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.

Fut6

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.

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.

z1

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.

 

z2

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.

z3

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.

z4

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.

z5

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.

World View: the Secret Sauce of Horror Lit (What It Is & How to Get It)


In these increasingly hard times for Horror fans and Horror writers, one thing is clear: neither Horror nor Horror publication opportunities are what they used to be.

Having editors whose perspective has failed to move with the reality of the times, who consistently preach that cream always rises to the top and pronounce there are “plenty” of legitimate, Establishment-recognized venues looking for new talent, and who simultaneously bemoan the state of novice Horror writing without offering either professional coaching or a dream Craft Bible, doesn’t help. But it has managed to change a lot of the ways (un-traditionally published) Horror is now being written.

Contrary to Establishment insinuation, this is not a simple case of sour grapes.

Not only are Horror fans being “forced” to read more classics due to the smaller and smaller pool of Horror writers being published today, but so are Horror writers.

What are we to do with all of this Literary (and yes, I mean LITERARY) influence on our genre readers and writers?

And if we cannot look to our genre or higher education for the answers, who should we be looking to for craft guidance?

The answer: Literary Critics. And here is why.

Wv1

Great Writing Does Not Happen In a Vacuum

I honestly don’t know where the myth got started that real Writers spring from the womb all Literary.

When we look at all of the canons of writing, including the Western Canon of Literature – English Language Literature in particular – none of those writers were untrained: they were taught by their education, their reading examples, and their mentors.

When the education system focuses on things like Literature, what it means and how to appreciate it (appreciation not meaning exhibiting proper adoration, but actually interpreting, decoding, and understanding the actual words, concepts, and ideas therein) instead of passing standardized tests, that education feeds a young writer’s repertoire of subliminal storytelling; a blueprint forms in that student of writing’s mind – one they can imitate, elevate, or rebel from.

When a novice reads published writers accepted as Literary, they further drive Craft elements into their subconscious and learn about plot and character development. They also learn what has been done, and naturally grow toward the unexplored territory of telling the same story only better…thereby producing new fiction. They also learn where trends are, what they are, and how to exploit them or defy them.

When writers are gathered into communities, the unpublished mix freely with the published. Novices get feedback – not always friendly, and not always accurate – but feedback about their writing. Feedback is what shapes a writer; he or she can decide to change their writing, or to defiantly refuse to alter their own vision. They can become an Establishment Writer like a Dickens, or a future genre-changer like Poe…or Lovecraft. But having a sense of community and a place inside or outside of its approval is crucial. Having some level of mentoring is crucial.

Our biggest problem today in Horror is the same as it is for all fiction writing: we have (hopefully inadvertently) hung a price on every level of instruction.

A University degree in this country can easily top over $100,000 for an undergraduate degree – a fairly useless degree in the employment market without even more education. To get to a Masters and a Ph.D., is probably a lot closer to half a million dollars…all that work and expense just to be underpaid in almost every employment scenario.

To self-educate is also expensive. No one – not even universities – are endorsing writing instruction manuals. There is nothing but silence and literally millions of “expert” voices trying to explain how to become rich writing fiction – not how to write quality fiction that apparently no one wants to pay to publish. A writer can spend literally thousands of dollars trying to get to the bottom of how to become a good writer…and never, ever get the full picture. Meanwhile, reading classic authors fortunately has gotten increasingly cheaper…but unfortunately at the same time mimicking these writers’ styles is strongly condemned. Reading “new” Literary Greats is chancey…there are few who are all-but-certain candidates of future admission to the canon…and even for those a single work in hard copy book form can cost anywhere from $14.99 to $39.99.

Today, mentors are something novices are expected to pay for. Editors claim they are far too busy to indulge daring but otherwise incompetent or not-yet-competent writers; conferences and writers’ retreats are thousands of dollars; professional groups have publication requirements and steep membership fees. Clearly today a writer must pay to play. “Unknown” writers are seldom truly that. And to suggest a writer should be a social media king or queen and simultaneously a palm-greasing networking butterfly is flat out offensive.

No wonder there is a noticeable gap in published Horror and new, innovative, original Horror. Great writing does not happen in a vacuum. It is educated, mentored, nurtured, challenged, and overgrown to be carefully and artistically pruned.

 

Wv2

Meet the Literary Critic: Your New Mentor

For many Horror fans and writers, our exposure to Literary Critics in our genre is most often encapsulated in those over-expounded, publicly untidy bouts between established Critic Harold Bloom and our very own Stephen King. But we also read essays of rebellion and exposition by Poe and Lovecraft who in their times set about defending the genre from other Bloom-like entities who decreed our genre as some form of garbage. So why should we even remotely be interested in Critical opinions?

The answer is simple: because in Literature, it is the Literary Critic who decides what is admitted to the canon – any canon, including the as-yet-unestablished Horror Canon.

This does not mean Critics are right, or are always right. Critics are human, and subject to bias, preference, elitism, and dislike – just like the rest of us. Their work is also meant and designed to inspire academic DEBATE…to spur (for the rest of us) water-cooler conversations about Literature.

And sometimes, like the aforesaid Mr. Bloom, they are long in their careers and unsettled by change. The field of Literary Criticism itself is changing. It has been forced to.

Not only are younger people put off by the automatic exclusion of contemporary writers they have come to appreciate, but they are more significantly aware of the very clear gap between “Literary Classics” and Modern Literature. Why, they have been forced to address, are there so few Literary writers today? Where is all of our Modern Literature?

The answer has been deduced to be: we are indeed still writing it. But it is because of two issues that it cannot be recognized as such: one, a living writer cannot help but influence a Critic’s interpretation of their work when Literature must stand on its own – cleanly away from the author – to be properly Criticized; and two, the original Literary Critical Theories were designed to accommodate those early writings, therefore they seldom fit contemporary writing models which therefore need new theories with which to develop academic study.

So there is a New Literary Critic afoot.

Wv3

Noel Carroll

This does not mean we dismiss Critics like Mr. Bloom, who is tremendously qualified and therefore entitled to and should express his opinions, as long as they pertain to Literary Theory as he understands it. Indeed, there is much to be learned from such a thorough Critic, as long as we realize that once a Critic wades into personal attacks we need to disengage and separate the truly Literary Critical comment from the desperate, frustrated, personal one.

Wv4

Harold Bloom

New Literary Criticism is, alas, however…new.

This is good and bad. Bad because we have few Critics in our genre. Good because there are plenty of English majors out there wondering what to do with their degrees…some of whom are Horror fans and would therefore have our best interests at heart in contributing to the development of Theories with which to analyze, discuss and debate our genre works.

That’s right: Literary Criticism is horribly academic. Dull, even. But interesting. Very, very interesting.

Wv6

S.T. Joshi

And right now, still at the forefront of our genre, are three Literary Critics of merit: S.T. Joshi, China Mieville, and Noel Carroll. Joshi once wrote in our genre. Mieville still writes – although he is categorized as fantasy/dark fantasy. Carroll is an academic, a Professor of Philosophy and student of film and art.

These three have – by simple timing (by being first) – become major players in how our future Literary Critics will look at our work in the Horror genre. And it is through their commentary – which often builds on those Poe and Lovecraft essays – which can offer us as writers and readers of Horror a much better understanding of everything from the classics in our genre to Craft.

This is important. In fact, right now, it is crucial.

Wv7

China Mieville

The Literary Critic is not charging us for the privilege of understanding how Literature works in our genre. In fact, the Literary Critic is desperate for us to understand…to grasp and start applying the essential Secret Sauce that makes Literature LITERATURE….your individual, unique, secret World View.

 Wv8

http://www.city-data.com/forum/religion-spirituality/686470-average-american-worldview.html

World View: Finding It & Using It

Believe it or not, you already have one.

If you ever say anything predicated with “I think” or “I feel” or “I believe” then you are guilty of having a World View. It may not yet be worldly, it may not be fully formed or fully informed. But if you have an opinion, then you have the roots.

Understanding how to employ World View is another matter. So we have to go back to the Critic for more information.

And all we have to do is read. And think. We are going to have to admit we need to surrender some quality time to studying Literary Critical essays…maybe even take a class if we can.

And then we need to re-read the works we love and the works they are predicting are Literary…see the similarities, the disagreements, the points at which we diverge. Because understanding Literature and Literary Critics means we have to be willing to work. But we also have to be willing to look at art naked – even our own art – to see the clockworks… the bones stripped of flesh. We have to see writing as mechanically assembled bits. We must stop seeing it as magic.

Oh, how we as writers hate that…

But in fairness, we have to. We do already dismantle the magic in fact, when we sit down to edit, to rewrite…to improve, to usurp the Muse. Why not do so using the Critic’s eyes? To see if we could go deeper? Twist the knife? Unearth the body that fertilized the plot in the first place?

The answer has historically been: because we don’t get it. And what the heck is a World View got to do with it?

Critic S.T. Joshi (whose professional opinion also places the Weird as separate and a possible fore-runner of Modern Horror) states it best in his discussion of Modern Weird fiction and its failures: “…it seems as if the whole approach to weird fiction today is flawed in its very conception. The purpose of most modern weird writing seems to be merely to frighten. This is an inevitable result of the elimination of a philosophical basis [my emphasis] for the weird: all that is left (if, indeed, anything is left) is the emotion of Horror…” (Joshi 2)

Now, I know what you’re already thinking…. isn’t that the goal? Isn’t that the point?

And the answer is no. Horror has too long been misinterpreted as having the one and only goal of scaring or unsettling the reader or moviegoer. But that is supposed to be the side-effect… the cherry on top. Because the real Horror is what spawns the emotion… what the story is really about.

Again, I hear you. It is about monsters. And the monsters scare us. Tah-dah!

But this is wrong. This is Hollywood in our heads….visions of sugarplums dancing in our fantasies chanting: sequel, prequel, video games, action figures…

Continues Joshi, “If I may utter an apparent paradox: horror fiction is not meant to horrify. This is to say that the primary purpose of weird fiction should not be to send a tingle up one’s spine….if weird fiction” (and therefore Horror) “is to be a legitimate literary mode, it must touch depths of human significance in a way that other literary modes do not and its principal means of doing so is the utilization of the supernatural as a metaphor [my emphasis] for various conceptions regarding the universe and human life. Hence the need for a world view that structures and defines the use of the weird in literature. Mere shudder-mongering has no literary value, however artfully accomplished.” (Joshi 2)

Did your writing life just flash in front of your eyes?

Good. Then there is hope we can extricate ourselves from writing like everyone else and starting to learn to write like only we can.

World view, you see, is quite personal.

But how do we see it? Especially if we are young, how do we know we even have one? If we are old, how do we know it is even relevant anymore?

If you are American, you can thank our current political circus for clearing all of this right up.

Whether you are for or against the one in the White House, chances are your world view is wearing plaid and day-glo colors. You know how you feel – passionately – about absolutely every utterance, every piece of legislation coming out of Washington. This is your World View. On drugs.

Do you want to build a wall, or rip it down with your bare hands? Do you believe immigration makes America stronger or weaker? Is religious diversity healthy or threatening? Should only English-speakers enter this country, or should we care about learning and preserving other languages? What about women’s reproductive rights? Climate change? Gun control? Voting rights? Civil rights? The definition of Civil Rights? Conformity? Rebellion? The Constitution? The Bill of Rights? Peace? War?

How you feel about – well – every issue this administration is hell-bent on reshaping or dictating how you should feel about – tells you what your World View is.

If only we could bottle it….But then, maybe we already have. In Lovecraft.

Says Noel Carroll: “It is clear that literary supernatural horror – which, by means of the morbidly unnatural (the repulsive), evokes [Lovecraft’s] cosmic fear – is attractive because this kind of awe responds to or restores some sort of primordial or instinctual human intuition about the world… The relation of the repulsive in horror to this sense of awe is that the morbidly unnatural is what it takes to trigger it. So we seek the morbidly unnatural in literature in order to experience awe, a cosmic fear with a visionary dimension that corresponds to instinctual, human views of the universe…Lovecraft appears to think that supernatural literature affords something like religious experience as well as a corresponding reaction against some kind of desiccating, positivist world view.” (Carroll 163)

If you look at what is being published today and come away feeling disappointed, unfulfilled and even irritated…If you just can’t keep yourself from rereading the Classics in Horror, chances are you already understand something of what Joshi and Carroll are saying…You just didn’t know you did.

We have –all of us – had our understanding of what Literature does deformed by what is now called “success.”

Ask any writer what “success” means and he or she will most likely say “earning a living with my writing”…. But what they mean is Hollywood in our heads….visions of sugarplums dancing in our fantasies chanting: sequel, prequel, video games, action figures…

Because that is what has been marketed as success: wealth… the power to dictate what you write and when.

Yet look at our Critically-besieged Mr. King.

Stephen King

Do you really think he wants to keep writing the same thing over and over? Look at the many times he has tried to break out of the constricting mold we have sentenced him to: Delores Claiborne, Full Dark, No Stars, Rose Madder, Lisey’s Story, The Green Mile, Joyland… All of these may ultimately score him the Literary recognition his mainstream Horror has been denied… and yet we want and demand more Christine, The Shining, Carrie, Pet Cemetery… And because those are the moneymakers, so do the publishers. So he keeps churning them out for our pleasure (and we do thank him, but at what cost to his personal ambitions?)

Likewise, the sheer numbers of his sales potential, peripheral options, merchandising opportunities… these are dangled in front of novices and labeled “success”…

What we have to be asking, is “is it really?”

If Lovecraft had been born in today’s environment, he would likely have kept his mythos… but he would not be placed in front of us as a “success.” Lovecraft would have none of the commercial criticism or demand that we have laid on King; he himself was too…weird. He avowed repeatedly that he did not desire “success,” that he would not change what or how he wrote to please anyone other than his own muses.

And look what we inherited.

This is the Critic’s point. This is Joshi’s point.

If a writer writes for anything other than the art of communicating a real concept about the universe and human life…if we don’t touch depths of human significance, then we are flirting with being hacks. We are prostituting our talents.

While we are all aware of the need to pay our bills, we must (daily) decide if what we write and the way we write it is important enough to keep it sacrosanct… to choose to go unpublished if the alternative means writing more fiction that has no soul…that is in Joshi’s words…”lifeless.”(3)

How to do this is another argument. Therefore, it will be my next post.

But the current question, the question of this post, is should we? Should we start pushing our World View into the Muse?

Should we seriously consider what the Literary Critics say? Study their comments? Consider if they might be in fact, right?

I strongly suspect they are.

There is a whole boatload of soulless fiction out there, convincing publishers that good Horror is not selling because it is not being written…maybe because the genre is all used up, or that no one buys new Horror because it is “somehow” inadequate and substandard despite all the editorial begging.

And the truly disturbing thing is that they are using this very set of speculations to reduce the publication of Horror titles…to reject new Horror writers.

The Literary Critic is telling us why.

The Literary Critic is telling us what is wrong and what must be fixed if Modern Horror – especially Modern American Horror is to ever regain its former popularity, to rise to the level of Real Literature… To grow from the likes of Poe and Lovecraft. To grow the genre…

And what Horrifies me most…is the thought that I am still writing it myself, that I have not learned – mastered – the Craft of infusing my own words with my own passionate beliefs. I realize that my own interpretation of how to write good Horror has been corrupted by the very system that claims it wants better.

So where do we begin?

Perhaps with Joshi, one of the world’s foremost experts on the works of H.P. Lovecraft.

He says about the few success he sees in modern weird writing: “It can be seen that these novels have virtually nothing in common with each other, either in theme or in style or in execution; it is simply that in each instance the author [my emphasis] has conceived of a scenario that is sufficiently complex and sufficiently supernatural in its essence such that a novel is required for its exposition.” (Joshi 10)

So where do we begin? With World View — not preaching it, but showing it.

We begin with ourselves. We begin with our passions. We begin with finding ways to say what we really think about the world. This means we have some thinking to do, to discover what we truly believe and what is truly true. We have skills to hone as we set those rampaging emotions loose upon the page as we try to say what we mean and mean what we say. But we have to begin. And where we begin is shockingly easy.

We begin with the monsters. We begin with US.

References

Carroll, Noel. The Philosophy of Horror, or Paradoxes of the Heart. New York: Routledge, c1990.

Joshi, S.T. The Modern Weird Tale. Jefferson, NC: McFarland & Company, Inc. Publishers, c2001.

Slender Trends In Modern American Horror: How Original Are We Really?


For most of us older Horror writers and readers, the whole Slenderman takeover of youthful Horror audiences has remained slightly under the radar. Were it not for the heinous attempted murder trial of two unbalanced young girls which keeps resurfacing, it probably would have remained so…For many it is shocking, alarming…coming from nowhere – which makes it even more terrifying to contemplate.

Except for one thing: this whole scare-the-kids business with men in suits has been done before.

It might come as a shock – if not a disappointment – that the whole mythology of Slenderman is as old as, well, dirt. The fact that it tends to resurface in each generation or so is of mild interest, and often fanned by spinners of paranormal legend-making, offered often as proof that there are some paranormal “things” which have some basis in reality…thereby escalating the level of fear with which we treat them, and providing an emotionally charged platform from which to lob scary tales to haunt the young among us.

It works. Therefore, it is repeated.

But why does it work? And what in the world has the likes of Slenderman to do with Horror Literature?

Slend1

Literature is For the Formally Dressed: Bring Your Tux

Literature (some will argue) has its own formula. Yet it is in the genres that we are most likely to encounter noticeably familiar rhythms and resurrected themes. Therefore, time and again Horror writers must do battle with originality within the framework of …formula.

Genre audiences have certain expectations. And as such, this has led to what are called “conventions”… certain established rules for achieving that expected outcome. And those conventions have in turn led to an overt expectation of formula. In genre Horror the most common denominator of formula (and therein subsequent convention) tends to be derived from folk and fairy tales, and “new” fairy tales – the urban legend.

Now, formula is not always bad. Consider it to be like music notation…a kind of framework upon which all the magic happens: it is both necessary, and noticed when it is missing. However it can be more flexible than we have allowed for it, as long as changes are clearly organic and roots remain visible.

Most often, we recognize certain “melodies” in writing. These are often the side effects of a subliminally understood meter or pulse behind the words – the “beat” that gets us moving, that connects to emotions.

In writing, words can be every bit as primal as a drumbeat. And to understand the connection between what we do now and what has been done in the past, we need only look as far as fairy tales and campfire tales…urban legends…myths. These are the past tense of genre. And while they are fun and intriguing, writers must exercise caution because these are powerful and obvious patterns – we must decide if we meant to make the connection obvious, and at no time should we attempt to “trick” or “surprise” the reader with the fact of those patterns: we simply won’t succeed, and our story – no matter how capably written, will be rendered “trite” and our plot overdone.

These are our primitive instruments. And being the first things we derived to create word-music, we tend to revert to them often. Simply, we value their power – their ability to really connect into our primal memories to summon certain emotional reactions.

This is exactly what Slenderman (and all characters of his ilk) are designed to do. In Horror, we take the word-music and make it discordant, disharmonious… unsettling and uncomfortable. To do this we must know what is pleasing and soothing in order to not-do it.

Horror is not about banging on the piano keys. It is about playing something with patterned dissonance – intentionally and artistically. This is why some Horror with violence is gratuitous and cheap, but the same act in another story is powerful in a Literary way. As Horror writers we have to be aware of where the line is and make educated decisions on when we cross it and why.

A masterful handling of such details is how inventions like Slenderman got their start and manage to hang on. And on.

There are simply certain images which disturb us on a basic, primal level. Typically these images are discordant. Dissonant. Out-of-step with what we perceive as reality.

Slend2

https://en.wikipedia.org/wiki/The_Babadook

This makes nightmares plumb hunting grounds for such images. As biology has taught us, every animal is prey for something else. So logic follows that if one is an apex predator, what could be more terrifying than that which stalks us?

The whole Slenderman profile speaks volumes about our modern fears as well as a few primitive ones. Today in “civilized” countries such as the United States the biggest villains are the faceless persons of privilege and power – the ones who move behind the scenes and treat us like their personal puppets. Their henchmen – figures of authority including government, law enforcement, religion…

It does not take much of a leap of imagination to see those representatives – the Enforcers of our warped society – within the description of Slenderman. We even speak of such authorities in derivative terms, reducing them to what they wear (“suits” and “uniforms”) to what they do (“Pencil pushers” “thought police” and “enforcers”). We proudly declare them “faceless”…”stalkers”… “dark web”…”hidden or shadow government”… They routinely take our children, curtail our rights, manipulate our reality, garnish our wages. “The long arms of the law”…. “the tentacles of government”… “the mind control of religion”…”the opiate of the masses.”

Never mind the perception of stranger danger… the constant presence of real fears of child abduction and the disappearing of whole children and people, the constant threat of societal perversion right here in our society… We were primed for the return of the Slenderman; we simply had not named him in this country…

But there is more to this picture. Because whether it is about survivor guilt or our own personal fears of the once-again suddenly noticeable influx of Others – of immigrants and different customs, language, and religion, we have customized a very old motif to fit modern worries.

And perhaps our human attachment to guilt – collective, racial, personal – all fold into those nightmare creations to build monsters which come at us from planes of existence which we cannot have control over. Perhaps it is a sense that we deserve whatever comes to us, combined with the knowledge our own perception of things has taught us: that when entities are vengeful they often take down whatever prey is available because they cannot reach the ones most often harboring the fullest measure of responsibility.

In other words, the innocent pay most often the debts of the guilty.

Peripheral damage. Collateral damage. Accident. Tragedy.

Humanity provides all manner of words. The Horror is that it changes nothing to cast labels along with our aspersions. But it does give us permission to revel in our customized misery. No one suffers like we do…

So when we create monsters, it is important that we be willing to sacrifice characters our readers have invested some of themselves in. It is important that we remember our own fears in order to translate them to the page.

Our history in storytelling assures us that we will not have to travel far to find such figures from which to diverge. Says Martin Tropp in his book, Images of Fear: How Stories Helped Shape Modern Culture (1818-1918):

“The continued remodeling of popular myth is behind not only of the purpose and power of the horror tale, but also, as Bruno Bettelheim has shown us (in The Uses of Enchantment) one reason fairy tales have remained popular among generations of children…fairy tales have been shaped by their audience to reflect their wishes and fears. Certain patterns recur because the problems they echo are common to children – among them the fear of abandonment by parents, competition with siblings, the conflict between the allure of pleasures and the demands of growing up.” (7)

(I know. You are not children, you say. You are practically adults. I do know, because I was once you. In fact, only the mirror reminds me otherwise from time to time. And therein we are unavoidably linked.)

But here is the thing: as young adults, we all feel a weird pull toward the supernatural. It is a natural curiosity, typically happening when we fancy ourselves old enough to rightfully question our parents’ real authority, their religion if any, and the meaning of death.

Just like the wee children in fairy tales, we wander about in dark forests, invincible and immortal even as we know secretly that we are not. With a sense of superiority, we leave bread crumbs only to have wildlife eat them, leaving us stranded and lost. We test the things that threaten to get us if we cross the line. We buck authority, flaunt our youth. And we do it out of fear. We do it to prove we can out run those fears. Because bad things always have to happen to everyone else.

Except that they don’t. We see it right now with school shootings. With inner city crime. With war.

Continues Tropp, “Like classical or Christian mythology, stories like Frankenstein, Dracula or Dr. Jekyll and Mr. Hyde thoroughly permeate our culture; you don’t need to have read the novels to have felt their power… And if myths are…the dreams of our race, then these [retold and reworked] myths have become our recurrent nightmares” the constant retelling of which “never tires of ordering and re-ordering in its search to find them a meaning.” (7)

Did you see the point where Literature and Horror collide?

Literature is all about bringing truth to the table. Fairy tales deal with raw truths about the human condition. Weave that into a tale which resonates with readers to inform about a period of time, an incident that will become history, and you are flirting with Literature. Horror in Literature.

It only makes sense that we would choose a fairy tale guy wearing a formal suit and sometimes a top hat to do the deed…

Slend3

Fairy Tales Are Not For Children

Having been surrounded by nursery rhymes and geese wearing bonnets, it is entirely possible that you have no idea about the true nature of fairy tales, or fairies for that matter. Especially in the United States, we have sugar-coated our fairy faith with Disneyesque sparkle and glitter. Happy Ever After is our mantra.

But in reality, fairy tales were never meant for charming children. They were most often meant for adults, and when offered to little ones were done so with the intent of keeping rebellions in line. They were “cautionary tales” whose violation resulted in death.

How grim is that? Very Grimm. Go in search of the original stories and you will never be the same.

Reach into Celtic Fairy traditions and you will not find nice things. Fairies of old are first and foremost supernatural beings. Not human. Never having been human to anyone’s certainty. But they are full of treachery and tricks, working within their own understanding of rules and acceptable behavior.

Yet we have done our best to neuter them. We have turned on our electric lights, made leprechauns dance on bar tops, and spun Red Caps into singing miners. We absolutely will not acknowledge any other version of fairies than the kind that emit rainbows and hawk sugary cereals.

Match that against the monsters we now create upon their templates.

Because in order to put the Horror back into our storytelling, we needed to pretend we were being original when we made Slenderman up. Imagine the Horror… when that was indeed closer to the original…

When a monster so stacked with imagery which has been proven through the centuries of fairy tales, ghost lore, supernatural stories, and urban legend to terrify… springs forth, it does so in three dimensions. This is top class monster-building, and it only works when the general target population has never heard the original tales in order to connect them up.

Slend4

The Phantom Coachman https://atashafyfe.wordpress.com/2017/10/22/ghosts-of-the-road/

This is how the younger generations become “easy” marks. And every year there is a fresh infusion of teenagers who have never heard of or read about certain monsters.

And so this is also why genre Horror is solely presumed to be an emotional playground for teenagers.

Never mind that this is a misconception. Never mind that Horror has even more in store for adults…

The constant recycling of monster traits can lead to some pretty heady stuff. When we as writers tap into primal imagery which has survived with its “scary” intact for centuries, we have the ingredients for a monster that will cling to the imagination in ways that do not let go.

According to Jonathan Gottschall in his book, The Storytelling Animal: How Stories Make Us Human, we should never underestimate the power of primal images to hijack our reason. Says Gottschall: “Take fear. Scary stories leave scars. In a 2009 study, the psychologist Joanne Cantor showed that most of us have been traumatized by scary fiction. Seventy five percent of her research subjects [my emphasis] reported intense anxiety, disruptive thoughts, and sleeplessness after viewing a horror film. For a quarter of her subjects, the lingering effects of the experience persisted for more than six years… for 91 percent of Cantor’s subjects, scary films – not real world nightmares such as 9/11 or the Rwandan genocide by machete – were the source of their most traumatic memories.” (149-150)

No wonder Moms everywhere warn against watching those scary movies.

And no wonder we sneak downstairs when the house is dark and watch them anyway. Sometimes, to life-changing effect.

Slenderman is no different when you take away his tux. He is merely a continued reshaping of a reliable mythic monster.

Slend5

http://skulduggery.wikia.com/wiki/Springheeled_Jack

Alleged to have been “officially” created by Eric Knudsen in June 2009 for a website writing contest, Slenderman burst upon the internet scene and has not looked back…

But we need too. Because according to Knudsen himself, the monster was based on Mothman, Men in Black, the Mad Gasser of Mattoon, the collective works of H.P. Lovecraft, Shadow People, and the works of Stephen King, among others (Redfern 19-20) This means he was more re-invented than invented…more invented than “discovered.”

Slend6

https://www.dmhsperspective.com/government-and-their-secrets/2017/01/16/the-real-men-in-black/

The Slenderman template has a long history, stretching as far back as the Pied Piper of Hamelin, Spring-Heeled Jack, the Mad Gasser of Mattoon…even spirits that haunted stately houses in Britain with tall, dark ghostly figures or stalked the moors, or drove phantom coaches…

All of these images work for a myriad of psychological reasons. For example, we have a built-in, hard-wired obsession with tall, thin, spindly characters in black, nattily dressed, and often sporting a full complement of razor sharp teeth when they aren’t missing eyes or mouths or features in general.

We are afraid of….strangers. Especially if they can just vanish before our eyes, or come and go out of fevered dreams…

Strangers have always been dangerous…whether we are talking child abduction, fairy/child abduction, avenging spirits of the murdered or apparitions of the improperly interred dead, outcasts that stumble across one’s tribe, or the only survivor of a plague… strangers often brought death to our ancestors. And they still do in some Walmarts, some high schools, some workplaces, some highways…

Yet in order to propagate fear properly, monsters’ tales must be told. And retold. Embellished. Made familiar and too close to home. It may well be why campfires were invented. And perhaps most importantly, scary things must be shared and believed in because adults do not believe in them.

Yet, the secret is…we still do. We just pretend we don’t. Because at our age, we know there is not a darned thing we can do about them.

This is how the Real World becomes entangled in fairy tales – and I mean the real kind of fairy tales that never end well – when Horror becomes Literature because “…sometimes what needs to be expressed can only be done through the monstrous, for sometimes the human condition is monstrous, defined by the breach of the boundaries between the sacred and the profane, the normal and the abnormal, good and evil, right and wrong.” (Held 4-5)

This is why I became a Horror writer.

And the sooner we see Slenderman as a stand-in for our deepest fears, the sooner we can make newer, scarier monsters from his mold.

Slend7

On Finding the Original in a Many-Splendored Slender

I find it interesting that Slenderman has begat endless progeny in Horror, and that his likeness and progeny proliferate right now in American Horror.

Whether we are talking film or writing, we are being drawn into the vacuum of the tall thin monstrosity that stalks our world. He hides in the forest – a Freudian reference if ever there was one – lurking in our primitive desires and fears.

But like all fairy tales, his presence in our fiction has issued a new challenge to Horror writers. Tell any tale you want, but find the point of originality.

Here again, writing becomes like music. And like in music, in writing we have Jazz to deal with.

In music, there is the following of notes, and there is improvisation. If Horror writers insist on using our primal templates, we must also find a way to deliver the monster in some sneaky, unsuspecting way.

Some say all tales derive from fairy tales and their ilk…some say there are only three original plots in fiction.

But even if that is true, we have only to look at the many stories that these seminal stories themselves begat to know we can one-up the original. We simply have to figure out how, why, when, and where. We have to write and then edit with the realization that when we borrow these primal templates,  the melodies are familiar — but we don’t want them completely recognized. We need to surprise in order to delight, to terrify, to unsettle and then haunt.

And sometimes this unfortunately may mean shelving a monster because the sacrificing the original just won’t do. It won’t matter how well a story is told if the only image that surfaces belongs to another story. We see that now with all wizards and witches in Young Adult. Just stating the premise alone is flirting with professional rejection. We are still seeing the same problem with dragons in Fantasy. On one hand, a writer set such glorious imaginations on fire that the creative waters are bursting the banks, but on the other, the audience now needs time to forget in order to be surprised again.

It is an unfortunate characteristic of our species that we endlessly search for patterns. And when we spot them in fiction, they spoil the yarn.

Slenderman is doing this now in Horror. He has replaced Zombies, which replaced Vampires. And we are now nearing tilt.

Writers must endlessly search for the new angle on the old tale. And “sometimes only horror can say what needs to be said” (Held 5).

But we need not despair. Says Jacob Held in his introduction to Stephen King and Philosophy titled, “On Writing Popular Philosophy”: “Noel Carrol notes that ‘the attraction of supernatural Horror is that it provokes a sense of awe which confirms a deep-seated human conviction about the world, viz., that it contains vast unknown forces…’ we are attracted to that which horrifies us.” (6)

And indeed we are. The popularity of fan fiction websites like CreepyPasta which contain whole sections of fictional Slender tributes are the proof of our own self-horror. The fact that even left to our own devices we primally gravitate to the same monsters over an over are not proof of their existence, but proof that we fear ourselves most of all. We fear what we have become. We dread the endless threat to innocence. We fear we are already in a fairy tale of the old school…

Deep down, we know the truth: we are all faceless ruiners of innocent humanity. No wonder we see suits in the trees with preternaturally long arms waving and probing the night to grab us and drag us to face the laws of the dark forest… Judgement and justice always seek us out.

We cannot make a single choice that does not have ramifications which ripple across our geography and potentially damage other human beings.

And yes, we wear our finery when we wreak our havoc, top hat and tails, our suits and facelessness, professing our own innocence in the doing of our misdeeds. That we fancy ourselves as innocent makes us fair game for the tentacled arms of justice. It makes us deserving of the night gaunts and haunts that stalk the dark, wild areas of our imaginations.

This is what causes Lovecraft to capture us: our fear that we do not deserve the planet we occupy. Cthulhu waits. Judgement is pending. And all manner of dark things have come to course the night-world and hunt us. Including Nyarlathotep…a god masquerading as a man dressed in black… (Bilstad 208-209)

It should not be a far leap to see that the current impact of Slenderman on modern American Horror is nothing more than a continuation of a tradition of guilt and hair-raising storytelling. Because creating guilt even where there might not need any to be is part of our human legacy. But those among us – especially young, idealistic teenagers – who are just starting to explore the world around them as well as their own places within that world – are especially susceptible to the myths that spring from our very DNA.

This is not a bad thing at all…it is, rather, how great Horror gets its start… Because it is within those memories, those glimpses into the indistinct shadows of night where hungry, faceless things await us with inescapably long arms and featureless faces that we will see reflections of ourselves.

And the monsters just keep on coming… like they’re rolled out on a rack…

 

References:

Bilstad, T. Allan. The Lovecraft Necronomicon Primer: a Guide to the Cthulhu Mythos. Woodbury, MN: Llewelyn Publications, c2011.

Gottshcall, Jonathan. The Storytelling Animal: How Stories Make Us Human. New York: Houghton Mifflin Harcourt Publishing Company, c2012.

Held, Jacob M., ed. “Introduction: On Writing Popular Philosophy.” Stephen King and Philosophy. Lanham, MD: Rowman and Littlefield, c2016

Redfern, Nick. The Slenderman Mysteries: an Internet Urban Legend Comes to Life. Newburyport, MA: New Page Books, c2017.

Tropp, Martin. Images of Fear: How Horror Stories Helped Shape Modern Culture (1818-1819). Jefferson, NC: McFarland & Company, Inc. Publishers, c1990.

 

Caution: Tentacles May Deploy Without Warning (or, How Your Age Informs Your Fiction Writing Success)


When I was a teenager, I loved horses. I rode competitively briefly, showing other peoples’ hunters… and I desperately wanted one of my own.

Standing next to a fellow rider once, I was asked if I had my own horse. I replied, no…but I hoped to have one someday. The girl snorted, looking down her nose at me. “If you really wanted one,” she said, “You would have one by now.”

Little did I know, this was how the world would be looking at my writing forty years later.

If you were any good, you would be published by now…

To my Horror, I actually believed that for an ungodly long time.

 Age1

The Truth About Age in Fiction Writing

I have often wondered why no one ever discusses age (like race) as a contributor to Horror fiction.

I have often wondered why once we are ensconced (read trapped or buried) in other careers, relegated to merely dreaming about our writing, we stop believing publication is possible. Or viable. That we come to believe success in writing is only for the young among us.

Some of this is the fault of the marketing machinery of Big Publishers, who like to advertise new writers as “the next Stephen King”… implying that such a writer is a youthful puppy, a keeper, a long termer, a veritable gold mine of future works to be immortalized in film. And sometimes this is because Big Publishers NEED another Stephen King… because some day they will have to navigate our genre WITHOUT him…

But many times it is also because those of us who are right now the Old Writers struggling in the genre grew up with a totally different concept of success – actual examples of lives lived writing… even writing even mediocre Horror fiction. We grew up with the 1970’s Boom, and so to us, success means writing a novel or two in our twenties and transcending into being a Professional Writer. To us, success has been painted as being able to not only make a living off our work, but living well…

Yet if that scenario failed to play out, we start doing the math. After years of listening to the many criticisms and following the life-plans dictated by other people, we wonder: is there still time? Will we live long enough to woo Big Publishers into paying us Big Money contracts (the kind that don’t exist anymore), and didn’t we miss the boat already if we can’t be young and flaunt it? To do all of the things we wanted to do as rich, successful authors?

Old writers are often their own worst enemy…

But then we have had a lot of help in twisting our own self-images.

Because I have also wondered when it became okay to associate older, unpublished writers with failure…to make it an inside joke.

And why is it “proof” of talent or vision to not only get published, but to be young and rich and published? Only some of us are old enough to remember when that was even possible…

It’s not like editors know the ages of submitting authors either… So it must be coming from ourselves.

We have bought into the mythology that unless we are published when we are young, and are thereby a “Professional” (and rich) Writer well before we are thirty, we are simply not good enough…We didn’t want it badly enough. So now we don’t deserve to associate with Real Writers…

Suddenly there is an accompaniment of snorts and sideways, condescending glances… Suddenly we are out of the loop, out of style, and unable to gauge exactly when that moment of stellar success was supposed to have happened.

To make things worse, we keep moving that secret Age of Success, the one that marks the moment we should resign ourselves to other jobs and other careers… Whose idea is that?

Writers of our genre come in all genders, ages and colors, all geographic locations and climates, all political and religious bents. Yet time and again we are given a prepared profile of the Professional Writer… in our genre, typically still a Caucasian male, young enough to remember his youth and still writing about it and his own young adulthood.

Women writers of Horror, it seems, are more readily painted as Young Adult writers, or writers of fantasy. We are to be seen and not heard, demure… nurturers of young readers. We have, apparently, even lost our genre identities as the mistresses of the ghost story. We are not to be taken too seriously.

It gets worse the older we are…

Collectively, we have lost our voices as men and women unafraid to write as older men and women. It is kind of like being in Hollywood… as though we are being (in not-so-subtle ways) coached to disguise our ages (when not our genders) by writing about youth, as though the only ones interested in reading Horror are the very young people the Establishment tends to claim don’t read anymore…

These are all lies, I tell you…lies!

Not only is Stephen King the proof, but so are writers like Ramsay Campbell, Anne Rice, Richard Matheson, Dean Koontz, Neil Gaiman, Tanith Lee, Dan Simmons, Clive Barker, Bentley Little, and Robert R. McCammon… all of them “vintage” and still carrying our genre…even in backlist titles.

As a reader of many of them, I have watched a good many protagonists creep up in age… leaving behind that New Adult thing that has tried to insert itself between Young Adult and Real Adult fiction. Our own writers have tried to drag Horror back into the Adult arena, dancing with Literary values by writing stories which are in themselves proof that some of the best Horror gets written after we grow up. Everywhere there are signs being downplayed and ignored… Horror is growing up.

So why does the myth of youth persist when defining New Writer Success in our genre?

Who has commandeered the profile of writers to suggest that if a writer has not “made it” by the time they are in their twenties and “established” by their thirties, then Fate is telling you they are not worthy?

The truth about age in Horror fiction writing is this: youth is where we learn about what scares us the most; old age is where we learn about confronting that fear… So while we may have great scary ideas as young writers, and we might write boldly about those things, as older writers we know how to throw and receive a punch. We are, in fact, more likely to generate Horror fiction with Literary elements.

Why?

Because it takes some living to write what you know.

And it takes even more living to write what you believe.

The truth about old writers, published or not?

Writers, like fine wine, improve with age…

Age2

Getting Past the Stereotypes

Like most Horror writers, I started writing pretty early – toying with ideas when I was a teenager, heavily influenced by the many writers of our second Golden Age of Horror and Science Fiction in the 1970’s Publishing Boom. This was the time of the paperback – what book peddlers call Mass Market paperbacks, and what was then bursting onto the scene as “Pocket Books” – those small paperbacks for under $5 that were on racks and spinners in every grocery store, hospital, drug store and airport.

This was when fiction was so mass-produced that the impression was left on many a young writing hopeful that there was a living to be made writing fiction and an unending world of story to be savored out there. Who would have thought it was a phase? Who would have thought that pulp stories would be pushed out of our immediate consciousness and that book prices would rise precariously, nearly putting fiction out of reach entirely, and severely limiting our choices both professionally and as readers?

Sadly, the demise of the age of the Mass Market paperback came with another price: the end of the Mid-List Author, the complete and utter destruction of writing careers, of publishing careers, of…writers.

Many of us were left adrift with our dreams. We had nowhere to go… And when former industry standards are being laid off, let go, and dicked over, when top editors are being unceremoniously dismissed… What hope is there for unknown writers?

Most of us were forced to abandon our dreams, to sell them out for “real” jobs, coerced into believing that because “anyone can write, writing is no worthy talent.”

So we spent decades writing stellar letters, correcting CEO’s bad grammar, creating easy to understand Standard Operation Manuals and Employee Handbooks. Later, we did some awesome presentation materials, edited scientific reports for style and grammar, we made the coffee, we cleaned the bathrooms.

And all the while Stephen King kept writing, kept being published, kept proving that it’s the story, dummy… it’s all about the story…

So pardon my generation if we took a little while to find our way back to sanity. It only took being sold out by every generation that went before and half of them coming after, by losing our alternate “careers” and retirement savings and being passed over for real jobs no matter how often we returned to schools and collected degrees, and maintained GPA’s our younger classmates seldom did.

It took realizing that we have been had… that we have been cheated and tricked and bribed out of our real purposes in life…

It took realizing we sold out…

Age3

That means that yes, my generation is in the midst of an epiphany.

And no matter what other well-meaning folks or scheming cads intended by saying what they said to us… We did this to ourselves. We abdicated…

And we are all the more miserable for having done so.

I think if older writers have one message for the younger ones shyly coming up behind us it is this: stop listening to the “experts.” Especially today, the rules are being rewritten, flaunted, disposed of.

Make your own. Take your own life by the horns and don’t look down, don’t look back, don’t let go…

This means that just like this old Horror writing woman, you have to decide what will be important in your life: holding onto what makes you, you… Or pretending that “someday” will come before you die.

It means whether you are male or female, you cannot believe in stereotypes… like old people will only write fiction other old people will want to read (like filling a niche is a bad thing), or that old people can’t write fiction that relates to younger readers.

Pish tush.

It only means we really, really shouldn’t try to write in “modern” slang, to believe our own stereotypes about young people.

We Ancient Ones have had quite enough of the stereotypes, anyway. And if you are a woman, chances are you have been hearing them since you lost that 20-something baby fat and your front end alignment started needing annual adjustment.

Age5

The Eldritch Uprising

You may not have noticed, but there is a movement afoot. A bunch of old folks have gone rogue and started looking for “second” careers… (I am on number 39, thank you, Silicon Valley.)

We have realized that we are NOT our jobs, but our jobs may in fact be US. Who we are at the end of the day comes down to what we believe about ourselves, about happiness.

So many of us who tried to be writers just in time to become other cogs caught in other machinery have begun to come home. Just in time, too… because now we don’t need the Mass Market boom, or the classy sassy editor, or the big New York publishing machinery – it would be nice, but we don’t need it.

Because the same technology that vampirized our savings accounts and fake careers, has also provided us with the ultimate put-up-or-shut-up opportunity: self-publishing.

And ironically, what we hear from traditional publishing is a whole lot of whining about quality.

For sure, the price of self-publishing sometimes comes at the sacrificial altar of quality… But if we apply what we learned working in all of those endless clerical jobs about editing and presentation and layout and marketing…

Come on. You fellow old folks know exactly what I am saying… we already ran companies, offices, projects…

And if we can do them for others we can darn well do them for ourselves.

We just have to keep ourselves from getting giddy – drunk with excitement and anticipation, blinded by the possible rose-colored glasses of delusion.

Sure maybe we are J.K. Rowling’s long lost Literary Twin, the New Stephen King…

But most likely not.

So our rebellion must be tempered with humility. Don’t rush to publication. Don’t assume your writing is “good enough” without having others (who don’t care about your feelings) read it. Pay people to judge it. And learn how to fix the things that are found to be wrong…

As Eldritch Ones, we must realize that we may indeed have missed the boat in the quest to have our work to be well-read and to die famous, to quit the day job and live adequately on Social Security.

But we have not missed anything of Life. We still have the capacity to break barriers, to create something new in the vacuum of modern genre writing, to be… rebels. Old rebels, but rebels nonetheless.

Maybe that’s especially true for older women…Maybe nobody ever suspected you had Horror stories tucked away in your cookie-baking apron, or that you’ve fed every co-worker who ever got you laid off to the most unspeakable of monsters…

The bottom line is this: when writers get old, they write what they think. It’s a miracle. We stop caring what other people think.

Age4

 

Your writing is what you say it is, not what others say it is. It is also where you say it is… there is NO timeline, no age limit constructed by people with questionable motives and possible psychological issues of their own.

We also come to realize that by doggies we have opinions that do not have to conform, that we are as writers generally not conformists as a rule… that maybe, just maybe we should have been torching our own underwear with protest groups a long time ago instead of letting the Herd think for us.

Maybe that is how we turn it around. We realize maybe to our own perverse shock and joy that all of these years we really were feminists, or conservationists, or advocates for the unlikely and un-preferred.

And then things like Literature begin making sense… becoming even more mysterious, carrying codes and secret language we never before picked up on. And we realize with giddiness that we can write that way too…that it is the unwritten, unspoken challenge of the profession to do so…

Suddenly we realize we have actual opinions about the way things have played out in wars, in society, in the ways we treat each other right here in our own generational decades.

Suddenly our age informs our writing… and we cannot stop it.

And we begin to build monsters, looking for ways to say what we have by evolution come to realize: that we are where we are because we did not speak up when it counted, when it was for ourselves. We believed the mythology. And there is only one way to break out of our self-imposed misery…

We write. We are writers. That is what we do.

Don’t be surprised if there are tentacles.

We warned you.