a Pueblo/African American Writer…”The Lamentation of Their Women” by Kai Ashante Wilson, African American writer, “Little Digs” by Lisa L. Hannett, Australian National Science Fiction Award Winner…”Moon, and Memory, and Muchness” by Katherine Vaz, a Portuguese- American writer. This is genre diversity long over-due.

Guran’s anthologies remind me of the old Weekly Readers we used to get in elementary school – along with the book selections at the end that shaped the reading I do today. Her work is that “box of chocolates”… in no way the “Best” of Horror as much as it is the Year’s Great Horror Stories… Tales to inspire, to unsettle, to tease…

I slipped into a funk when I read Paula Guran’s note about pulling back from her editorial proliference… Now what will I do? I thought….maybe I should go back and collect the anthologies I missed that she edited… prolong the withdrawal a little longer…

I realize she is still working… at reduced volume, at reduced pace…

But I think this is a canary -in- the-coal-mine moment for Horror…

We need to do something, because how long we have Datlow is another pending question….And then what?

What, Horror gods, will we do to stop the editorial hemorrhaging? Because great editors are as rare as great writers: they deserve discovery and mentoring… They deserve educating.

How do we fix this without making an actual effort to do so? And how do we look our fans in the eye if we just stand around blowing up inflatable monsters instead of making a decisive effort to properly seat our genre at the academic table at just the moment when Literary Critics are beginning their work to define and establish our genre as the legitimate Literary entity we have all long known it is?

Paula Guran is scooching toward retirement. Fans like me are screaming into pillows. We better do something…before we lose everything we have worked for…

We better start caring about how great editors are made. Because I know we have other editors editing out there, but we all come with expiration dates. And for fans like me, they will never be Paula Guran.

 

G4

“Interested in writing and/or editing? Here’s a link to a unique Editors’ Roundtable that features general and specific comments on a promising story from some of the most respected editors in the field: Paula Guran, Ellen Datlow, Gardner Dozois, Liz Gorinsky, James Patrick Kelly, Nick Mamatas, Ann VanderMeer, and Sheila Williams.” http://paulaguran.com/

 

 

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You Can’t See Creepy With a Cellphone Light: Guilt & Shadows in American Horror


American Horror. It’s become this great, terrible disappointment.

What used to set my imagination on fire is now a non sequitur, a discombobulated mess of unrealized terrors.

I am bummed.

That realization started with the attempt to watch a movie in a movie theater not so long ago… A simple task, one which turned out to be a farce in a room full of bobbing silhouettes, a lot of explosions from nearby theater screens, and scores of cellphones – like fireflies – punctuating the darkness that was supposed to have monsters in it.

Imagine my Horror when the stars of the movie produced their own cellphones , holding them out like crucifixes to ward off the darkness of their haunted house. No wonder it took so long to find something scary. When the worst that can happen is no signal or a deficit of bars… well, the Horror just doesn’t get a foothold.

Today’s biggest fear: Not being able to text a buddy or access your Facebook profile.

How does a Horror writer work with that?

And if we are facing a future Renaissance, how do we “tap” into the important stuff – you know – to make American Horror more American? And Horrifying?

Cre1

 https://bloody-disgusting.com/news/3223252/stop-being-a-victim-you-can-stop-cell-phone-use-in-theaters/

 

It’s Under the Bed

It seems to me we’ve managed to lose – or maybe just misplace – a few important Horror tools in our rush to be “civilized”… I mean, whatever happened to worrying about going to Hell, or Hell coming after you personally? About footsteps behind you, whispers from no one, eyes in the dark, cold air in the summer time?

We have cheapened our monsters in American Horror…They are expected guests, too often late to the party, overdressed, and so glossy they risk flirtatious comparison to better monsters once constrained in zippers…We have conditioned ourselves, desensitized ourselves, and routinely dismiss the edgiest of new creatures because name-dropping is how we roll. But the best terrors have always been the simple, personal ones…

Whatever happened to real ghosts… the kind that aren’t really a serial killer, or a psychotic break, or evil stepmothers, a disguise for the worst possible witch EVER, or the disconnected, secular demon with one of two names?

Man, I miss ghosts… the really great ones that weren’t CG drawn, or implied by empty rooms with swinging light fixtures.

Whatever happened to real monsters… the kind that have tentacles and hide in weird, inconvenient places? Not the ones that are really an alien invasion, or a cut-and-paste frenzy of amalgamated, unexplained and resurrected traditional monsters, not another nuclear accident or escaped virus… But real dine-on-your-guts, eats-you-while-you’re-alive monsters? The kind that dropped out of our ancestral imaginations to stalk us through dark forests and black nights?

Man, I miss monsters….the kind that single us out of the herd and hunt in plain sight, or pull us under the bed by our ankles.

Isn’t it just a little bit sad that we are unwilling to put down the technology long enough to be scared? (“No, scare me with my cellphone – in case Fame and Fortune calls…”)

Well as a Horror writer here’s my theory: you’re too chicken to put the cellphone down. Sophisticated audience my sagging butt…You can’t even sit in a dark theater without a light in your hand. Oooo…Big Brave Modern Person waving a phone screen around a haunted house daring the ghost to show itself…

You want to see a ghost? Turn off the lights, dummy.

This is why British Horror works (listen up, I’m going to spill their secret): Technology may be present, but it doesn’t work where the monsters are.

That’s right. Monsters only live in that place between cellphone towers. When they are not inside them.

Call it atmosphere, call it obsession with an antiquated past. Go ahead and accuse them of exploiting their rich abundance of creepy ruins. But the British get it right on the most important score: they are going to isolate you long before the monster comes…they are going to give you a sweeping moor so you can see it coming…they are going to tell you WHY you DESERVE it.

(Sure, I probably should just go on and move to England. But they wouldn’t like me there: I have a funny accent.)

Really, American Horror writers have no excuse. We create new ruins daily. Just because we call them blight, or strip malls, or White Flight changes nothing. And they are loaded with all kinds of socially-dysfunctional atmosphere. We build them everywhere…on our own graveyards, on Native American graveyards, on Grandma’s house that some large corporation spent years of litigation forcing her out of just so a shopping center could sit empty on the spot.

We have slaughtered our own wilderness…riddling it nonthreatening Bambi-like animals and exclusive, gated neighborhoods that tend to get devoured by large wildfires, and lots of ATV trails…cause, you know, the forests belong to everyone…We leave islands of non-native trees and call them forests. We shoot wildlife that wanders into our neighborhoods fearing they will eat our children in revenge for depriving them of natural food and habitat. We expect manicured and managed grounds to keep the tigers and lions and scavengers at bay.

We avoid religion at all costs. We pronounce ourselves atheists or agnostics or some new species of Christian… all of whom remain mysteriously and miraculously unaffected by the doings of the Underworld, death, and its untidy accoutrement.

So why do we have the audacity to complain when “nothing” scares us?

I say it is an act. I say it indicates just how very scared we are…with the lights ON.

 

Cre2

https://www.beyondsciencetv.com/2017/07/25/the-mysterious-shadow-people/

Guilt: the Equal Opportunity Shadow Person

I find it interesting, this sudden manifestation of “shadow people” in all things Horror. But in truth, if we refuse to turn out the lights, what real recourse does any self-respecting ghost or monster actually have?

When we look at Horror – really LOOK at it – chances are what we are seeing is our own fears manifest. It’s what has made Horror not only a great genre, but a universal one.

We share fear as former prey animals, because before we built SUVs and McMansions, we slept in trees and under bushes where job success meant staying alive another day. And even though we are living lives that typically mask those memories with overnight delivery and beds we still find need to elevate ever higher off the ground, we dread the impersonal death we all face and which might just be watching us from the closet, its claws and tentacles retracted but still visible underneath that pile of clothes…

But for modern humanity that fear has taken on yet another dimension and indistinct origin – guilt. Sometimes it is collective guilt – the sense that we as human beings could have conducted ourselves better. But more often it is personal – the sense that just because an ancestor was not held to the scales of Justice, or that what we ourselves did to a coworker went unremarked – an avenging angel awaits our one moment of inattention. Like any delinquent child, we manipulate and lie and deny all things that might bring the sword down on our own heads. Yet deep down, we know justice will not be denied, and we fear the manner in which it will come for us.

The Shadow Man is the perfect manifestation of an equalizer. Shadows are by definition both part of and separate from us, featureless, colorless, yet sinister and representative of a primal terror of things come from above to end us.

How many toddlers run screaming from their first glance of their own shadow? How many creatures subconsciously duck when one moves overhead? It is perhaps why we look up so often, dreading to see God seeing us…knowing we are flawed creations, destined for sin, careening toward judgment, knowing we deserve whatever the Creator chooses for us.

We cannot escape our shadow: it goes everywhere with us, even when total light or total dark obliterates its image. And we watch it, mesmerized by its mimicry of our every move. It is because predators hide in shadows that we do not trust our own.

And so it is a logical next step to exaggerate our fears by giving shadows a life of their own – even liberating our own to take vengeance upon us.

It doesn’t matter that some deny guilt altogether, rejecting their place in human events if not their own lives and actions.

Monsters can see in the dark.

 

Cre3

http://archcity.media/2017/03/02/judgement-zone-vol-1/

Saving Ourselves

We still have just enough religion left in our souls to suspect there are consequences for everything, and to everything we will be held accountable. It makes sense; most religions tell us the Creator left us “in charge” of the planet and all life on it.

We are not free to point at failed leaders or flawed icons. The responsibility is absolute.

Yet we rebel. We point at each other, or dismiss the crimes if we cannot bury them or rewrite them out of existence. And so what is left if not our shadows?

It does not surprise me that Shadow People are the newest monster to enter the Horror pantheon. The more global we become, the more likely our sins against one another will rise to the surface. That they remain close, disguised as faceless imitations of ourselves is not surprising. We cannot go anywhere – not the White House, not Hollywood, not Mars – without our sins following us. Like shadows.

And perhaps it is all about frustration in the simple execution of justice that makes Shadow People so popular a phenomenon. There are so many, after all, who seem to get away with unforgivably much, without any sign of justice descending.

For that we need our demons to part the veil and savage the world. We need the sense that if the Creator won’t do it, then something darker will. And we relish the thought.

Yet we also worry about our own culpability. This is why so much Horror is written: we struggle with the parsing out of judgment. We ponder the Great Biblical Flood, and the realization that only one family was spared, deemed worthy of salvation. We suspect our own hands are not clean, and hope we can fool our final judge with tilted halo and angelic smile.

Guilt is why we light every corner. It is why we suspect every shadow.

Cre4

https://www.ghostlyactivities.com/dreaming-ghosts-monsters/

Dissembling, Disassembling & Dissociating

Horror has for some time now, embraced the overpopulation of monsters in its stories. One is never enough – especially in the United States. But worse than that, the monsters take shape and then are dismantled and reshaped and denied and then made into something else less paranormal, less religiously centered, and more psychological so they can be properly slain.

We are completely unable to commit. We hide among masks and monsters we prove to be not what they appeared, performing creative gymnastics to compartmentalize the guilt that summoned them.

I have long wondered why one really good, complete, storied monster is not enough in contemporary American Horror.

I have watched us build creatures that like Legos are deconstructed and reconstructed to the point that we lose interest in why they are there at all, until the subtext is so subverted and mangled that it comes as no surprise Literary Critics say that as writers we don’t “get” it.

But I think they are wrong: we “get” it, we just don’t understand the strength and responsibility it takes to wield it…to face ourselves. In the dark. Surrounded by shadows…

I confess that as a writer I have struggled with this power. In this time of conformity, it is easy to edit the monster right out of the Horror and the Horror out of the monster. In attempting to follow the long laundry list of what makes good writing and good monsters, we often find we have lost the slimy beasts themselves. We wake up to reread the revision and find we have written that same unsatisfactory story we hate in the theater.

Horror is elusive with too many people in your head…

And with so many examples foisted in front of us that are just wrong, how do we start to get it right? How do we readjust our monster-making machinery?

Perhaps first, we need the monster out of the shadows – just for a quick look, a quick confession.

Monsters are not the climactic answer, the tah dah! … Monsters are vehicles for expressing the subtext of guilt, of Justice Due.

To find them we most certainly have to be willing to turn out the lights…to experience the sounds of something unseen prowling about, weighing our souls. We have to embrace the fear.

That means we have to acknowledge the very act that causes the guilt…

The need to push that away, to deny we were even at that party is not good enough. Denial makes the monster bigger.

Yet we have adopted the convention that our characters must NOT – no matter what – acknowledge the monster “because it gives them power over us…”

How many times have you heard that?

How many times was it wrong?

Ghosts walk because of something we did. Denied in Life, they will not be denied in Death. Ignore them at your own peril…

Ghosts follow because it is you who must set things right when it is perhaps not you but your kind who owes the debt.

Shadows are ghosts freed from the haunted house. It is their nature to follow you. Everywhere. Even when you cannot or refuse to see them. Like your sins.

There is no elixir. No amulet. No exorcism. There is only an increasing demand for Justice denied.

Why don’t we just turn out the lights and face it? One has to wonder where our Literature is in these trying times, when we are otherwise being forced to acknowledge our failings and our stand up for our values and beliefs. Human ethical trials are, after all, where the world’s greatest Literature comes from…

Where is our Great American Horror of this era? It is lurking in an uncertain future, waiting for its writers to start seeing in the dark…

I personally think it is in that dark theater, its audience loaded down with cellphones, complaining that nothing is scary anymore, that Horror is a ripoff. I think it is in the denial that we have anything to do with anyone else’s suffering on this planet. I think it is the desperate hope that we can lie our way out of being devoured alive by the monsters we have created.

I think we should all turn out the lights and see.

Cre5

https://www.youtube.com/watch?v=XKUcW2uyYUc

The Future of Horror: Will You Be There For the Renaissance?


For those who might have noticed the strange and mysterious “disappearance” of Horror titles currently missing from American bookshelves…Might there be cause for worry?

Even in big box stores that formerly carried at least The Best Of series of Horror anthologies (edited respectively by Ellen Datlow, Paula Guran, and Stephen Jones), there appears to be a growing availability desert.

Sure, they can be ordered online. But what has happened to carrying at least those titles in major bookstores (titles, by the way, which always sold copies)? Where are our new authors? Our old, established authors? Why are we constantly seeing reconfigurations of the same authors and stories? What are they doing to our genre?

For many, there is the sensation that the future is bleak. Has the genre fallen on hard times, or are we being gaslighted into oblivion? Are Horror fans still out there, and what can we do as writers to try to bring things back to better sales plateaus?

The truth is that Horror as a genre is reinventing itself. And that means the real question is not are fans and new writers out there, but will you be part of the Renaissance?

Fut1

Masks of the Internet

One issue we are dealing with in our genre is the problem of the Internet. That’s right – problem.

Today’s internet control of Literature is like going into your local library and finding everything dumped on the floor. The only thing anyone tells you is that it is in the heap…somewhere.

While too many people are proud to say this type of availability puts everyone for the first time on equal footing, it also makes a mess that is overwhelming to navigate. Expecting the average reader to have the patience to sort through all of the possible titles and an army of unknown names as authors or editors is just too much. Never mind the issue of quality in Craft as well as production.

We need the kind of categorization that came with the thousands of years of development shaped by libraries, the kind of reviews that come from average folks that used to be employed by newspapers to rate or recommend new publications, the kind of analytical criticisms that come from actual Literary Critics, and the word of your local bookseller who knows what is selling and what is not.

All of these are being erased by Amazon and its shoppers. So for those still “using” the knowledge provided by libraries and brick and mortar stores to make online purchases, get ready. Your secret weapons are being eliminated. Prices are going up, selection is going down, and nobody knows or cares what you know or spend precious money on.

So go ahead. Wave your phone in my face and tell me how my job is soon to be extinct because my company won’t price match. I can’t wait when you get to pay new, higher prices because Amazon has you over the barrel…

The examples of what is to come are already out there.

It is far too easy to make books look totally awesome that are absolute crap.

Here is a for-instance: I recently bought a not-so-cheap Print-on-Demand book about navigating the “basics” of one of the Adobe suite programs….But instead of an introduction to that program, it was a hundred-page recitation of what you find on the box…system requirements, et al…

Talk about nerve. And if this kind of thing happens enough times, readers will stop buying books off the Internet. Justifiably. They will stop trusting us as writers.

So what can we do? How do we find Horror and keep our genre going in these hard times?

Fut2Fut2aFut2b

For one thing, we need to keep up with our editors.

It really doesn’t matter if you like an editor’s choices and/or selections of authors or stories. What matters is that these are “considered” The Best….

As a reader, you need to see what that is to see if you agree or disagree with the assessment. And if you disagree, you need to support other, different authors. If you agree, you need to look up those authors’ other works and give them a whirl. As a writer, you need to know what has been done, what strikes you as overdone, and what inspires you to do something completely different.

You cannot know if you are a rebel if you don’t know the norm…

Know the norm. Know the editors. Know their styles. And either get with their program or write your own. But read them. Read them regularly… They aren’t who they are for no reason…

The other thing you can do is to try other publications, other anthologies, other editors. They are out there, although in increasingly smaller, more irregularly published numbers. They do have a habit of disappearing frequently, of reinventing, of staggered publication schedules. But if you do not purchase them, they cannot survive.

And try the offerings of small, independent publishers.

Horror is still more of a red-haired stepchild than its own powerful genre for many publishers, and all of that bruhaha about this being a Golden Age of Horror really does pertain mostly to film. As for print and Horror fiction in general, there is evidence of trying to stuff Horror into other genres like Fantasy, Science Fiction, and Thrillers. Mention of Horror tends to be an afterthought, not the leading marketing angle.

Fut3

And the sad thing is this is all the doing of publishers trying to rebrand our genre as everything else, as though to hide its wolfish nature amongst the sheep is a good thing…

We have writers – many of them from that Golden Decade of the 1980s and the Real Golden Age of the 1950s – whose works are still out there being read often because they are being recycled... But it would appear that the general consensus is that we are not at this time writing very compelling Horror fiction. And some of those “older” writers used to be proud Horror writers…until something ugly happened and they were sidelined by publishers who shied away from midlist sales figures and potentially controversial prose if not controversial writers. And then until something uglier happened and someone started bleeding off our writers claiming they wrote other types of fiction instead of a “purer” kind of Horror.

You didn’t know there was classism in our genre? Well, there is in fact…

But the good news is that along with the sweeping (and often detrimental changes) the internet has brought to our genre the opportunity for coup.

You see it is the fans of Horror who decide what Horror is and will become.

Fans decide with their wallets.

When I see more pulp, more comics, more graphic novels selling in our genre than the Best Of anthologies, I see revelation.

When I see classic authors outselling everyone but Stephen King, I see revelation.

When I see Stephen King carrying our modern genre, I see revelation.

The revelation is: you can lead a horse to water or a pulp fan to Literature, but you cannot make him or her drink.

And if a fan does not understand Literature, chances are, there is no incentive to drink more than once.

In other words, we as a genre – our Establishment – is doing a piss poor job of marketing the reinvention of Horror. We are not exclusively Literary, nor should we be. We have to love the whole child. And what better source of inspiration is there but pulp? Graphic Art? Fine Art? Comics? Summer blockbusters?

That is what is selling…

Horror is a fun genre as well as a heavy one. One end feeds off of the other.

Our Renaissance cannot exclude our pulp roots, or demand an explanationless manifestation of Literature because we are not (yet) robots.

Our Renaissance is destined to be a marriage of the two. Opposites attract. Sparks make fire.

We are as writers being presented with one “acceptable” track of creation, and that is in itself stifling.

If we want to “see publication” then we must conform to demand.

How ugly is that?

As a fan, if you want to know where your genre is, it is out here – with you – in the cold, wet rain. Writers are writing in rebellion. But we have few places to go to show you, unless we want to “give it away” and we cannot afford that.

We are seeking markets. Making markets. Trying to decide how we can navigate the world between the hammer-strokes of Amazon.

Your genre is reinventing itself, therefore it is being forced to hide its unpalatable gyrations, its shape-changing behind internet masks – lest it bring shame to the Establishment.

Fut4

But it is out there. Graphic novels, comics, pulp… its audience is loyal. It sticks together and whispers about new plots, new characters, new writers, new artists….Not so much general Horror fiction.

But in their loyalty to King, we see their preferences…the need for accessibility in fiction. As writers we are trying to get there. We are writing stories nobody wants to pay for, but may in fact be good Horror. We support King, read King, and will always have a special place in our creative hearts for his work. He (in all likelihood) inspired multiple generations to become writers if not lifelong Horror fans.

Yet we need more.

We need variety to keep on growing. We can’t all write pulp, or Literature, or Kinglike books.

But we can be inspired by them, and that is how genres grow.

Fut5

The Way Forward is Dark

One of the reasons we are having trouble selling our Horror fiction (besides the obvious obliteration of markets and reduction of publishers and editors) is that we are all not looking in the right place OR for the right things.

Like it or not, this is the era of attempted Literary Horror…and not because editors and Critics want it, but because the world we live in right now is presenting us with Horrors the likes of which only George Orwell, Isaac Asimov and Harry Harrison imagined.

From this decade we will either see the rise of some of the greatest Literature of our modern times, or the end of it. Because all of us are being affected down to the molecules of our day-to-day lives. We cannot escape or ignore truths any more than Dickens or Dostoevsky. And the fear, the fury, the moral outrage is coursing through our creative veins, coloring our monsters and our plots, dragging us into dystopian scenarios, making real the rest of the world in ways the rest of the world has only dreamed of.

Every day we are waking up in a universe created by Bosch.

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Every day, the garden of earthly delights becomes less and less attainable… replaced by the promise of man’s inhumanity to man.

Climbing up out of that hellish, all-encompassing vision is difficult. For artists and writers who are prone to so much psychic noise and psychological sound waves, the experience can be overwhelming….suffocating….and sometimes liberating…

Literature and Fine Art is born of this angst, this disgust and this Horror.

This means that a lot of writers are either writing about Potteresque young wizards or drowning in creative milieus of powerful emotion, struggling to get it down on the page and tucked neatly into story.

But they are OUT there…struggling to the surface for air. Keep looking for them; they are looking for you…

The transformation from trying to figure out what editors want and whether a story is one story or a trilogy has evaporated into how to bring the Horror to the foreground, how to make Horror scary again when Real Life seems to outpace anything we can imagine.

This is a creative challenge.

And like our fanbase in the genre, we are struggling to navigate each day, pay the bills, digest each new oppressive threat by politics that seem hellbent on creating dictatorship by promising various, construed bases changes won’t adversely affect them but only those they do not like….all while pushing plots and experimenting with characters and scenarios that often feel as surreal as Science Fiction or Fantasy because real life is mimicking it.

It is a tall order. But one I assure you your genre writers are up to…And I have seen the evidence personally. Right now what we are lacking most is that over-the-edge push…the one thing that horrifies absolutely the way a King novel horrifies, because the Horror is real… It is because we are struggling to learn the Craft we are not being taught while creating what we hope are sound concepts executed the way we want…

It takes work. Practice. Mastery.

It takes Renaissance.

And we cannot let ourselves go numb and mute. We have to say exactly what we mean. We have to not-care what others will think. We have to be willing to write outside of the Establishment’s dictates or preferences, and understand getting found in a confusing mass of titles is going to be a challenge unlike few others.

It’s going to take raw determination by our writers.

It’s going to take blind faith.

And as a writer I feel it coming.

As a bookseller I still see fans looking for new Horror.

This tells me it isn’t over – our genre is far from done.

In fact, I believe it tells me we are just getting started. And once we find a way to get it out there – as a genre – as a collective….then I think we will see new sales. New fans. New writers.

Whether we are The Best or not.

Some of us are content to place our immortality in the hands of our readers. Because that is where it belongs. Out there. In the dark.

Coercion & Conformity in Horror: When the Stakes Go Through the Heart


I have a confession to make: I stopped submitting work to Horror markets years ago.

Oddly, it wasn’t about rejection – or rather, it was, but not in the way you might think.

I stopped because just reading various submission guidelines and editorial rants made by what are supposed to be professional publications and publishers absolutely pissed me off.

And this got me thinking: just how many other Horror writers have had it with submitting their work to three-year-olds?

And if other such writers are out there, not-submitting their work, how do we really know that the true best Horror stories are being told?

How do we know which way the threads of the genre are being pulled?

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“This Isn’t for Us”

I can’t vouch for other English-speaking countries, but there is something insidious afoot in the United States fiction market. With the loss of so many Old and Traditional Publishing Houses, the loss of so many quality editors, so many midlist authors, and so very much print, our fiction in all genres has bottlenecked at the river Homogeny.

No one seems to know what they want (other than an author who can make a lot of people rich at the same time and as quickly as possible). No one seems able to actually use words to express real parameters, no one seems to be able to define criteria succinctly and professionally and free of insane clown tantrums.

Everywhere is the stench of a new conformity – one that suggests that the genres are dead and classification generally useless, and another one that blurs the lines of genre requirements as though the publications themselves don’t know them.

Through this house of mirrors unpublished and new writers are being pressed… through a maze of gatekeepers whose qualifications hide behind misunderstood and ill-defined MFA degrees and unclear areas of study. We are so desperate to please a Horror editor – any Horror editor – that we overlook the absence of academic expertise and allow for the belief that because someone has a title of editor, they know what they are doing.

But there is no real school for Horror editors to graduate from. There are few jobs to get on-the-job training or mentorship.

And if we are relying on our educational system to provide guidance for and the birthing of new editors (Horror editors notwithstanding), then we are living in a house of illusions. Just as with creative writers, our educational system has redirected its focus to getting graduates employed in what amounts to “vocational” jobs – graphic arts, commercial art, copywriting, technical writing, technical editing, (and sometimes) a watered down version of Journalism.

How can anyone discover the next Lovecraft or King if editors and publishers are not educated in the literal and Literary history of the genre? If starmakers can’t recognize a rip-off of Poe or appreciate the rich soil of Pulp?

Says Steven Saus in his essay “Where Does He Get Those Wonderful Ideas: Making Speculative Fiction Speculative” (Now Write! Science Fiction, Fantasy, and Horror, New York: Penguin, c2014): “Over the last decade the hard bright lines of genre have disappeared. You can lay the blame on the reduction of actual physical bookstores, literary cross-genre courageousness, or the alignment of planets – but the effect is real…The labels sci-fi, horror, and fantasy have shifted and blurred so that it is difficult to tell where the lines are anymore…” (3)

Why this is may indeed be evidence of growth in storytelling ability, simultaneously arising alongside what is most probably a healthy trend toward better Craft and technique often associated with the Literary. But it may also be why New Horror doesn’t sell as well as Classic Horror.

In the editorial quest for originality and more writers who cut their genre teeth on the voluminous writings of the 1950s to the 1980’s, we have indeed seen some concepts of originality take wing – concepts that seem to lead out of genre and into the nothingness; into the massive pool of general fiction. According to Donald Maass in his book Writing 21st Century Fiction: High Impact Techniques For Exceptional Storytelling, “Today, genre-bending and blending is more the rule than the exception…” something which is contributing to what he calls “the death of genre” and the emergence of hard-to-classify authors. (11)

Much of this seems to be author-driven, according to Maass, who states “the first question I get in pitch sessions at writers’ conferences is, ‘What category am I?’ When I respond with the question, ‘Where do you think your readers will look for you in a physical bookstore?’ the answer is often a shrug. ‘I just write the stuff.’ [And] while that answer can be a cop-out, it may also express a genuine indifference to traditional category borders…” (11)

Or, it could be a cop-out.

As a writer I know I feel confused about this type of author. How could you not know?

Of course, maybe this perspective stems from my years working as a library cataloguer – where characteristics of a story suggested the place where the bulk of fans would find it, and additional subject headings would ensure a bit of cross-pollination for readers seeking new authors or writings that touched their reading preferences.

But personally, I feel it comes from loving story, and a story type – a genre. It comes from years of joyous reading in that genre, and cross-pollinating it with other genre’s stories that carried elements of my preferred genre. That is where the desire to become a writer should emerge – from the seed of what has gone before, not the desire to just write and be rich… to “just write the stuff” which screams a literary ignorance that is both shocking and disrespectful of literary tradition – let alone Horror tradition.

It makes me want to take names and not waste my time or money on writers with such a cavalier, superior attitude.

Because if a writer doesn’t care enough to know where his or her story is coming from, the motivation is all wrong. The “I wrote it, you fix it and make me a star” attitude is one I have read editors complaining about. And perhaps that has contributed to the Rant Guideline.

But there is absolutely no justification for what is clearly becoming an attempt to make writers conform to nongenre story. Out there in the Real World of Old Publishers and New Writing, there is a pressure to write to a new specification – one that makes an unpublished or under-published writer feel more like a pawn than a star.

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When you write Horror and read in submission guidelines that your story cannot be about vampires or wizards or “like Stephen King” yet that is exactly what is being published, you have to wonder what the heck is being solicited. And when they go further and state things like: “no serial killers, no tales about survival of child molestation, no ghost stories, no post-apocalypse…” we have begun to enter the territory of censorship – not only in what you will or will not write in order to get published, but what readers will or will not find published by traditional publishers…and therefore professionally endorsed.

While it is an admitted function of a qualified editor to contribute to the shaping of the contemporary genre, it is not their function to gatekeep what type of stories are being published – the quality and choices colored by their own preferences should be the only visible, moving parts. And that should be tempered by having many editors of many tastes.

In this not-so-brave new world of homogenizing genre so that it becomes (miraculously) “literature” we are also showing our blatant disregard for the study of Literature AND genre, as well as RESPECT for Literary Critics. We are all on the same side, even when our preferences are separated by creative divides.

Publications are arising from nowhere and everywhere. They are dropping young editors in at the helm thinking that only young people know what other young (and therefore potentially higher earners with deeper pockets) people want. They seem to think parking behinds in MFA classes is enough to build knowledgeable editors in the genres…that their presence may ensure the “elevating” of genre to the Literary. Yet anyone who researches MFA’s will find the old school mindset that allows writers not to write. To come to class if they choose (i.e., we have your money, we don’t care). They don’t have to be there. If they are not in the mood. If they cannot get inspired. BUT THEY COLLECT A DEGREE.

Seriously? THESE are the people the Establishment plans to put in charge of new writers without MFAs? If a writer is that temperamental, they need academic guidance in how to get past it, in how to subvert blocks and produce writing. How else can they know how to guide actual writers who hit rough patches while under contract?

And what do we know about their editing skills and education? Editing fiction is a long-term investment in study – both as a glorified copy and content editor, and as an expert in all that has gone before, and as a knowledgeable representative of Craft. That means there should be education in Craft specific to genre as well as Literature. I haven’t seen that on curriculums. I see teaching creative writing classes…the ABC’s not the in-depth detail of mechanics which new writers WILL BE rejected for because they haven’t mastered them…

And these are again, the new editors who hold the Golden Ticket for finding positions in traditional and nontraditional publication acquisition offices.

This should disturb you. It disturbs me…Because there is indeed a learning curve for new editors. And it is not about understanding grammar. It is about having extensive, hard-won knowledge in the area one is hired to edit.

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But there is also evidence that both publishers and editors in our genre are also operating on the fact of our own collective ignorance, believing that any “good” story can make a mint and do so without vetting it in the genre history because no one really reads anymore, no one really reads genre old authors, no one really reads Literature anyway, so our editors don’t need the knowledge because today’s consumers won’t be the wiser…

This is irresponsible. And it is destroying our genre – not because Horror cannot withstand an elevation to Literary styles, but because ALL GENRES have bloodlines. And without them, writers are indeed just writing “stuff.”

If there is one thing I can say in defense of having only two American editors of Horror who came from our storied, traditional past, it is that at least these ladies know the genre inside and out. They know the history and what has been done and overdone. They know good writing technique and good storytelling. They may be inclined to accept or reject based additionally on personal preferences, but they have earned the right to do so, and at least publish qualified writers in the genre – whether the rest of us like the stories or not is actually not relevant.

But it is damning when the editing stops there in our genre…when the historical tradition of Horror writing is being ignored if not denigrated everywhere else, by what appear to be unqualified editors… The kind who rant about submissions…

And writers who just “write the stuff.”

C4

Drive a Stake Through My Heart

This has really got to stop. And I think the only way it can is for Horror writers who KNOW they write Horror to take charge of their own writing. To demand or create new publications and publishing houses, to write whatever they darned well please, and to self-educate in the traditions of both the genre and Literature.

It makes me wish the Horror Writers Association was a bit more inclusive, more of a leader. And perhaps, more of a rabble-rouser, a defender of all of our genre efforts.

As it stands, they seem to represent just one more layer of posing and imposing by their membership requirements and allocation of awards – defining authoritatively just who will be who in the genre. This means they are dictating what direction they want the genre to grow in. And it is not that they don’t sometimes have good ideas. It is that genres grow in the direction of unfettered writing.

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We seem in this country to have put the cart before the horse. We seem determined to dictate an American style which weirdly denigrates genre by homogenizing and re-categorizing it.

It is almost as if someone is on an ego trip, secretly planning to become THE editor who makes the genre what it will be in the future…a Svengali, a magician, the power behind the throne to lead us out of the darkness…

Except we ARE the darkness. We like it in here.

As a writer I do not care if this or that publication or editor doesn’t like this or that type of writing or story. I care that those publications are held up as the only acceptable qualifiers for Horror writers to claim on their resumes.

Punishment for deviation is swift and harsh. Self-publish, or indie publish at your own risk. Publish in an “unauthorized, unapproved” publication and you have marked yourself as some kind of unqualified degenerate bent on destroying the genre.

But I can tell you I don’t “get” this tendency to maintain an exclusive club.

In my travels I have seen quite capable writers of Horror who are shut out. They have, apparently, committed some sin. And they are, however, quite good if not very promising. I can’t help but think there are indeed readers out there who would like to be reading them right now…Yet we are – all of us, readers and writers alike – separated by this wall composed of New Editors, Establishment Editors, and fewer and fewer accessible publications.

When I complain about this, Establishment editors seem to roll their eyes and list the same few publications as the solution to my “problem.” But this just proves to me that they don’t “get it.” Whether as a submitting writer or a reader, I want to walk into my book store and find three or four pulpy magazines done just for the joy of publishing Horror.

And there are consequences to not-having these types of publications.

How do we know what direction the genre is growing in if we are not reading all of the writers who write IN the genre?

I mean pulp AND Literary… Lovecraft was pulp once. So was Poe.

How can we be sure we haven’t silenced the Next Big Thing in Horror because they are now working at McDonalds for having written a story that “isn’t for us”?

How can we complain about quality when we as a genre we are doing NOTHING to ensure that writers are nurtured and trained in the art of writing – in Craft, history, and Literature, in genre? In comics, graphic novels, and pulp?

And what IS this seemingly endorsed new trend to guide writers to write for Hollywood? To create stories that are written with the rules of screenwriting so IF they are any good there won’t be too much work to repurpose novels to screenplays?

And we expect to get LITERATURE from that? Really?

Only in America.

Thank God for the British. They seem to care too much for the genre to let the poison in…

And then I can’t tell you how many times I have heard the suggestion to submit to publications that are not American. Maybe as an American writer I want to submit nationally…

Again. REALLY?

We can’t manage to have actual publications that print Horror in this country? And you are whining about the lack of diversity in the genre? About originality? Maybe we are all too busy writing to spec for the three publications that will accept our submission on a Thursday in March, for three minutes, to do something about it. Then again, maybe some of us are writing different stories. Surreptitiously. On the sly. Without permission.

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Maybe we WANT to write like Stephen King. Or about vampires. Or wizards.

Maybe we DON’T want censors in our heads.

One has to wonder why not only are we being told what not to write, but that such is coming with the blessings of our own Establishment.

What is the motivation here? Are they just ignorant? Or complicit?

The declassification of Horror and re-dissemination of our works and authors into other genres is nothing short of assassination of our genre.

The floating of rumors that our fan-base no longer reads Horror or buys Horror is only so true insofar as they cannot FIND Horror. Or diverse Horror. Or new Horror. Or Horror writers. Or BOOKS IN PRINT.

Then to be rejected – but with the eye-opening caveat that Horror has become like Children’s picture books , itself a category that accepts only a few new authors per year and favors established authors, classic authors, and celebrities – is beyond enraging. Not because of jealousy, but because of the knowledge that this small, exclusive club of writers does not include the bulk of new genre writing.

It doesn’t include the future of the genre…but it guarantees a certain homogenization…a funneling of creativity into pigeonholes.

How do we know what is out there? What might transform the genre next? And why the heck doesn’t someone in charge of the nurturing and protection of the genre in this country CARE?

Something terrible is happening in our genre in the United States. And you don’t get to blame unpublished writers for this one. Or the Horror fan-base, many of whom have fled to Manga, Dark Fantasy, comics, and graphic novels to fill the void. God bless them for doing so – for they are saving Horror artists in the process…

I firmly believe those of us locked out of the current system need to stick together. Whether we are struggling with Craft or toying with stories, writing in more than one genre or exclusive to Horror… we need to ensure our own place in the history of this new genesis. We need to take back our genre.

We need to reject these attempts to drive a stake through our hearts, to censure the stories we want to tell.

There is no room for Vampire killers and prima donnas not wearing nighties in Horror…

C7

References

Maass, Donald. Writing 21st Century Fiction: High Impact Techniques for Exceptional Storytelling. Cincinnati, OH: Writer’s Digest Books, c2012.

Saus, Steven. “Where Does He Get Those Wonderful Ideas? Making Speculative Fiction Speculative.” Now Write! Science Fiction, Fantasy, and Horror. Laurie Lamson, ed. New York: Penguin, c2014.

 

 

Shushing the Dementors: Should Writers Speak Outside of Their Writing?


These offensive political times have created some very interesting conversations.

Take the recent one I overheard at my bookstore, wherein two people (one male and one female) discussed the continuing tweet-commentary of J.K. Rowling with regard to the U.S. President.

He: “She needs to just shut up and write kids books.”

She: “I agree. I’m not even sure I want her books in my house or my kids to read her.”

He: “She needs to stay in her lane. She’s not even American. She doesn’t have any business commenting on our President.”

Way to display your ignorance of the true nature of Literature… and in a bookstore, of all places…

 

JK1

The Proof Is In Our Literature

It is easy to feel overwhelmed by the classics. But the reason we are overwhelmed is because no one ever points out to us that Literature is all about multiple meanings. It is made that way, designed to reach more people, and then to curl up in the mind and inspire serious thought upon revisiting it.

Typically, there are three ways from which to view Literature as a reader.

One is to just read the surface story and follow the characters through the rise and fall of plot. Reading this way is escapist, and light, although in classic Literature it will also seem too often curiously slow-paced and frequently laden with boring passages that we will then skip with a shrug.

The second is to look curiously at themes and symbols, to notice the odd repetitions and to make light associations with other stories or fairy tales and to vaguely sense an indistinct atmosphere like humidity on a cloudy day. Sometimes we write our English papers on these things, and while the teacher is pleased that we saw them he or she is often disappointed that we don’t know what to do with them.

The third way to read Literature is to actively read and re-read passages if not the whole story, turning it like a Rubik’s cube in search of what the writer is really trying to say…looking at word choice, at repetition, at atmosphere, at social constructs, at every single thing…and then looking again. It is much akin to studying poetry, which also thrives on containing multiple meanings for multiple readers and multiple readings. And then reassembling it…seeing the power of the whole. And being amazed, bewildered and awed by it.

Literature is on a mission. There is a point to it…a purpose. And only by viewing it through the three different lenses mentioned above can we begin to see it.

But what one-lane critics don’t want you to know is that this is the lifeblood of Literature: oppression.

You will find it in ALL great literature, because you will find it in all great Writers…casting its shadow on their work.

JK2

And that means you will find it also in male-generated Literature as well – even he-man writers like Ernest Hemmingway, whose works are portraits of men who struggle against the “brutal ways of modern society” which threatens their sense of hope and faith… (https://www.nobelprize.org/nobel_prizes/literature/laureates/1954/hemingway-bio.html)

Writing Literature is always about what it means to be human… and how it is to live with the flawed rest of us in the shadows of our own faults.

Literature is also always about injustice…about missed opportunities to understand each other.

JK3

What person can read Dickens and ignore the treatise about the brutal effects of poverty and social stratification on women and children and men of the underclasses of Victorian London? What person can read Dickens outside of his work and not hear the man behind it all?

Or Charlotte Perkins Gilman and the classification of all women’s ills as mental and peculiar to her gender?

Or Louisa May Alcott and her commentary on women writers and women’s choices in the beloved classic Little Women?

Or Fyodor Dostoevsky with his observations of sociopolitical upheaval in 19th century Russia?

Or Gabriel Garcia Marquez whose collective works reveal the times and conflicts of living in Latin America?

JK4

Literature is only and always about commentary on socio-political issues of the day – even and especially in Gothic Romance, in ghost stories, in virtually all women’s fiction…and thereby a hefty chunk of Horror.

Should we really be surprised that the women writers behind even modern fiction should be outspoken? It’s not like writers of the past have been reticent wallflowers.

Who we classify now as Literary Writers of both genders in their times were not mute.

They most certainly did talk about their writing, about issues of the day, about social and cultural faults, about politics and the failures of society and religion. They – as celebrities – felt compelled to speak out against injustices when and where they saw them. And as writers they could not remain silent in their prose or in good conscience.

That writers should be cardboard cutouts of what we imagine them to be, that they – especially when they are women – should “stay in their lane” and not to reveal themselves as human beings and dare to speak their conscience is not only petty misogyny, but a peer pressure attempt at oppression, and pure censorship, a violation of the right of free speech.

It is also a blatant revelation of the speaker’s own ignorance of the Literary Tradition…

And of writers in general… Because to comment on the injustices and flaws of culture is not just our impetus, but the thing that makes us writers and creates the very bones of our selves.

Writers are observers. We have an obligation to speak when moved to do so. And we are not obliged to only speak in code, in symbols, in double entendre.

It is also not a requirement that we do not offend. We were built to offend. To make others think. To make others see. To jar others awake…

And we are obliged to speak up just like any other citizen – whether we are male OR female – when we are outraged by what we witness.

JK5        

https://onehundredpages.wordpress.com/2018/01/19/the-madwoman-in-the-attic/

About That Attic

Sometimes I think what disturbed me most was the male commentary that day in the bookstore, even as the woman’s words distressed and disappointed me.

As a writer, I don’t care if you read what I write or not. I’m not going to stop writing, or change what I write. But what I do care about – especially as a female writer – is the tendency to divest women of their right to express their opinions especially if they are critical of an “alpha” male, to threaten banishment to The Attic.

As a rather newly minted feminist, I have only just begun to wake up, to realize how much, how thorough and how long the suppression of women’s opinions have been. And the knowledge has left me a bit rabid…I am thinking it should.

Because silence is to condone…to enable…to facilitate…to be COMPLICIT.

And women who agree with the status quo to ingratiate themselves to those they perceive to be Divinely led or in power are also COMPLICIT.

The sad thing is it tends to be right under our female noses. But we are raised to acquiesce, to mend fences, to be seen and not heard. It happens at home, often enforced by our own mothers and reinforced by our fathers, and further drilled into our self-awareness by the educational system which still tends to choose boys who raise their hands over girls.

The fact is that women have long been told to “shut up.”

And historically those who did not were beaten, incarcerated, placed in mental asylums, locked in attics, drugged, disfigured, raped, and often killed. It still happens in some parts of the world, and those of us blessed to be living in countries where the worst we suffer is employment discrimination, housing discrimination, public humiliation and proud, loud statements that we should just “shut up” most certainly do have an obligation to not only speak even louder, but to do it for and with those other women facing more severe penalties.

Most assuredly there are consequences for such speaking up – especially as a woman – because unlike men who are told they are just “wrong” women will be labelled as insurgent, lesbian, ignorant, unpatriotic, mentally unfit, and witless hormonal puppets of their biology.

Speak once and a woman becomes a label.

But we are all of us (writers included) human beings first. Worse, we are thinking human beings. We cannot undo what the creator has done. But we can most certainly comment on it when what humanity does with its gifts turns our souls inside out.

We not only have the right, but we have the obligation to speak out against injustice when we see it. Silence or speaking is a personal choice. But choice is our right as people.

Censorship is the tool of oppressors. Oppressors see life in lanes, and strata in society. No man or woman should “shut up” if their conscience drives them.

 

JK6

Stupifyed

About those tweets…

For those who so love the Harry Potter franchise, one has to say you must then love something of its author, and she is indeed to one degree or another Literary. As such, she is (by commenting on whatever she feels like) living up to that very nature.

Sure you could demand your children never read writings by such a writer again…But then you would be missing the point of Literature…all three of them, in fact.

Don’t want to put money in her pocket to endorse her opinions? Fine. She no longer needs your money. But you ought to weigh the importance of debate, of disagreement, of the possibility that you might be wrong after all…Sometimes writers do get it right…

Think you can change the truths of what she might be saying by not purchasing her work? Too late: that fantastic beast is already out of the bag. Many of her truths are already in Harry Potter.

Think buying her work endorses her actions? Well, you didn’t read her work the second or third ways yet, did you?

And besides, how many times have you bought crap from Amazon no matter how many American and international jobs it has cost? Let’s just stop being hypocrites, shall we?

JK7

Right now – at this very moment – we get to see how Literature shapes us and we shape it. We get to see real people standing up to Power Brokers in Real Time, dismissing the potential personal consequences to communicate their own opinions. Sometimes that means catching a tweet and being surprised, angered, or amused. But that is what free speech and Literature is all about — generating conversation.

We see it because writers like J.K. Rowling do speak up about issues that they find disturbing.

That has nothing to do with lanes. It has everything to do with freedom.

JK8

Should that include commenting on other nations’ governments? Dear God, YES!!!

We live in a global village. There is absolutely no escape.

(Well, unless you want to unplug the Internet, reverse technological gains, and return to the Good Old Days where the fickle finger of despots and dictators could disappear anyone on a drop of mere gossip, innuendo, outright lies or rumor.)

I said it before. Writers are people first. And people of merit, of position, of respect…including artists, writers, actors, musicians who by the nature of their life’s work ALREADY comment on such – have not only the right but the obligation to speak up especially when the meek need a prod of the conscience, or when what happens on one side of the pond threatens to spill across borders and affect other countries and their political decisions.

Tweet, J.K., tweet.

Those who would hang labels on critics and stuff “loud” women in attics would do well to mind the consequences of what they are using their freedom, their status in society, their political currency to say.

Freedom to criticize is an American staple.

How dare WE who have that right use it to suggest any other human being EVER shut up.

Tweet, J.K…..Tweet like the wind….

 

JK9

J.K. Rowling

✔ @jk_rowling

J.K. Rowling‏Verified account @jk_rowling Jul 3

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Where Have All the Zombies Gone? (the Dawn of a New Monster Era)


Truth be told, it is hard for this generation of Horror fans to remember a time without Zombies. Yet such a time seems to be upon us.

Rather abruptly (and some may think at last), the Zombie Craze seems to be fading.

What does it all mean?

And perhaps the more interesting question is – if your Literary senses are tingling –what comes next?

For those too young to remember, there have been other monster-dominated decades…and to fans of Literary Horror, such changes in Horrors represent changes in our times, our societies, our very self-image. More than any other genre, Horror “represents.” Horror is the spirit of the times…the Zeitgeist of who we think we are. And as such, these monster transitions can be very telling.

In Literature, Horror plays a unique and indispensable part. Horror mirrors our social and cultural failings: it is our dirty laundry, hung out for the world to see. And it is meant to awaken us, to inspire change.

Our World history and our regional histories are decorated by the monsters of our choosing. Pay attention: THIS is how Literature moves in Horror…

Because even if you don’t think your genre is speaking loudly in Literary terms – even if you “just” read or write pulp – monsters have historically been stand-ins for what scares us the most.

And what scares us the most – is humanity itself.

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Growing Up Zombie: the Decades of American Disillusionment

It came at the end of the Reign of Vampires: the rise of the Zombie and the apocalyptic visions of a world we were clearly eager to see end.

But for Literary watchers, it also came coincidentally during the tenure of the George W. Bush Presidency – a time (2001 to 2009) when the United States was shaken rudely awake from its American Dream, “given more real life strife than it had seen since in the 1960s, including two very long wars in Iraq and Afghanistan, destruction on the home front in the form of the 9/11 terrorist attacks, plus massive natural disasters like Hurricane Katrina, and the global economic meltdown [of] 2008…” And the subsequent Zombie movie milieu “fits in perfectly with these aforementioned national and world events because it functions on two levels simultaneously. On a literal level, Zombie movies concern rampaging monsters that want to eat your flesh and/or brains. But on another, more metaphorical level, these movies focus on the collapse of the familiar infrastructure that maintains our high-tech civilization.” (Muir 159)

This was a rather unpleasant rousing from our previous Literary monster decade – the Vampire Era – which seemed like a lazy summer reverie in comparison. Those were the times born of the Summer of Love and spurred by gender rights and sexual liberation. And I can’t help wondering if there must have been something about those amorous Creatures of the Night which pissed most of us off – or finished doing so – in order that we were willing to exchange Horror’s most beloved monster for something more like ourselves.

That’s right: we are the Dr. Frankensteins, creating the monsters in our own image. And therein hides the Literature.

The Zombie says a lot about us. The Zombie tells the world how we felt from the mid1980’s onward: like we were all being marginalized…like we were undervalued cogs in machinery that had swallowed us whole…like nothing of ourselves was valued or mattered. We began to see ourselves as hapless, unwitting victims. Conspiracy theories and suspicions of everything from our own neighbors, coworkers and government rose from the ashes of immolated Vampires. And we got angry.

It is no small coincidence that the rise of the Zombie coincided with the rise of Technology. In fact, the last time a monster rose in such a way to represent us en masse was during the Industrial Revolution when it was the Ghost who came to envision how we felt – like we were truly rendered dead and invisible in our own time…like the world suddenly lurched forward without us…like it didn’t even have the courtesy to wait until we died before burying us in time-stamped irrelevance.

During the Ghost Era we saw so much suddenly slipping through our fingers – some of it wrenched heartlessly from them – seizing our sense of spirituality and subsequent order of our universe and replacing tradition with an unsettling, rapidly changing uncertainty.

Literature abounds with examples of the heartless separation of humanity from a more acceptably paced march forward. Everywhere people were awakening as if from a stupor to find change unfettered, science dominating, the human touch in life left cold and uncaring. In the Ghost Era, we discovered we could no longer live the lies. And women’s voices rose in chorus to name the sins, spawning the Golden Era of spectral fiction that still today informs us strongly of that time in history.

It was not long after that our genre began documenting our own shock at the world around us…and all manner of Horrors and deceit and human tragedy was rendered in Horror form. From the psychological Horrors of Poe to the alien monstrosities of Lovecraftian nightmares, our genre continued to narrate the changes we all encountered, the fears we hid and the resentments we nurtured.

 

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https://tulsaballet.org/dracula/

In fact we had tried on many monsters on the way to the Vampire (a constant infatuation throughout our folkloric history) – including the Mummy, Frankenstein’s monster, and the Wolfman – all in the attempt to make sense of self-discovery.

So when the Vampire came along again in the 1970’s to tease us about our sexual indiscretions, our Sexual Revolution and search for gender identity, the threat was more subtle…less encompassing… and certainly left us employed and believing what we did and who we were somehow mattered. It seemed a pleasant, if not superfluous distraction, its latent threat more shadowy. With the Vampire, the illusion that all was still well – just different – predominated. Not so in the Zombie Era.

When the Zombies rose, it was an apocalyptic moment. It was a sign that while we were sleeping, something had gone terribly wrong.

Much like the Time of the Ghost, the rise of the Zombie represented our minimalization by those we had trusted – a betrayal that wounded in private places made horribly public.

We had become mindless cogs in someone else’s machine. Our days grew from nine-to-five with weekends and holidays off, to 24/7/365…instead of eight hours including a lunch it became eight hours or more plus another for lunch, plus accommodation for breaks, plus longer and longer congested commutes, plus forget holiday pay or overtime, count yourself lucky you still have a job…plus fund your own darn retirement…and insurance…and education….

Worse, we now had jobs (many times multiple ones) instead of careers. And at any point, anywhere along the way anyone from a politician to a coworker could take it all away with a single fib.

We had trusted, invested, and committed. And we were summarily robbed. Unbeknownst to minorities and immigrants, the betrayal had at last reached all the way up the ladder of entitlement…We were – all of us for that moment in time – equalized by an impending sense of doom, poverty, ill health and despair.

The world as we knew it and had relied on with its haphazard, unequally applied rules, was indeed ending.

And so the Zombie rose…hungry for mindless vengeance to supplicate mindless anger at a mindless society which eviscerated us without apparent care.

Because the Zombie is all about humanity, according to John Russo in his foreward to The Walking Dead Psychology: Psych of the Living Dead, “about human beings, with all their good qualities and all their bad qualities, having to fight for survival against tremendous odds and daunting, soul-deadening destruction…[and] how we may rise to the occasion when we are in extreme jeopardy or how we may fail.” (xvii)

So this Zombie was different than any Zombie that came before.

Simply rising from the grave with a need to dine on brains wasn’t nearly enough to satiate our fury at what was happening in the world – at what was happening to us.

This new Zombie did not rise alone, but rose in hordes….walked in herds…swarmed like hungry locusts to purge the land of all we had built.

And we were different too – we who survived the first onslaught to fight the menace. WE rose as well…grabbing guns and bats and crossbows and swords and hatchets… We fought back in unspeakable violence – so much so that we shocked ourselves.

In earlier versions of the Zombie, the Zombie was the Horror. In this one, it was not only how the Zombie comes to be, but the hideous violence that we ourselves inflict on the Zombie that is the real Horror.

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How Furious Are We? ZombieLit…

As in the Industrial Revolution, the Technology Revolution has disfigured our ability to see ourselves out of it, and we cannot separate this newer revolution from the human carnage of today. Now as then we have experienced massive job loss, massive blows to our loyalties, our sense of worth, our very identities. Talk of retraining the masses has been a lie for most of us; and when thousands of jobs are replaced by one or two, that leaves a lot of us free to stew in anger.

Unfortunately, we are not very creative when we are reeling in personal pain. How angry are we?

Just look at what we have undone in the United States with one rebellious presidential election. Because this is what is going to inform our Literature for the next few decades…

This is not about liking or disliking a president or American politics. This is all about the surfacing of major divisions that have been simmering beneath the surface of contentment and “progress” in our country and the world at precisely the same time Technology has completely reshaped how we interact with the world, how we process TRUTH and FACTs and understand what we ARE or ARE NOT entitled to…

Rather than fix the problems our own greed has created, we have chosen the old default in a time we should know better: to blame the Other.

This is why the Zombie has gone away…

The World as we knew it has ended. And no amount of tantrum-throwing is going to fix things. Yet far too many of us fear our own adulthood. We search for blame and make it up if it suits our purposes.

We have become exactly what our enemies have been calling us.

And it wasn’t the fault of a political party or one black President. It was the fault of our own insatiable greed – the greed to be better than our own neighbors, to keep our own job even if it meant hundreds of other people losing theirs, if it meant pretending it was their own fault for not being bright enough or lucky enough to live and work where the Tech Revolution had not yet reached its suffocating tentacles, to bestow the title of Too Big To Fail on an irrational, select few.

Now that job loss and identity compromise has begun to hit the last of the holdouts – the ones who belittled the evisceration of millions of their own countrymen and -women – NOW there is a crisis.

Now bonking Zombies with a hatchet isn’t enough and is no longer funny. It is no longer sufficient. Because it DIDN’T WORK.

Because it is the upper classes, the wealthy, the alleged job-makers who have risen unscathed from the death threat… Surrounded by hordes of Zombies too oblivious or too greedy or too fearful themselves, these ever self-wealth-replenishing masters of the universe cannot be reached. The boss you dreamed of walloping over the Zombie head or eating the brains of is safely in the bunker he had you build.

Anger is no surprise. Blaming the Other is the disappointment.

Most of us had so hoped we were beyond this…

It is a sad fact of humanity that when we cannot get at the real problem, we get at the one we can reach….the convenient one.

And sometimes we are so, so angry we are willing to divest ourselves of important things in order to release that anger in mindless vengeance.

This is how a country like the United States begins rolling back human rights. This is how we rationalize doing so.

We are so brainwashed into believing that only the rich – in their wondrous, pure humanity – have the capacity to save us, that we forget we saved ourselves by forming this country in the first place. We forget we gave all future generations the tools to save each other.

We treat the Other like those Zombies – rending them limb from limb without the slightest human compassion all in an effort to vent without biting the hand we are told feeds us.

How soon we all forget….

We forget the Native American code-talkers that saved us in one war, the African American soldier that (forgiving the rest of us our judgment of them) shared our fox-hole in another, the immigrant soldiers who fight the same enemies in our name in order to participate in what used to be the world’s greatest Democracy, the foreign nationals who have given their lives or risked them to stand beside us, the Asian Americans who have built our infrastructure – not once, but twice over now, the gay Americans who have given us incomparable culture in unexpected ways, the American woman who has fought her own battles while defending those that cast long shadows on a mutual future, the Founding Fathers who without remembering to define what a “man” was freed forever what the definition of a “man” would be…

For certain our history has not been neat. But at least we could claim a percentage of ignorance in and of our own times. This – this new monstrosity rising from the ashes of the Zombie Apocalypse – is being resuscitated in the full light of day.

Where we could excuse ancestors for misinterpreting, for doing the best they could with what they had and what information they had…This time it is on US.

This time it is on PURPOSE.

For those gleefully waving the bat, the flag, the hatchet and the noose, there will be no forgiveness by your descendants. The stain here will be too great to cover with lies the rest of the world can already see through.

That any of us would STILL resort to blaming whole peoples for our own errors in judgment, our own misplaced trust, our own unwillingness to remake and reinvent ourselves is just plain indefensible.

We are lazy.

We are greedy.

We are selfish.

Way to make the terrorists of this world look right. Because now that the Zombie is dead, something else will rise to take its place.

I am betting on the Werewolf.

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Not The Good Old Days, Howling at the Moon

Chances are, if the Zombie was different this time around, so will the Werewolf be. In fact, the “Modern Werewolf” has already done some serious changing – slipping away from the simple, unfortunate nip in the moonlight to become (like the Vampire) an empathetic creature.

According to Nathan Robert Brown in his book The Complete Idiot’s Guide to Werewolves, “Werewolves are no longer depicted in exclusively negative or evil light. In fact, modern pop culture has embraced the werewolf as a rebellious antihero. Similar to modern-day motorcycle gangs, they move and hunt and live and die as a pack, and they live outside society’s rules. Pack law is the only law. In the last century, werewolves have been embraced by every medium of pop culture. They’ve become major figures in literature, films, art, comic books, and even video games. In America, urban legends about werewolves have sprung up with increasing frequency over the last 50 years.” (109)

I don’t know about you, but I see a lot of our modern outsider, rebel political factions right there. I hear the phrase “silent majority.”

Here we have a creature that cannot control its fury, who while in “human form” cannot fathom the carnage it creates, who cannot remember its animal behavior (which is far too convenient to ignore here), and who hides among the rest of us undetected, and for whom the end justifies the means. Like a mean drunk justifying his or her actions, everyone and everything else is responsible for the ensuing bloodshed – real or imagined.

Remember the last election? Yeah, I don’t know half of the people I thought I did, either…

But what I do know is that the Werewolf always denies he or she is a Werewolf – because that would be a horrible thing to be.

So they become in their own minds – if Were-anything – Werepoodles, I assume.

Where once they were unfortunate, hapless victims themselves… now with a kind of mental Photoshop, they are free to remake themselves into vigilantes – heroes of the state, the arm of popular justice…the same ones who say it is better to execute an innocent man now and then than miss one single guilty one.

And as we learned from the Zombie Apocalypse, there is safety in numbers…

Instead of being an isolated case, now we have Were-communities.

Like the Vampire Mega-Covens and the Zombie Hordes before them, we no longer think in singular terms….This is about survival. So what if other people think we are wrong to become a monster rather than cease to exist: they aren’t here with us.

Besides. They can’t get all of us if we swarm them, and if there is more than one of us, we are in the right…right? And if collateral damage happens, it cannot be helped…what can one person do in the face of the rise of Hell itself? The Devil made us do it…sure it looks like me, but it wasn’t me….I was just following the pack, the will of the people, orders….

For some of us, the familiarity of the excuses makes the hair stand on end, the hackles rise, our own fangs bare…

Like the Zombie Apocalypse before it, this new Horror is all about the Little Guy surviving the end of all reasonable things. And that means your neighbor may not in fact be your neighbor…but something else….something come to destroy all that the Zombies left of you…

And so what if the Werewolf is US? Or a spouse? Or a relative? Or a boss?

Forget the blood dripping from their lips….look at all of the STUFF they get to keep…

And if you keep feeding them Others, they might leave you alone.

Except they won’t. They can’t help themselves. They are sociopathic predators. You aren’t them. They are better than you.

Beware of Dog. Because like the Zombie Apocalypse, it is most likely not you who will survive. Once the carnage starts, we are ALL meat.

Read any old Werewolf story. Read what happens to the victims of the Werewolf.

In its animal form it can barely stop itself from devouring what it loves in its human form.

Do you want to take that chance?

How’d ya do stopping the Zombie Apocalypse? The Industrial Revolution? The Tech Revolution?

This is going to take more than Wolfsbane.

All of us better be prepared to lose some flesh.

Because if the Werewolf is back, we have to remember that as much as we once valued the human form, we are going to have to put the animal down, because indeed we might not be speaking of folklore anymore…

What cannot be trusted, what randomly and wantonly and indiscriminately destroys what we have – all of us – built, cannot be suffered to live and thrive and reproduce.

Horror “represents…”

Get your silver bullets. There will be blood. And this time, it will most likely be justifiably our own.

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References

Brown, Nathan Robert. The Complete Idiot’s Guide to Werewolves. New York: Alpha Books, c2009.

Muir, John Kenneth. Horror Film FAQs: All That’s Left to Know About Slashers, Vampires, Zombies, Aliens, and More. Milwaukee, WI: Applause Books, c2013.

John Russo. “Why Don’t They Die?” Foreward. The Walking Dead Psychology: Psych of the Living Dead Langley, Travis, ed. New York: Sterling Press, c2015.

Reading Like a Writer: Horror Through Slime-Covered Glasses


There are many reasons to read a great Horror novel: to scare yourself, to scare your parents, or to scare your teachers. But there is one reason that – if you write – you might not have considered: Reading great Horror novels can teach you how to write great Horror.

Seemed obvious, didn’t it?

So why doesn’t “just” reading a great Horror novel beget great writing?

The answer is: there are different ways to read fiction; you can read as the intended audience, you can read as a Critic, and you can read as a writer. And if you don’t understand the difference, you can’t put the writerly gifts hidden in Classic Horror to work.

Reading as the intended audience is easy. You pick up the book and let it take you someplace else; this is entertainment in its purest form and all control is relinquished to the author’s storytelling wiles. There is no commitment beyond the pursuit of enjoyment.

Reading as the Critic is much darker, much more motivated, colored by academic analysis: it is technical, and it is over most of our heads, requiring a great deal of preparation, such as a Classical Literature background, and an understanding of linguistics, psychology, philosophy, and history. Most of us don’t naturally go there and do not want to: it is cold, hard work that seems intent on destroying the innocent bliss of reading for fun.

On the other hand, reading as a writer is a weird marriage of the two. It is at once dependent on enjoying what you read, and then wanting to dissect it in order to understand what made you want to keep reading and what made its afterimage stay in your head. Reading as a writer is all about asking yourself how and why and when another writer managed to get it “right”… it is about studying their technique for the purpose of creating your own.

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YES. READING IS TECHNICAL AND SOMETIMES ICKY

Yet for many people – writers included – it never occurs to them to read something differently.

This is in part because we don’t know how. It also doesn’t occur to us to go beyond the pondering of the magic which appears to be involved in the writing of good Horror. We tend to not want to take it apart, to look behind the curtain because it is the magic that we love to savor.

We are, at heart, a superstitious lot…

It doesn’t help that reading as a physical act quickly becomes so automatic that we are not even aware that we are performing a complex brain activity. We seem to “glimpse” a word and it magically forms images in our minds…effortlessly….mystically.

We curl up someplace snug, we open our book, and wait to be enchanted. We don’t think of reading as work, because as we grow into being readers it becomes wickedly instinctive, unconscious – even involuntary….like magic. Words take on a life of their own, threading their way through our imaginations. We begin to visualize. We become engaged in the tale. Soon, we aren’t even aware that we are reading because the story simply and spontaneously unfolds…

As writers we are looking for clues when we read.

And reading as a writer means that you will have to adapt your reading technique; you are no longer seeking entertainment alone – no longer the one being wooed. Instead, you must become a shadow Critic, poking and prodding everything from the sentence structure to characterization, from punctuation to plot, from the outside in.

To do this successfully, a couple of things must happen first:

  • You must read the book for thrills
  • You must understand what you are looking for

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https://frankenreads.org/event/frankenstein-book-discussion/.

THRILL SEEKING ON A DARK AND STORMY NIGHT

Chances are, if you write Horror, you love Horror. This means you can’t read a word of a new story or novel and not get caught up in it. Of course, that is what every author hopes for, so it is not altogether a bad thing. But it is distracting. Your imagination latches on to the prose like a face-hugging alien – pupils dilate and the pleasure centers of the brain light up like Frankenstein’s monster.

It is important, then, to read a tale first for the enjoyment – to get that habitual and natural pursuit of happiness out of the way. It does serve a purpose: you will know exactly when and where that sweet spot of being hooked and being Horrified took place.

Sometimes it even begets your own monsters, new story ideas, or creates a nice, fertile mood for drafting or brainstorming. But reading for pleasure is not reading as a writer, and it should not be mistaken for such.

Reading for pleasure is that something else: a spinning of the channels of the imagination, a hope of hooking up with a really great idea or being swept away by one.

Yet for writers of Horror fiction, sometimes even reading for pleasure can go awry because if you write Horror, you also come to wonder how it was exactly that a given story scared you… and you eventually might come to be distracted by the fact. This is especially true if you re-read the story years later, when phrases like “What was I thinking?” enter the mind because you read parts you don’t remember and you can’t find parts you thought you did read…

“What happened to the Horror?” you might ask. And exactly how did the writer cause us to manufacture details that were implied but not actually there?

This, friends and neighbors, is where Horror goes all Brain Science…

Two things are at work here:

  • the writer’s technique,
  • and the curious effect emotion has on human memory.

Of course, emotion is not exclusive to Horror; but Horror is – as Lovecraft so accurately pointed out – fear’s first cousin. And fear is one of the most potent emotions because of its ability to hijack the brain and create memories where none previously existed.

When we experience fear, we process it according to our own experiences, and the reconciliation of the emotion with existing memory tends to reshape the new memory as colored by the old. So when we read Horror for the first time or for enjoyment, we are surrendering our brains to the puppet-master of emotion. The monster in the dark becomes more or less sinister based on what we read and what associations we make with it.

So during our teen years, when we fear the ending of the world before we grow up and realize our lives, the monster that threatens this scenario has more scare power than the same monster will when we are at midlife or older, when we are wont to rationalize, minimalize, and offer concessions – even to monsters. While the monster lurking in the closet has more “terror cred” if the reader has ever been or imagined being attacked in their home, the threat of possession by demons more intimate if one is a lapsed Catholic with residual guilt, how much Horror is delivered to a reader totally depends on the reader’s own experiences and learned fear management.

Horror, it seems, is very personal.

So how does the writer tap into that formula that makes a specific fear generalized?

Well, we are going to have to look at technique…and it is as elusive as it is desirable. And we are going to have to admit that not all Horror will scare all people at the same time; in fact historically, much Classic Horror scared its period audiences because of how those stories related to what was happening at the time. If we are able to associate the Horror with something contemporary, the story will still scare us. This means it has to be a Horror that is bigger than the monster – the monster has to represent something bigger.

The bad news is that such success is a bit of a crap shoot.

The writer must be able to gather that perfect storm of what is most likely to scare the bulk of readers in a specific target group at a specific time and for a specific reason, the exact amount of disclosure in when, where and how to reveal the monster, and the strange magic of storytelling.

The first point means a writer must really know his or her audience and not from afar – readers will sniff out the fakers and pretenders — and to actually understand and anticipate what his or her contemporaries really fear the most in life. The second means developing a kind of sixth sense about how to pull back the curtain without shouting “ta-dah!” and flattening the curve of your climax. The third means a writer must connect to that preternatural rhythm of prose that says exactly what it needs to and no more.

And it is the second and third of those ingredients that writers can learn from doing what readers love most – reading.

But there is of course a potentially fatal flaw imbedded in every writer (reading or otherwise)…a kind of subliminal kill-switch

And the glitch is this: very few writers are Masters of Their Domain – once again, most writers are readers and read as readers first. We are addicts of prose – both our own and random words printed on pages. We can’t stop ourselves from seeking the “high” so we might as well admit it; we really do have to read a good book first as a reader. We become as dazzled and bewitched as a fairy with a Celtic knot.

Then and only then can we go back and hope resolve to read as a writer. (And if you think I am kidding, go back and read your own writing – something old that you have forgotten. You won’t fixate on the bad parts that need fixing, but you will congratulate yourself on getting the good parts handled right. Sick, isn’t it?)

We are no different with a Classic writer’s writing; we embrace and stroke the beastly prose that made us feel what we wanted. We excuse any parts we did not understand or disliked. And most of all, we let how the writer set us up slip right past us.

This is why we have to go dark. We have to use the Critic’s lens…those slime-covered glasses that dissect what we hold most sacred.

 

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Illustration by Gustave Dore (1832 to 1883). http://wordyenglish.com/p/little_red_riding_hood.html

ALONE WITH THE CRITIC

For most of us, our only exposure to Literary Critics and analytic assessment of writing is both boring and negative. Critics are, after all (and to our knowledge), the ones who rip our favorite authors apart and insult our intelligence by stating outright that we don’t have any. They are the wolves in the sheep pen…

But what we don’t see is that the Critic means we are forever reading as readers and telling them that enjoyment means everything. Critics want more. And if you remember high school, so did your teacher. And then your professor. So why didn’t you get it? Could it be that no one ever really taught you about the many ways of reading?

The bad news is that it is perfectly possible.

For years we are asked to analyze what we read without being shown how to see words acting differently on the page…And for many of us caught in the passions of youth, we don’t want to….we aren’t emotionally ready yet.

But doing so – learning to read the same words, the same stories differently – is what helps us develop the ability to find and judge truth, to understand the use of metaphor and analogy, to separate polemic from satire. Try looking at our current internet, fake-news (which used to be called propaganda by the way), social media-led world, and NOW you see the importance of that talent…

So it was no illusion…education has always placed heavy emphasis on interpreting and deciphering prose. And all of those term papers, research papers, and required reading were about that. Yet education has never been graceful about teaching the details…because education has failed to show us the complete picture of how and why. Instead, it has served to embitter most of us about the critical process.

It made us feel stupid.

Worse, educators are great for coming up with ways to analyze writing, for some ruining the enjoyment of the Classics. And while this is a real fear for those needing to read like writers, and something that does in fact happen to some people, it does more so to those who are closet editors. If once learning how to look at language means you cannot turn it off, then you must face it: you are an academic, an editor, or a Critic. Get thee thou education and do not pass go. Be happy. Follow your obsessive bliss…because all genres need you.

However learning to approach reading academically and as a critical thinker is an important thing.

Reading as a writer is one of those irreplaceable tools every writer needs to master, and one I’d never really heard expressed as a technique before my return to the college classroom. In fact, if I had heard it in any guise before, I probably dismissed it as a cutesy way of inflating the ego. But this is a serious technique, and here’s why: especially within the United States educational system, not everyone reads enough “good” fiction or “Literature” to develop a subliminal sense of how to mimic the different elements that made those works great.

I know I have been guilty of such neglect. I always wanted to read the Classics. But for some reason, unless someone made me it didn’t seem to happen. I always felt intimidated by their greatness, I suppose, figuring that because they were such a source of study, discussion and Criticism that I would not ever fully understand them and I didn’t want to appear even more stupid.

But that is a cheap excuse. Books are books after all, written for readers. Yet I was plagued by the mystery so many modern readers are: what make a book great? What makes literature the Holy Grail of writing?

Unfortunately, it is not as mysterious and awesome as it sounds; it has more to do with the ability of a writer to accidentally or on purpose say something bigger than is stated in the story, while dazzling the reader with the competent and artistic handling of language.

This does in fact mean that some books are Literature but which are unrecognized as such – at least they are not yet. But it also means that we need to look at prose the way we’ve learned to look at poetry: it can be read for simple enjoyment, or it can be dissected and impress language technicians with double-meaning, allegory, metaphor, analogy and pure genius. The level to which you as a reader or you as a writer wish to enjoy fiction is up to you. But being willing to get down and dirty with the dissection business (something Horror writers and readers should be familiar with) can open amazing windows to understanding how great fiction is constructed.

So to learn how to write better Horror fiction, we have to do what engineers do: we have to deconstruct prose to see how the pieces came together and rendered success.

As Francine Prose (ironically surnamed as she is) states in her book Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them, you have to discover how to read analytically: to become “conscious of style, of diction, of how sentences were formed and information conveyed, how the writer structures a plot, creates characters, employs detail and dialogue” because writing “is done one word at a time, one punctuation mark at a time” (3).

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One of the best ways to do this is to sit down with your favorite book or short story, and start copying it word for word. This slows you down, forcing you to notice every phrase, sentence and punctuation mark. It reveals how you were manipulated by the rhythm of the author’s own choices, why you as a reader gave emphasis to certain passages, were susceptible to others. You notice vocabulary choices, perspective, the intimacy or distance gained by wording and grammatical emphasis. These are your tools – your paints, your canvas, your textures, your lighting. This is the writer’s version of art school.

And because you are also a writer, chances are there is already a bit of the academic in you… As such, you have merely to access that natural curiosity about “memory. Symbol. Pattern. [because] These are the three items that, more than any other, separate the professorial reader from the rest of the crowd.” (Foster xxvii)

Since writing is the creation of patterns, reading is the logical reverse engineering of them.

Like art, writing is all indeed about patterns – everything from plot (of which there are various estimates as to the actual number of available “master plots” from two to twenty or more) to motifs and themes. Decoding these patterns is like deciphering a riddle the author consciously or subconsciously embedded in the text ( Prose 4-5)…

This is what close reading is all about. For example, Prose recounts and old English teacher’s assignment to read King Lear and Oedipus Rex and “Circle every reference to eyes, light, darkness and vision… Then draw some conclusion” upon which to write an essay (4). This is where Literature tends to stand out: these hidden gems lie awaiting discovery and assessment. Literature then, invites the reader back into the text multiple times, to explore potential meanings and relevances, to form opinions and make discussions.

Fiction today is really not much different. We just don’t feel as free to criticize, fearing offense or even attack by fans of the author, if not the author… Yet this is what is meant to happen to fiction. It is meant to be discussed and re-read, and even judged. That doesn’t mean that accepting criticism is easy, or that criticism is just or warranted every time. But unless you write in a vacuum, readers will find you. And they will judge, each and every one. Doesn’t it make sense that writers would write with the intent of surviving that criticism?

The fact is everyone has an opinion, for good or ill, correct or not, graciously delivered or accompanied by obnoxious and illiterate venom.

As writers, we have to detach ourselves from our own work, allowing our “children” to grow up and go out into the cold, cruel world.

We must realize that they will be judged and sometimes justifiably found wanting, but that it is ok to love them anyway.

This is the way fiction becomes Literature, the way writers test and challenge themselves to become better writers, the way good Horror becomes great Horror.

Are you up to the challenge?

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References

Adler, Mortimer J. and Charles van Doren. How to Read a Book: the Classic Guide to Intelligent Reading. New York: Simon & Schuster, c1940, 1972.

Foster, Thomas C. How to Read Literature Like a Professor: a Lively and Entertaining Guide to Reading Between the Lines. New York: Harper Perennial, c2003, 2014.

Prose, Francine. Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them. New York: Harper Perennial, c2006