Could you tell the readers a little bit about yourself?

I’m from the UK, an ex-pat Northerner who is currently living close to London. I’ve loved Horror fiction throughout my life (from watching Children of the Stones and devouring dog-eared copies of the old Pan Horror collections onwards) and have written short stories for many years. In real life, I work in Theatre Administration - which is nowhere near as glamorous as it sounds (and it doesn’t sound at all glamorous!).

To get the ball rolling and get everyone relaxed, here is a hopefully lighthearted question to break the ice, which one of your characters would you least like to meet in real life and have them complain at you about they way you treated them in your work.

Well, as with most horror novels or films, some characters are introduced just to be killed, so I’d guess any one of them could legitimately complain to me. And most of the rest of the characters are made to suffer in one way or another, so they could have a beef with me too. In fact, given that the central conceit of my book Once: A Belmouth Tale is that fictional, folkloric characters can come to life, I’m not sure I like this line of questioning at all…

Other than the horror genre, what else has been a major influence on your writing?
 
Many (many!) years ago, I studied Medieval Literature and Theatre at University and I think I got my love of the weird and folklore from that. The Medieval world was one where a demon could lurk behind any stone or street corner and where Death was a constant presence, but it was also a world that was striving to find meaning in, well, everything. It needed to collate and classify as much as it could and if it couldn’t then it looked at the patterns of nature and surmised that evidently all things should follow that. So, if we had Monks and Priests on earth, so there should be the same under the sea (yes, this is where Monkfish comes from), and if the Bible doesn’t tell us about the childhood of Christ, we’ll just make it up and fill in the gaps! It was a wonderfully chaotic yet structured, grounded yet fantastical world and I hope I carry some of that through to my work.
 
The term horror, especially when applied to fiction always carries such heavy connotations.  What’s your feeling on the term “horror” and what do you think we can do to break past these assumptions?

I think that Horror is a very broad church, even if it isn’t always seen as such, and has subtleties that need to be brought out again. The ghost stories of M R James or Shirley Jackson’s Hill House are subtle, beautiful, terrifying works that don’t seem to have a place in today’s definition (although the loose-but-oh-so-right adaptation of Hill House recently tried hard to change that). There needs to be the breakout book (or film) that re-establishes creepiness to our genre and reminds the non-Horror loving audience of what it can achieve.

A lot of good horror movements have arisen as a direct result of the socio/political climate, considering the current state of the world where do you see horror going in the next few years?
 
I think, given the current political climate on both sides of the Atlantic, we might see a rise in works about loss of identity – about outsidership and The Other, possibly told from that outsider’s point of view as they struggle to exist in a world they no longer recognize. At the moment, it feels as if the people who never thought they had control are now getting it, for good or ill, and the ones who were traditionally in control have been ousted and are powerless – there’s a topsy-turvy feel to the world that is sure to be reflected in all fiction, not just Horror.

Given the dark, violent and at times grotesque nature of the horror genre why do you think so many people enjoy reading it?
 
It’s a cliché, but I think it can be cathartic. It can let you experience dark things outside your everyday experience but in a safe way and push you to recognize your own limits. It’s a challenging genre that, at its best, asks a lot from its readers yet hides inside pop culture. And it has a certain ‘guilty pleasure’ aspect to it as well, as if you are doing something slightly dirty but wholly pleasurable.

Does horror fiction perpetuate it’s own ghettoization?
 
If there is a ghettoization, I think it lies at the feet of the publicists, for films or books. Lots of works could easily be considered Horror but are sold as Thrillers – Stephen King’s Bill Hodges books were sold as Detective fiction or thrillers primarily when they don’t stray very far from his ‘horror’ works in reality. Se7en is pure horror but sold as a dark thriller. The Charlie Parker novels of John Connolly have cleverly moved into a world that is pure fantasy and horror, but are still marketed as pschological thrillers. Horror is a many faceted thing, from a slight creepiness at the edges of a story to out and out gore, but too often only the gore is seen as defining the genre.

What new and upcoming authors do you think we should take notice of?
 
Me, naturally (insert cheesy-but-cute grin). But seriously, I have admired the work of Rio Youers ever since I started reading him in PS Publications’ editions – he has a lovely balance of grounded fantasy and horror reminiscent of Joe Lansdale. I’ve yet to read his latest work, The Forgotten Girl, but I have it and I’m looking forward to it.

What are the books and films that helped to define you as an author?

Anything by Ray Bradbury. Blind Voices by Tom Reamy. Harlan Ellison. Exorcist 3. Lots and lots of books of folklore. Alien. The soundtrack work of Peter Gabriel, which always forms a backdrop to my writing. Guillermo del Toro. An American Werewolf In London. Far too many other things to mention.

Are there any reviews of your work, positive or negative that have stayed with you?

Stephen Volk, creator of Ghostwatch (another influence) and The Dark Masters trilogy, said of my novella The Red House that it “captures the ambient fear of growing up, reminding me of Tim Lebbon and Graham Joyce, and at times evokes the spirit of Machen" and being put in such illustrious company by someone I respect greatly really made me feel that I could actually be taken seriously as an author.

What aspects of writing to do you find the most difficult?

Not wanting to be glib about any of the creative process, which can be hard at times and downright impossible at others, but the thing I find hardest is what comes after it, especially in the world of self-published books, and that’s Promotion. I’m not a naturally forceful person (surprising for someone who prefers time with a keyboard, eh?) and I always seem to apologise for trying to tell anyone about my work. I meet industry professionals who could possibly help give my work more exposure and I don’t say anything for fear of seeming pushy. I know it’s a necessary evil, and one that even established publishers are putting more and more onto the author, but I do find it hard.

Is there one subject you would never write about as an author?

I don’t know. I haven’t found it yet. I’m not a fan of torture porn, but mainly because it bores me. But, that said, if I came up with a good reason to write it, if I suddenly had that Jack Ketchum moment where it could work in the service of something else, you bet I’d give it a go.

How important are names to you in your books? Do you choose the names based on liking the way it sounds or the meaning?

It’s funny but my current novel (and, I hope, a few more) is set in the fictional town of Belmouth, which I came up with after trying to find a name that seemed to belong on the English Dorset coast (typical towns: Bournemouth, Weymouth). It was only after I finished it and the book was out with Beta Readers that someone said to me, ‘Oh, you mean like Hell Mouth’. Which upset me a bit because a) that’s not what Belmouth is – it’s just a normal seaside town where strange things happen and b) it was too late to change it and darn it, I like Belmouth! So, I suppose you could say I chose it based on the sound but I possibly should have thought harder about what that sound was!
 
Writing, is not a static process, how have you developed as a writer over the years?

I think the biggest developments I’ve made have been in realizing my preoccupations and themes – Identity is a very strong motivator in my work; where it comes from, what it means – and in learning to deal with characters. I started with stories that had one or two characters in them – basically talking heads – but hopefully now I can command larger, more fully-formed casts who interact with themselves and their world in a realistic way (even if they are fighting monsters at the time).

What is the best piece of advice you ever received with regards to your writing?

“Carry on.”
 
Getting Once: A Belmouth Tale published was a long hard slog. It was accepted by four successive publishers, all of whom kept it for a year or more (two, in one case) before returning it because they were no longer running the imprint they wanted it for, or they had changed their direction for new works, or in one case, they went under. It was very frustrating and over these years, I found it increasingly difficult to write as I got more and more of my hopes dashed. But what I did write, people liked and it was their support that convinced me to go the self-published route through Amazon, so that hopefully more people can now read the work and enjoy it.

To many writers, the characters they write become like children, who is your favorite child, and who is your least favorite to write for and why?

My favourite character is always the one I’m working on at the moment – no matter how obstinate or recalcitrant they are being at the time. At the moment, I’m writing about a homicidal man whose fingers drip electricity and, as it is a first person narrative, I’m living in his (rather weird) head. So, I have to love him or I can’t see how he would react to things.
 
My least favourite character is probably the one who doesn’t work out, who shows a lot of promise but then his story just fades in my mind because I can’t make it work and he’s not helping me. He lives in a drawer somewhere, hoping that I’ll come back for him someday but we both know that I won’t. Or if I do it will be only to cannibalize elements of him and we’ll both have to live with the spectre of his initial faded promise.
 
(And people wonder why I write weird fiction…)

For those who haven’t read any of your books, which of your books do you think best represents your work and why?

That’s a difficult one, as there are only two books out there at the moment, and I’d say they both represent different sides of me. The Red House is quite elegiac and deals with friendship (which is very important to me) and is like a small quiet whisper in your ear. Whereas Once: A Belmouth Tale delves deep into folklore and storytelling (also very important to me) and, whilst quite romantic at heart, also likes to shed a bit of blood from time to time. I’d say it’s more of a statement of intent for what’s to come from me.

Do you have a favorite line or passage from your work, and would you like to share it with us?
 
In Once: A Belmouth Tale, I have the line ‘After all, it made a better story that way’ and I get chills every time I read it. Unfortunately, to tell you why would give too much away, but I think it’s a great dark punchline to an incident.
 
Can you tell us about your last book, and can you tell us about what you are working on next?
 
My latest book is Once: A Belmouth Tale and it is the story of a Storytelling Festival in an out-of-season English seaside town and the spate of killings that are somehow connected to it. It blends folklore with modern horror to create a journey into one man’s nightmare, one that will have him doubting everything and change his life irrevocably. It features monsters and romance, twisted stories and gory deaths and I’m very proud of it.
 
My next long work – after I finish the short tale of the murderer with the electric hands (see above) – is probably going to take another piece of English folklore and push it into the modern age. I don’t want to say too much about it at the moment because it’s still forming, but I think its quite original and could even be a series of books. Well, it’s that or I do have another Belmouth tale to tell…
 
If you could erase one horror cliché what would be your choice?

If it’s in films, it has to be the Cat Scare. You know, where something spooky is about to happen and then a cat jumps out instead. (This can also, thanks to the lunacy that was Aliens v Predator, be known as the Penguin Scare). In fact, jump scares in general seem to be all that horror filmsare about these days, when actually they are just one of the tools in the box and, even then, best used sparingly.

What was the last great book you read, and what was the last book that disappointed you?
 
Okay, bizarrely, I’m going to cite a limited series comic as the best book I’ve read recently, and that’s Exit Stage Left – The Snagglepuss Chronicles by Mark Russell and Mike Feehan. It takes a not-particularly well-remembered Hanna-Barbera cartoon character and, whilst staying true to him, transposes him into 1950s America where he becomes a target for the House of Un-American Activities and the McCarthyite witch hunt. It’s a masterful blend of actual history, fantasy and commentary and I love it.

The last book that disappointed me has to be something I tried by Chris Carter (I can’t even remember which book). He was sold as the great thriller writer but I found that he had a habit of stretching things out too much, playing the same scene from different angles and perspectives without adding anything new. It could have just been that book, I could be maligning him, but it wasn’t for me.

What's the one question you wish you would get asked but never do?  And what would be the answer?
 
“What did you think of the multimillion-dollar film adaptation of your work?”
“It was fine – but the sequel I’m writing will be even better!”

Staring Down The Darkness: Discussing horror and mental health, with Lee Murray and Tabatha Wood.
 
When I emigrated to New Zealand in 2017, it also heralded my return to creative writing, and promoted an urge to finally publish my fiction. I “met” Lee Murray online through a mutual friend, and very quickly found her to be an incredibly talented, likeable and intelligent woman with an exceptional work ethic and a keen desire to help others succeed. It came as little surprise to me when I discovered that she was instrumental in opening up the discourse on mental health issues within the horror writing community.
 
In 2018, along with some other dark fiction writers, she helped put together a panel for StokerCon, Providence called “Writing from a Dark Place.” What transpired at the conference was a frank and supportive discussion which paved the way for a well overdue look at mental health struggles among creatives.
 
A few months later, Lee used the basis of the panel to write a deeply personal essay exploring her own experiences of anxiety and depression. This essay was included, along with 33 other New Zealand writers, in the Victoria University Press’ Headlands anthology in 2019.
 
Now, in 2020, I talk to her about what’s next for these discussions and how best we can help the community as a whole.
 
A very warm welcome to you, Lee. You got your double diagnosis of anxiety and depression at 50. How did it feel to get diagnosed with mental illness at this age?
 
[Blushes]. Thank you for that lovely introduction, Tabby. As I wrote in my 2018 Headlands essay, Writing from A Dark Place, many of my friends and colleagues struggle to believe that I suffer from anxiety and depression. “But you’re so confident, so outgoing, so bubbly,” they say. Indeed. How could they possibly know the truth?
 
Lifetime anxiety sufferers become ‘masters of the bluff’. Terrified of the stigma that accompanies mental illness and the conviction that there is something terribly wrong with us, we become experts at hiding our pain, internalising our anxiety, and, ironically, exacerbating it in the process. We get so good at hiding it, that even those close to us may not see the hours, sometimes days, of worry and overthinking that might precede an event, the groggy wide-awake nights, the flushing sweats, the panic attacks, and the paralysis. Nor do they see the three-days-on-the-couch melt-down that might occur afterwards. When I think of all the energy that I’ve wasted over the years hiding my condition from the world: my friends, family, colleagues, everyone.
 
Do you wish you had sought professional help much earlier, or do you think the medical profession missed a lot of the usual warning signs?
 
I believe my parents may have possibly missed the signs, although certainly not intentionally. Born in 1965, the Chinese year of the wood-snake, I’ve had a mole on my left shoulder all my life. For my third-generation New Zealand-born Chinese mother, that mole meant I was destined to carry the weight of the world’s burdens on my back. And wood snakes are known for being over-thinkers. Perfectionists. Wood snakes hate to fail. So, for my mother, it was a given that I would be highly-strung and driven. Plus, I’m a first child, and a daughter, which meant there were examples to be set for my younger siblings, chores to be done, schoolwork to complete… the cultural load of submissiveness, duty, and achievement.
 
My dad is Kiwi-European, the educated son of a blue-collar railway worker. In the sixties, multiracial marriages were rare, and sometimes shunned, so perhaps he was compelled to see his children succeed in the face of that opposition. On top of that, Dad had a highly autistic younger sister whom he adored. She lived, and died, in a time where electric shock treatment was commonplace for sufferers of mental illness. Did my parents wilfully deny my anxiety? My Headlands colleague and dear friend Donna McLeod wrote a hauntingly insightful poem for the collection called Voices, which included this powerful line: “We must justify our culture, our being, ourselves.” My parents love me unconditionally. They are kind and generous and want only the best for me. I think they interpreted my anxiety in ways which justified their own cultures, their beings, and themselves, because in their generation, when it came to mental health, there was no other discourse.
 
As for the medical profession, well, like I said, I’d become very good at hiding my anxiety. At 50, after months of sitting on the couch eating chocolate biscuits, my sister-in-law, who works in the medical field and recognised the signs, gently encouraged me to consult my doctor. I made the appointment on the pretext of seeing the doctor about something else. I’m grateful that my doctor truly listened and interpreted what she heard as something other than an old Achilles injury. 
 
Tell me about your Headlands essay, “Writing From A Dark Place.” What made you realise that the time was right for you to start talking about these issues so openly and personally?
 
After the 2017 StokerCon panel discussion, when I effectively outed myself as having anxiety and depression, a NZ colleague sent me the submission call out for Headlands project, and I knew immediately that I wanted to contribute further to the conversation on mental health and creativity. From now on, I want to live as my authentic self — warts, anxiety, and all. Because a problem shared is a problem halved. Because discourse is important if we want to remove the dreadful stigma that accompanies a mental health diagnosis. Because some of us with shaky mental health still don’t feel safe to speak out, and indeed are sometimes disadvantaged as a result. Because so many of my horror colleagues suffer from anxiety and depression and there is power in numbers—and horror writers are fantastically evocative writers, people who use their creativity and to challenge their fears and push back the darkness, so what better community in which to open a wider conversation?
 
Why do you think talking about these conditions is so important? What kind of awareness are you aiming for when you open the discourse, and how do you help overcome the stigma?
 
Tabby, I’m going to share some comments from a series of private messages sent to me by a colleague in the wake of the Writing From a Dark Place panel. They wrote:
 
“I wanted to thank you for the HWA (Horror Writers Association) initiative through the HWA and the recent article you posted, and all the insights you shared from some of the panelists on the Writing from A Dark Place panel, particularly Brian Kirk and Eric Guignard. I wasn’t aware that you struggle with depression and anxiety. I have a whole host of mental health issues and diagnoses including…[names disorders] along with severe depression and anxiety/panic disorder, so it always means a lot to me to see that I’m not alone and that others, particularly other writers, suffer from these issues as well and that there is help out there.”
 
“I appreciate what you’re involved in this initiative because I find that even though the logical part of my brain understands that many many writers suffer from mental health issues, and that I’m not alone, sometimes it feels like I’m the only one, or what’s wrong with me, or why can’t I get over it and I think that part [of that] is societal pressure, worrying about what people think… that effect on me.”
 
“I’ve been working hard on my issues...but it’s always an uphill climb. And yes, like yourself, because I am a positive and cheerful person, it’s something I feel like I’ve been trained to hide, except under the most dire circumstances, or in therapy. There’s also this really negative misconception that writers have to suffer for their art, or it’s romantic or something, which I think is total nonsense, and very harmful. Thank you for understanding my embarrassment. Even though strides have been made, there is still a huge stigma, and I often have to be hyper-vigilant because, if I’m honest, there is always a chance that an employer or writing workshop could discriminate against me.”
 
“Thank you for listening.”
 
When I contacted this writer for permission to publish their private comments on this site, they advised me that in fact their employer, on discovering their mental health issues, discriminated against them to the point they were forced to close their social media accounts—an act which had a devastating effect on their mental health and led to a very painful suicidal episode. They wrote of their admiration for those of us who speak out openly about mental health issues with a view to destigmatizing mental health:
 
“I’m too scared to speak up for fear of negative blowback.”
 
In fact, a number of my colleagues, many of whom feel unable to take up the torch themselves, have sent me personal messages encouraging me to continue the discussion.
 
My colleague Dave Jeffrey, writer and long-time mental health professional, said in our HWA Out of the Darkness interview: “I often wonder if there is a compensatory element in that writers are, by nature, insecure entities and perhaps coming to the aid of others has a basis in the desire to create climates in which they, too, feel safe.” Such an insightful comment. I suspect he is right: that there is an element of self-interest in my wanting to speak out for others. Nevertheless, I feel strongly that those of us who feel able must speak frankly for those who cannot. We must listen without prejudice. And we should always be kind.
 
How does writing about mental health help you? Whether that’s through introspective essays or within your fiction. Do you ever find yourself writing characters with obvious (or hidden) mental health afflictions?
 
Rather than writing about mental health, or characters with mental health disorders, I write horror, addressing the underlying fears that keep me awake at night, harnessing those feelings in the hope of ultimately uncovering strategies for subduing the wolf. Horror writer Nicole Cushing described it well in my Headlands essay. She said: “For me there is a sense of mastery that comes from using fiction to look my deepest darkest demons in the eye. To look at traumatic events and yet not flinch from them, and then capture them in the cage of a novel feels like a victory.” (Murray, 2018, p. 194).
 
 
Exactly 100 years ago the 1920’s German film, The Cabinet of Dr. Caligari was one of the very first horror films to associate mental health with being evil. Modern movies do slightly better at approaching mental health, but still frequently demonise the sufferers. Why do you believe that mental illness in horror is so often used as a lazy trope, synonymous with wicked or dangerous characters?
 
A hundred years ago, given the context, perhaps filmmakers could be forgiven for the superstition and ignorance portrayed in their films. Today, not so much. Although, horror tropes can serve a purpose in allowing the reader to ‘overcome the monster’ from the safety of distance. As Dan Rabarts says: “What is the point of facing down demons, if we can’t hang their corpses from our battlements, so that others know they can be tamed?”
 
Why do you think fiction likes turning mentally ill people into monsters, and what do you think (if anything) is being done to challenge this misleading stereotype, which clearly does not depict the realities of living with mental illness?
 
Tabby, I think it reflects the stigma that dogs mental health sufferers. On that point, Dave Jeffrey says, “Nothing puts me off a book quicker than the thoughtless misrepresentation of mental illness.” To rectify this, Jeffrey’s advice to those who are planning on writing about mental illness in horror fiction is “to treat it with the sensitivity as they would gender and race issues. That way you will take the time to consider what the pitfalls are and ultimately write something interesting and, above all, authentic.” (Murray and Jeffrey, 2018)
 
Some of my favourite depictions of mental health in horror are often predominantly Gothic —  stories such as “The Yellow Wallpaper” by Charlotte Perkins Gilman, “The Turn of the Screw” by Henry James and Susan Hill’s “The Woman in Black”. These older stories aside, there are a number of excellent modern writers exploring mental health in fiction. Do you have any current favourites?
 
I’d like to call readers’ attention to Dave Jeffrey’s novella Finding Jericho, an early work which, due to its importance, has recently been re-released by Demain Publishing. Listed on the BBC’s Headroom Recommended Reading List, reader reviews also provide some insight:
 
“Mental illness like horror can take on many faces. Not everyone can be diagnosed, cured, and sent on their merry way. For some and their families, it’s an ongoing battle to achieve a balance in which to exist. For the uninitiated, a story like Finding Jericho offers some insight on what it is like to be or to love someone that spends their life fighting off the demons of mental illness. For someone like me that loves a family member who has been and still is in the fight, this book offers a little reassurance that all is not in vain.”
 
“I half expected the book, with its subject of mental illness, to be somewhat depressing and difficult to read, but that just highlights the ignorance that I and so many others had (or have) to an illness whose seed is planted in all of us from birth. Instead, the book is uplifting, humorous and very enjoyable to read.”
 
 
The trope of the “tortured artist” is a common one, but do you believe that horror writers are more prone to mental health afflictions, or do you think that writing about the darker side of life helps to destroy some of those personal demons?
 
Yes, studies suggest that writers in general are more prone to mental health issues.

• Andreasen (1987) found that not only did writers suffer from a higher rate of mental illness, but their first-degree relatives were more likely to suffer from mental illness than relatives of a control group.
• In a study of more than 1,000 professionals, Ludwig (1995) reported that all forms of psychopathology were more likely to occur in people in artistic professions.
• Researcher Kay Jamison (1996) claimed that mood disorders, especially manic-depression, were associated with artistic creativity. She reported that creatives were eight times as likely to suffer a depressive disorder than a control group.
• In a series of related articles, Barron reports that creative writers are ‘markedly deviant’ from the general population, with distinguished writers tending to show schizoid, depressive, hysterical, or psychopathic tendencies. Barron stated:

“The writers appear to be both sicker and healthier psychologically than people in general… The face they turn to the world is sometimes one of pain, often of protest, sometimes of distance and withdrawal, and certainly they are emotional.” (Barron, 1968a, p. 244).
 
As to whether writing dark fiction helps to slay our personal demons, my Path of Ra collaborator, award-winning New Zealand writer-editor Dan Rabarts, had this to say in a recent Reading Room article:
“Perhaps we’re all a bit twisted on the inside and take great pleasure in the awful things we put down on the page to traumatise our readers. Or maybe we really do wrestle with demons, and what comes out on the page is the outcome of those struggles. I’m no doctor, but I know my people, and it’s not that much of a stretch to say that most of us go toe-to-toe to a lesser or greater degree with some form of anxiety or depression on a daily basis. I’m sure this is not exclusive to those of us writing dark fiction, but is there some deeper purpose to expressing these demons on the page, if that’s what we’re doing?”
 
We’ve talked in the past about how I often write about mental health on my blog, and as you know, I’m leading a team of writers who are compiling a horror anthology which will benefit the Mental Health Foundation of New Zealand. I feel very strongly that by confronting the Black Dog in fiction I can keep it from sniffing too close at my heels. Does that ring true for you too? Outside of writing, tell me what other things do you do to keep control of your own Black Dog?
 
Yes, absolutely. I believe that creativity and wellbeing are indelibly linked and that the simple act of writing and creating can go a long way to keeping the black dog at bay. Other than writing, I take medication when prescribed; read horror, read Snoopy; browse the internet for pictures of puppies; eat healthily; take a shower; hug my family and cuddle my dog; soak in the spa pool; go to the gym; take long rambling walks in the forest; do some knitting; watch movies; chat with my daughter on skype; take the caravan away for the weekend; ignore the ironing; connect with friends…I try not to let my anxiety swallow me.
 
Can you tell me what’s next for you in 2020?
 
I’m excited to announce that my friends at Things in the Well Australia, will publish my first short fiction collection, including some of my favourites stories along with four new works. Grotesque: Monster Stories will release in July of this year. Here is the blurb:
 
Two-time Bram Stoker Award® nominee Lee Murray delivers her debut collection, and it is monstrous. Inspired by the mythology of Europe, China, and her beloved Aotearoa-New Zealand, Murray twists and subverts ancient themes, stitching new creatures from blood and bone, hiding them in soft forest mists and dark subterranean prisons. In this volume, construction workers uncover a hidden tunnel, soldiers wander, lost after a skirmish, and a dead girl yearns for company. Featuring eleven uncanny tales of automatons, zombies, golems, and dragons, and including the Taine McKenna adventure Into the Clouded Sky, Grotesque: Monster Stories breathes new life into the monster genre.
 
And together with my Australian colleague Geneve Flynn I’ll be co-editing Black Cranes, a long overdue anthology by Asian women of horror, featuring Nadia Bulkin, Gabriela Lee, Rena Mason, Rin Chupeco, Grace Chan, Angela Yuriko Smith and Christina Sng, and with a foreword by Alma Katsu. Releasing in July 2020 from Omnium Gatherum, I feel very privileged to be working with these incredibly talented women.
 
Readers and colleagues can meet me at StokerCon UK (April) BaltiCon 54 USA (May) ConZealand (July), and New Zealand National Writers’ Forum (September) as well as numerous local events.
 
And on the topic of horror and anxiety, I am working with a US publisher on an exciting new project, which I hope to announce in April of this year…
 
Thank you so much, Lee, it’s been a real pleasure to talk to you. I think I speak for many writers and creatives when I say thank you for taking the mic and speaking out, and helping us see the light at what can frequently be a very dark tunnel.
 
Refs:
 
Andreasen NC. Creativity and mental illness: prevalence rates in writers and their first-degree relatives. Am J Psychiatry.1987 Oct;144(10):1288-92.
 
Barron F (1968a). Creativity and Personal Freedom. Princeton NJ. D Van Nostrand.
 
Kay Redfield Jamison, Manic Depressive Illness and Creativity, Scientific American 272, no 2 (Feb 1995) 62-67.
 
Ludwig AM (1995). The Price of Greatness: Resolving the Creativity and Madness Controversy. New York, Guildford Press.
 
Murray L (2018). Writing from a Dark Place. In Headlands: New Stories of Anxiety, Naomi Arnold (ed), Victoria University Press, Wellington.
 
Murray L and Jeffrey D (2019). Out of the Darkness: A Conversation by Lee Murray and Dave Jeffery, HWA, Mental Health Awareness Month, May 2019.
 
Murray L (2019). Horror, in real life: writers and their mental illness demons. Newsroom, Reading Room, 30 October 2019.

Could you tell the readers a little bit about yourself?
 
I’m a military brat (and ex-spouse, but that’s another story over bourbon and tears), who, somehow, wound up back in Central Florida, which has always been my place of residence. I’ve been writing since I was eleven. Throughout my younger years, I’d written screenplays, articles, short stories, reviews, (terrible) poetry, comedy sketches, and so on. It wasn’t until the last decade, when I officially reached middle age, when I took my writing career seriously again. I just never thought I’d find more creative satisfaction in writing horror novels of all things.
 
To get the ball rolling and get everyone relaxed, here is a hopefully lighthearted question to break the ice, which one of your characters would you least like to meet in real life and have them complain at you about they way you treated them in your work.

Oh, I think Ansley Boone in Reception would be quite awful to meet in real life. She’s cutting and snarky, sure, so she’d be fun to hang out with for a while, but she has…other problems.
 
(By the way, she insists that “it didn’t happen that way,” and she says she’s planning on suing me for libel. However, I have documentation that says otherwise.)
 
Other than the horror genre, what else has been a major influence on your writing?
 
People and their complex sensibilities—and my own fantasy/daydreaming—have also been major influences in my work. I’ve always been fascinated with the human condition, relationships, interaction, extreme emotions. As a result, my most recent writing has centered around all of that. As for daydreaming, that’s just something that I’ve not been able to shake since I was a kid.
 
The term horror, especially when applied to fiction always carries such heavy connotations.  What’s your feeling on the term “horror” and what do you think we can do to break past these assumptions?.     
 
I hate that “horror” had been given such a bad reputation by both popular culture and religious extremism. “Horror” is necessary. After all, it exposes our very human fears as well as our own curiosities about evil. We need horror a little more mainstreamed, and much more representational, than it has been though. When I go to a bookstore, for instance, and see that the lone horror shelf is dominated with work by Stephen King, there’s a problem there, and while it’s great King has paved the way for horror to be mainstreamed in our culture, it hasn’t really helped in introducing new voices as much. We need to be exposed to more horror by minority authors and filmmakers, and we need to see main characters that represent us all. Once horror becomes accessible to everyone else, and we see that happening in what we’re exposed to, I think “horror” will be taken much more seriously than it has been.
 
A lot of good horror movements have arisen as a direct result of the socio/political climate, considering the current state of the world where do you see horror going in the next few years?
 
I see exactly what I indicated with the previous question. There will be a lot more diverse voices and a heck of a lot more representation in horror fiction. What impresses me particularly right now, especially in this tumultuous political climate, is that readers and audiences are paying close attention to horror as a response to it all. It’s always worked in comedy and drama, but it’s now a significant audience demand in horror, too.

Given the dark, violent and at times grotesque nature of the horror genre why do you think so many people enjoy reading it?

I think people who enjoy horror like reading about what scares them because they can’t understand it…which is a good thing, of course. They like escapism, too, I think. The supposed 1 in 25 of us who have no conscience probably treat horror as a self-help guide or a mirror, but who the hell knows?
 
What, if anything, is currently missing from the horror genre?
 
More diversity and representation. I can’t state this enough.

In the past authors were able to write about almost anything with a far lesser degree of the fear of backlash, but this has all changed in recent years.  These days authors must be more aware of representation an the depiction of things such as race and gender in their works, how aware are you of these things and what steps have you taken to ensure that your writing can’t be viewed as being offensive to a minority group? 

I don’t ever presume to be able to write from a minority’s perspective. I can’t do it, and I don’t wish to attempt it because I feel It Is Not My Place To Do So. For authors who take those sort of risks, that’s fine I suppose, but they’d better make certain they represent accurately and empathetically rather than resorting to stereotypes. (Since I mentioned him, I think it’s one of Stephen King’s worst traits as an author.)
 
As for me, I write with women at the center, because…well…obviously, it isn’t far-reaching. I follow the old standby in that I “write what (I) know.” If I need to enlist the help of a sensitivity beta reader, however, I certainly will.

Does horror fiction perpetuate it’s own ghettoization?  
 
There’s absolutely no doubt that a cover attracts a potential reader, and personally, I became more interested in reading horror because of those sorts of graphic covers that used to be popular (and are coming back en vogue…thanks, Grady Hendrix). As for causing more harm than good, perhaps, but what sorts of readers does that particular publisher wish to attract at any rate?
 
What new and upcoming authors do you think we should take notice of?
 
Ooo…I like this question because I have a good answer: My fellow newcomer novelist, Wile E. Young, is bringing an old school sensibility back to the genre. His novel, Catfish in the Cradle (Death’s Head Press), is an ode to Universal monsters and bayou mythos, with a genuinely sympathetic protagonist at its center. He has a splatter western novella coming out with Death’s Head Press this year as well as a novel, The Perfectly Fine House, co-written with Steven Kozeniewski published by Grindhouse Press (and I can’t wait to read it!).
 
Another new author of note is poet and fiction author, Mike Ennenbach. His collection, Notches (Death’s Head Press), is hard to describe with a single genre. It’s offbeat, surreal, dark, and sometimes hilarious. There’s something for everyone in it. He has a collection of poetry, UNPOETIC (Potter’s Grove Press) out now, and he also has a splatter western novella coming out from Death’s Head Press.

What are the books and films that helped to define you as an author

Too many to list. Of note though, currently, Bentley Little’s social horror, Jeff Strand’s Pressure (I’ve been hooked by its character development and simple, effective structure), and a slew of ’80s & ’90s films that are psychosexual thrillers.

Are there any reviews of your work, positive or negative that have stayed with you?

I’ve had some wonderfully detailed, positive reviews indicating certain things in Reception that had resonated with the readers/reviewers. That gives me ample motivation to always write from the heart (even if it’s a most dreadful heart sometimes).

What aspects of writing to do you find the most difficult?

Continuity. I have Stickies all over my desktop with page notes and details that I’m sure I’ll forget because I have a terrible memory.

Is there one subject you would never write about as an author?
 
You know, I’ve not thought about that. I think all subjects are pretty open, but only if I were to approach them with caution – namely ample research and plenty of beta reader input.

How important are names to you in your books? Do you choose the names based on liking the way it sounds or the meaning?

Names are quite important, as they need to be memorable. I tend to choose names based on origins and how they sound.
 
Writing, is not a static process, how have you developed as a writer over the years?

I’ve become more cognizant of my depression as it relates to my writing over the years. I’ve quit so many times out of mental exhaustion as well. Over the past decade, I’ve had to retrain my brain into allowing myself to rest between bouts of grading papers and teaching. I’m learning now to be more disciplined, writing on weekends when I can, and saving the heavy classwork for the weekdays. It’s tough though, and it’s getting worse as I get older.

What is the best piece of advice you ever received with regards to your writing?

I’ve received a lot of writing advice off and on throughout the years. One piece that has stuck with me as it’s come from several authors in a variety of genres (and I’m paraphrasing all of them): Don’t be a dick. It’s good advice for life in general, but it’s especially needed as an artist of any sort. Positive people make positive impacts.

To many writers, the characters they write become like children, who is your favorite child, and who is your least favorite to write for and why?

Clyde Northway, my current protagonist in my splatter western WIP, is both my favorite and least favorite child. She does her own thing, gets ultraviolent, and it’s infuriating, but it’s because she’s been trained to take all sorts of precautions when it comes to encountering new people.

For those who haven’t read any of your books, which of your books do you think best represents your work and why?

As I’m new to all of this with only one book out at the moment, Reception, obviously. It’s about family relationships, sisterly bonds (of sorts), and human monsters. It’s all what I know pretty well. Well, except for the cannibalism part.

Do you have a favorite line or passage from your work, and would you like to share it with us?
 
The entirety of the reception scene in Reception is my favorite because I used a lot of my screenwriting background to craft it. It’s a bit excessive to put here though.
 
Can you tell us about your last book, and can you tell us about what you are working on next?

Reception was, obviously, my last book. I’m finishing up Red Station, a splatter western for Death’s Head Press, a project I’ve had quite a tough time working on due to the heavy research involved and work-related delays. It’s a slasher set in the 1870s in what is, presumably, a home station. The villains are very loosely based on the notorious Bloody Benders. That will be out later this year. I’m also halfway done with a psychosexual horror thriller tentatively titled Nice Girl, about a woman who doesn’t take rejection very well.
 
If you could erase one horror cliché what would be your choice?

Characters existing solely for the author’s titillation.  It happens cross-genres, but I see it more often in horror work. Unless that is a necessary plot device, take it out.
 
What was the last great book you read, and what was the last book that disappointed you?
 
Last disappointment: The Outsider (Stephen King) 
Last great book (this is the most recent): A Place For Sinners (Aaron Dries)

What's the one question you wish you would get asked but never do?  And what would be the answer?
 
What is your greatest desire? My answer: All-encompassing, passionate love. Isn’t that part of the human condition? And it’s a common theme in some of what I write.

In the genre fiction community, there are many people who feel that storytellers shouldn’t “get political” and that horror, sci-fi, and fantasy fiction should be solely escapist in nature.
M.D. Parker is not one of those people.

In 2018, Parker and a number of his peers teamed up to put together Trumpland: An Alternative History of the Future. One part savage satire, one part chilling warning of a dark tomorrow, the anthology was about as uncompromisingly political as a work could possibly be.

Now, two years later, the political landscape has only gotten scarier. One bit of good news, though? This February, Parker returns with Trumpland: Divided We Fall, a book whose synopsis promises “Brainwashing implants, segregation, division, mass murder, time travel, and the red hat. It's all a part of the broken American dream, a final nail in the coffin – or is it?”
Good question. Is it? Ginger Nuts of Horror got in touch with Parker to find out.

First off, I just wanted to say thank you for taking a minute to talk to Ginger Nuts of Horror about this project.

It is our pleasure. Thank you

Trumpland: Divided We Fall is a follow-up to a previous anthology, Trumpland: An Alternative History of the Future. Before we get to the newest book, I was wondering if you could tell me a little about the first installment. What inspired you to put together such an anthology? What kind of response did you get?

The first collection began as an idea born of frustration. I, and one or two of those who would later contribute to it, wanted to do something, anything, to combat what we saw as the damage resulting from the policies of this administration. Then, as writers we saw a bountiful pile of story fodder in the remarks and actions coming from the White House. The response was decent, about where we expected. As is typical with a short story collection, people liked parts, didn’t like others – especially those topics that were uncomfortable to them since the stories dealt with subjects of imprisonment based on race, division, environmental catastrophes and increased tensions around the globe and at home.

So what motivated you to do a second Trumpland anthology?

The seemingly endless flow of controversy. Donald Trump and this White House staff cause so many scandals, so frequently, I felt we, as a story collection, had fallen behind the times. So in order to raise more awareness, raise more money for charity, we collectively decided to put together a second edition.

All of the proceeds from the sales of both books go to various charities, is that right? What are some of the charities that these books are supporting? How do you choose what charities to donate to?

Yes, and the charities have included organizations like the ACLU, End Rape on Campus (EROC), 4-Ocean, and RAICES. We choose them as a group collective, generally voting on them (democracy, yay!). The ones on the list make the list due to certain functions or actions they’ve taken. For example, we all wanted to support the ACLU in its fight to make sure unaccompanied minors had representation in immigration court and their fight to block the Trans-Ban on the military. EROC’s mission I think speaks for itself, same with 4-Ocean. RAICES has been chosen for the first quarter of this year thanks to their humanitarian and legal work related to immigration.

There was no hesitation on going with the 100% donation. Each of us donated our work and time to bring it together as a group specifically so we could put every penny where it would do the most good.

In addition to the proceeds going to charity, the Trumpland anthologies are unique in that all of the stories included were donated by their authors. No one took a paycheck, is that correct?

That’s correct. No paychecks, and it was that way from the beginning. This was our donation to the charity, to help craft something that may in some small way help us be a better nation.

So the concept behind the Trumpland series is essentially that these are stories speculating and satirizing dark, dystopian scenarios that could come about as result of the Trump presidency. Who are the contributors for this second volume, and could you tell me about some of the stories included?

This second volume feels tad darker than the first. It feels weird to say that because I believe we have more “happy” endings this time, even though we have stories like one that takes a violent turn at a MAGA Rally, or a mass shooting in another. Our farthest reach in terms of realism this time is, well, just that – time. We have time travel, a pandemic (we had that in both volumes), cybernetic implants… we try to run the gamut of the sci-fi/dystopian worlds.
As I mention these names, please know that I have been honored so much to work with all of these authors. A wonderful group that includes Paul Blake, Jay Bower, Scott J. Couturier, Maxwell I. Gold, Shayne Keen, LeLand Lydecker, Duane Pesice, Artist Daniel Sauer, Margret A. Treiber, and Sarah Walker. A few of them worked on both volumes, and even a few that did not write for this edition, but were part of the first, helped with putting it all together (Thanks Ben, MeLisa, Jason, Richard, and Dave!)

Looking at the different directions various authors have taken the concept in, are there any stories in either volume that particularly surprised you? Did you notice any recurring themes or ideas?

Reoccurring? I’d say mostly the satirical fun of playing with the speeches and rantings this President is known for. Both volumes had an author tackle a pandemic and both dealt with the violent rhetoric and division we suffer right now due to those actions.

The first Trumpland anthology came out in 2018, a little over a year after Trump’s presidency began. Since then, obviously a lot has happened. Are there any predictions in that first anthology that resonate a little too close to comfort with real-life events since then? Of the latest crop of stories, which ideas or themes are the most chilling to you?

Fenced cages in random fields or under bridges. That hit a bit too close to how it really happened. The mysterious circumstances surrounding a death of a prominent figure that rumors indicated had the ability to bring down a lot of powerful people. I think about those and the increase in hate groups that too often match the rise multiple stories indicated.

Have you had any second thoughts about publishing either of these books based on concerns about backlash from rabid Trump supporters? Have you indeed gotten any backlash?

No second thoughts at all. And a small bit of backlash, not too bad – so far – the divisiveness gets worse every week it seems. The funniest part was someone commented online once, a rabid Trump supporter. After a brief exchange, he ended up purchasing a copy of the book. He didn’t leave a review, but his money was donated to EROC.

So where can those who do want to read the Trumpland books find them for purchase? And where should they go if they want to stay up-to-date on Trumpland publishing news?

We published through Amazon, mostly as an additional affront to this administration; we all know he doesn’t like them either. And keeping up on what is happening can be done through any of our contributing authors, or I am working on reprising and updating the Trumpland twitter account to be more reflective of the publishing and the book than the political voice of dissent it once was. (@2020TrumpLand )

Finally, to widen the scope of the conversation, do you have any messages you’d like to share with people in general?

First, voting is the most important, powerful freedom anyone can ever exercise. To not participate, to not vote, is to allow others to decide for you. It is nothing but silencing yourself. As for political commentary, I sum it all up with this:
​
We all say we want to be a people who are proud of their nation. We want to be proud of our place in the world, so start now. Start with the person next to you in line at the store, and let it resonate through every interaction, every vote, every comment you make… work today to be better than you were yesterday. Just be good to one another.
 

John Marrows is an american playwright and author by night and paranormal explorer by day. Since 2015, he has worked seasonal jobs allowing him to travel with everything he owns in one suitcase. All of his works are free to read at JohnMarrows.com. Follow his paranormal adventures on Twitter and Instagram: @iMarrowsJ.

Could you tell the readers a little bit about yourself?
 
I’m an epileptic queer who loves all things horror.

To get the ball rolling and get everyone relaxed, here is a hopefully lighthearted question to break the ice, which one of your characters would you least like to meet in real life and have them complain at you about they way you treated them in your work.

Fuck me. I’d say Twitch from my ‘All My Friends Are Freaks’ series only because I understand his pain and even just writing a few thousand words on it, it was a shit journey to face my own demons. It would be like facing a younger version of myself asking “why it hurts so much?” or “will it ever get better?”. Writing part two took a lot out of me emotionally and honestly, I don’t think I’d be able to handle it.

Other than the horror genre, what else has been a major influence on your writing?
 
I’d have to say, my own experiences and trauma have ultimately shaped the way I write and how my characters are portrayed. In 2010, I was nothing more than an unemployed drug addict disinterested in everything life had to offer. Something about surviving a suicide attempt after going through the most horrific withdrawal symptoms makes you want to tell a story or two, you know?
 
 
The term horror, especially when applied to fiction always carries such heavy connotations. What’s your feeling on the term “horror” and what do you think we can do to break past these assumptions?
 
Well, I mean, the term “horror” is so subjective. Even the definition is extremely broad leaving so much room for the imagination. As far as my feelings towards the term, I think people should educate themselves further on the different subgenres of horror. I really do think there’s horror for everyone out there. Similar to the idea when someone hates metal music because it’s all “screamo”. If you take the time to understand what the various subgenres of metal have to offer, you might find a new taste for it. (I hope to see you in the pit.)   

A lot of good horror movements have arisen as a direct result of the socio/political climate, considering the current state of the world where do you see horror going in the next few years?
 
Along with some of my own creative goals, I definitely see horror coming to the stage in the next few years. Live theatre productions in off broadway or alternative theatre settings are on the rise. I look forward to seeing this grow for the horror community.

Given the dark, violent and at times grotesque nature of the horror genre, why do you think so many people enjoy reading it?
 
Why are so many fascinated by serial killer documentaries? It’s out of the ordinary, the strange, the unknown. Society has this fascination with what they cannot fathom to be in their reality. You hear all too often. “That could never happen in my town.” or “They were the nicest person, I never suspected they would do that.” As much as they “can’t believe it,'' they love to talk about it.

What, if anything, is currently missing from the horror genre?
 
I want to say more LGBTQ+ representation but I feel it’s already in the works.

In the past authors were able to write about almost anything with a far lesser degree of the fear of backlash, but this has all changed in recent years.  These days authors must be more aware of representation an the depiction of things such as race and gender in their works, how aware are you of these things and what steps have you taken to ensure that your writing can’t be viewed as being offensive to a minority group?
 
My aim is never to offend, but definitely to challenge. I write to face my own demons and I hope my readers find comfort in the fact that their feelings are valid and they’re not alone. In my most recent short story series, The Gatekeeper, the main character is a trans teen navigating life in a rural conservative town. Although I happen to be a genderqueer individual, I’ve made an effort to not involve my own identity struggles with this character because they’re not the same at all. If my content contains potentially triggering material for my readers, I always place a warning before the story begins. Some say that ruins the idea of horror, but I’d rather my readers know what they’re signing up for. I think of it as a virtual seat belt before hopping in the passenger seat as I speed down the highway to Hell that is my twisted imagination.

Does horror fiction perpetuate its own ghettoization? For example Julia Armfield’s latest collection Salt Slow has a cover that most horror fans would walk past in a bookshop, and is one that probably is not marketed as horror, does the genre’s obsession with horrific covers cause harm than good?
 
I think if a potential reader is looking for the most “horrific cover” as they peruse their local bookstore, they’re missing out on some choice titles. Again, the term “horror”, to me, can be so subjective. I’ve read some dramas and mysteries that I found to be more “horror” than some titles with those ‘bloodied and beaten’ cover art.

What new and upcoming authors do you think we should take notice of?
 
T.J. Tranchell, dedicated to provide a fresh take on horror. His collection of short stories, Asleep in the Nightmare Room, inspires me to this day to continue writing. His newest novel has a mormon exorcist, what the fuck else would want to read about? He’s definitely underrated as an author and can see big things coming his way.

What are the books and films that helped to define you as an author?

The Body by Stephen King
A Child Called “It”: One Child’s Courage to Survive by Dave Pelzer

Are there any reviews of your work, positive or negative that have stayed with you?

Once upon a time while I worked as a stage actor, after opening weekend of one of my first professional theatre shows a local critic really shit on me. Ha-ha. His honestly lacked empathy of any kind, which really wasn’t ideal but definitely made me step back a take a look at how I approach performing.

What aspects of writing do you find the most difficult?

Recently, finding the time to read as much as I write.

Is there one subject you would never write about as an author?
 
Sexual abuse. Some demons should be left unwritten. It’s unfair to place my audience in that uncomfortable position. It’s something I still struggle with as a survivor and understand how uncomfortable that can make someone.

How important are names to you in your books? Do you choose the names based on liking the way it sounds or the meaning?

The names of my characters, unless it’s a period piece, often come to me while I’m writing. I’ll have full outlines of stories with “?” where character names would go. The same goes for their gender identity. As the story forms, so does the character.
 
Writing, is not a static process, how have you developed as a writer over the years?

I don’t think any writer is “developed”, creativity is an infinite journey between the artist and their demons they wish to share with the world.
 
What is the best piece of advice you ever received with regards to your writing?

If you’re stuck, change the weather.

To many writers, the characters they write become like children, who is your favorite child, and who is your least favorite to write for and why?


Ethan, from ‘All My Friends Are Freaks’ is definitely one of my favorites. He’s so humble, yet challenged by his anxiety. Impressionable, but formed. I relate to him and think we would have been close friends when I was younger. Especially on the unit.

For those who haven’t read any of your books, which of your books do you think best represents your work and why?

All My Friends Are Freaks, no question. These short stories are the ultimate collection of not only my interests as a writer, but my struggles as a human. The reader is getting an inside look of who I am, what I’ve been through, and how fucked my imagination can be.

Do you have a favorite line or passage from your work, and would you like to share it with us?
 
“Having someone watch you poop finally getting to you, huh?”
 
Can you tell us about your last book, and can you tell us about what you are working on next?
 
The last story I published, Snow Child(ren), was originally drafted as a screenplay but ultimately worked better as a flash fiction. It’s engaging, enticing, and aims for the audience to ask a lot of questions. A fun read for any horror enthusiast. I’m currently drafting part two of my latest short story series, The Gatekeeper, which is my first take on dark fantasy.
 
If you could erase one horror cliché what would be your choice?

For film specifically, and maybe my opinion as a photosensitive epileptic is bias, but flashing lights. Unless it actually adds to the story somehow or the motivations of a character, just quit it already.

What was the last great book you read, and what was the last book that disappointed you?

Last great book I’ve read: The Institute by Stephen King
 
What's the one question you wish you would get asked but never do?  And what would be the answer?
 
Question: Other than writing, what keeps you going?
 
Answer: Teaching and Metal Music.

Could you tell the readers a little bit about yourself?
 
I started making up stories when I was about seven. My teachers frequently admonished me for staring out the window or for scribbling bits of fiction when I should have been listening to their lessons. I suppose I’ve always been a daydreamer.

To get the ball rolling and get everyone relaxed, here is a hopefully lighthearted question to break the ice, which one of your characters would you least like to meet in real life and have them complain at you about they way you treated them in your work.

Tori Garrett, the protagonist (or is that anti-hero?) of Spirits, is not a particularly nice person. She’s very selfish. I’ve had other people tell me she’s a tragic figure, but I kind of enjoyed putting her through the nightmare scenarios she experienced in the book. She needed to learn some hard lessons, but I can’t imagine she would appreciate that. I suspect she’d spend a lot of time painting herself as a victim.

Other than the horror genre, what else has been a major influence on your writing?
 
I grew up reading science fiction and comic books. I don’t think my parents appreciated that very much. I started reading Ray Bradbury when I was in third grade, and my junior high and high school years were defined by writers like Michael Bishop, Andre Norton, and Harlan Ellison. Writers like Bishop and Ellison, who frequently wove in and out of the horror lane, inspired me to pick up works from writers like Charles L. Grant, Jack Ketchum, Rick Hautala, and John Skipp. I read a lot of Stephen King in my teens.
 
The term horror, especially when applied to fiction always carries such heavy connotations.  What’s your feeling on the term “horror” and what do you think we can do to break past these assumptions?
 
I think the heaviness associated with the term “horror fiction” probably comes from people who don’t read horror. I think the assumption is that horror fans are weird or disturbed or get off on seeing people mutilated, and I don’t think that’s a fair assumption.
 
But I don’t think euphemisms are helpful. I would never categorize Spirits as a “psychological thriller” or a “suspense” novel. It’s horror. And I’m proud of that. I think the best way to break past the assumptions is to proudly embrace horror as a genre that has merit and nuance.
 
I think most people who enjoy horror or write horror like being scared in a safe environment. The world is a pretty scary place, but we have little control over real-world horror. Horror fiction allows you to experience thrills and fear with no real threat. You put down the book or turn off the movie, and your life hasn’t changed all that much.
 

A lot of good horror movements have arisen as a direct result of the socio/political climate, considering the current state of the world where do you see horror going in the next few years?


I think subversive horror is important in the current socio/political climate.
 
I really enjoyed “Loaded” from Joe Hill’s collection Strange Weather. It was harrowing and important. But I’ve seen a lot of weird one-star reviews of that collection, and it really makes you wonder. Most of the complaints are that the stories within are “too political.” Art has always been political. It will never cease being political. Writers and artists are humans with opinions.
 
I suspect dystopian themes will emerge as well. I’ve been most privileged to read the stories in the forthcoming anthology Dystopian States of America because I’m sleeping with the editor. No, really. My fiancé, Matt Bechtel, has put together an amazing collection featuring dystopian stories from writers like Jonathan Maberry, Bracken MacLeod, Elizabeth Massie, Chet Williamson, and Linda Addison; and oh, by the way, I have a story in there, too. Humble brag.

Given the dark, violent and at times grotesque nature of the horror genre why do you think so many people enjoy reading it?
 
Again, I think it’s a safe way to feel terror and fear. I think it’s important to experience fear in a safe way.

What, if anything, is currently missing from the horror genre?

I think diverse voices are finally emerging in the genre, and that’s so important. Straight, white men have long dominated the horror genre, and we’ve heard their stories. Women, people of color, and LGBTQ+ people have something to say as well, and having those diverse experiences makes for really compelling stories.

In the past authors were able to write about almost anything with a far lesser degree of the fear of backlash, but this has all changed in recent years.  These days authors must be more aware of representation and the depiction of things such as race and gender in their works, how aware are you of these things and what steps have you taken to ensure that your writing can’t be viewed as being offensive to a minority group? 


I don’t necessarily think it’s a matter of being afraid of offending anyone. I think the real issue here is being sensitive to other people. Sensitivity readers are essential. Jeanine Cummins, author of American Dirt, is being taken to task because her book doesn’t ring true to the very people she’s writing about.

Does horror fiction perpetuate it’s own ghettoization?  For example Julia Armfield’s latest collection Salt Slow has a cover that most horror fans would walk past in a book shop, and is one that probably is not marketed as horror, does the genre’s obsession with horrific covers cause harm than good?
 
I mean, I think if anything, horror’s covers are indicative of the genre’s in-your-face earnestness. People who do not like horror are probably not going to be swayed just because they picked up a rather mundane-looking book if the elements within don’t appeal to them. As a young person buying horror fiction, those creepy, over-the-top covers were a big selling point for me. Today, social media buzz has certainly changed things, and I would definitely grab a book that has been well-reviewed and widely recommended, even if the cover concealed its genre.

What new and upcoming authors do you think we should take notice of?

I’m already a huge fan of Gabino Iglesias. Go buy Coyote Songs. It will make you uncomfortable, and that’s a high compliment. Look for work by Cat Scully. Her YA novel Jennifer Strange is also part graphic novel. Kyle Rader has been on my radar for a while. If you like funny horror, you should check him out. I’m also a huge fan of Michelle Renee Lane. Invisible Chains is an important book.

What are the books and films that helped to define you as an author?

The Shining, both the book and the movie, were hugely influential, but they’re so different. I would never call the movie a King adaptation, but I enjoyed it as a Kubrick film. The works of Charles L. Grant also really inspired me. I’ve always had a preference for quiet horror, and I think Grant’s work is the best example of that subgenre.

Are there any reviews of your work, positive or negative that have stayed with you?

Cemetery Dance compared Spirits to The Shining, which was insane in the most amazing way. I mean, imagine getting that kind of comparison. But I recently received a review that compared it to another King work––Thinner. It never occurred to me while I was writing it, but I can definitely see that.

What aspects of writing to do you find the most difficult?

The business aspect of writing is the toughest for me. I’m an introvert, like a lot of writers. The creative aspect is fun. Even editing is enjoyable. Self-promotion is really difficult. I’m getting better at it, but I can’t help but feel like a snake-oil salesman. I’ve learned to use readings as performance opportunities. I find it easier to perform than to just read. I love pulling people in. I think there’s real power in that. I drew this place. Won’t you come into this world with me?

Is there one subject you would never write about as an author?

Writing explicitly about child abuse would be difficult. It’s inferred in one of my works, but I don’t have it in me to draw those scenes out. I’m not writing for people who would enjoy reading about such things.

How important are names to you in your books? Do you choose the names based on liking the way it sounds or the meaning?

Names are crucial.
 
Tori from Spirits is named after one of my closest friends. When I told her my protagonist was a trainwreck of an alcoholic, she laughed her ass off. But I named the character Tori because she is such a strong woman, and I admire my friend so much for her strength and courage.
 
Writing, is not a static process, how have you developed as a writer over the years?

I’ve learned to use all five senses. I try to put myself in my character’s skin so I can more authentically write what they experience. I want to drag my readers (sometimes screaming and kicking) through those characters’ lives.

What is the best piece of advice you ever received with regards to your writing?

Keep going. Writing is a tough, sometimes soul-crushing business. But if you keep writing and keep improving your craft, you’ll be successful.

To many writers, the characters they write become like children, who is your favorite child, and who is your least favorite to write for and why?

Do parents really have favorite children? I think of it this way. My characters are all flawed, just like my kids are flawed. I love them anyway. There’s not a single character in Spirits who isn’t flawed at the least or fundamentally fucked up at the worst.

For those who haven’t read any of your books, which of your books do you think best represents your work and why?

Spirits is my first novel, even though I’ve had a lot of short fiction published. I think it’s pretty indicative of my style. It is quiet horror populated by flawed humans. I like to play with reality and perception.

Do you have a favorite line or passage from your work, and would you like to share it with us?
 
The last line is my favorite, but it gives a lot away! My advice would be to buy Spirits, read the entire thing, and get to the end.
 
Can you tell us about your last book, and can you tell us about what you are working on next?
 
Spirits follows Tori Garrett, a woman who is struggling. She accidentally hit and killed a teenage girl with her car, and she copes by drinking. The girl’s mother is distraught and filled with rage that Tori didn’t receive stronger repercussions for killing her child. She exacts a very peculiar sort of revenge on Tori. Tori’s addiction grows worse, and before long, the lines of reality and the supernatural are blurred.
 
I’m working on a few things right now, but I can’t say much about them.


If you could erase one horror cliché what would be your choice?

Helpless women. Fewer helpless women in heels running through the forest at night and more Laurie Strodes saving the day. Here’s to Girl Scouts.

What was the last great book you read, and what was the last book that disappointed you?


Lightning Wears a Red Cape from Errick Nunnally was superb. I prefer not to make negative comments about books.

What's the one question you wish you would get asked but never do?  And what would be the answer?
 
I wish someone would ask me about my sheds. (RIP Terry Jones.) 

Could you tell the readers a little bit about yourself?

As you probably learned above, my name is Jelena and I come from Croatia. Been a horror lover for most of my life and when I say that I really mean it. When I was a kid, instead of requesting Little Red Riding Hood as a bedtime story, I pushed my dad to read me E.A.Poe. What else can I say? Well, I’m living with my boyfriend Danijel, my dad Ivan, four cats and a senior dog. I work as an editor, columnist and blogger in several Croatian literary magazines and am an illustrator who is pushing towards as many solo art exhibitions as possible.  

What do you like to do when you're not writing?

That’s a tough one as I am writing something most of the time; if not for my job, than working on my books. Except from that, I love spending time with my family, playing with my pets; I do some gardening and am playing piano and bass guitar every now and then. 

Other than the  horror genre, what else has been a major influence on your writing?

Life itself. I enjoy human psyche in all its shapes and forms and I think we can all agree that human behavior is an endless source of inspiration. 

The term horror, especially when applied to fiction always carries such heavy connotations.  What’s your feeling on the term “horror” and what do you think we can do to break past these assumptions?

Well, I could write an entire book on this topic, but let’s make it as short as possible. Horror genre in general (as every other genre) has some bad seeds. If we look upon the horror that focuses mostly on visual shock and gore, we can’t expect that everyone will like it or just learn to like it. But then there is horror that has a message behind all the blood, terror and psychological “poking”. Horror can be a great way to push people to think about life and the society they live in and make them think of ways they could improve. How to break the assumptions? By showing quality, relatable topics, include mythology and other similar topics into the whole community. Most of all, we can show other people that we don’t kill people out of hobby and that most of horror appreciating community are people just like any other. We can also tell them that we like ice cream…that always helps. 

A lot of good horror movements have arisen as a direct result of the socio/political climate, considering the current state of the world where do you see horror going in the next few years? 

I really don’t know and I’m a bit afraid to write of the ways it could go considering the currant situation. Let’s just hope that world domination, mass murders and all other similar topics remain on the big screen and in the books. 

What are the books and films that helped to define you as an author?

It would be great if I could name only horror and thriller movies and books, but the truth is that everything I have watched and read shaped me into the author I am today. You can’t only look upon good stuff you’ve seen/read. The poorly executed work has influence on us as well. 

What new and upcoming authors do you think we should take notice off? 

I’ll be a bit short on this one and would like to take the opportunity to mention a fellow Croatian writer named Viktoria Faust. 

How would you describe your writing style?

Straight down to the core honest. A bit cynical. That type of writing that makes you think about yourself and your beliefs. 

Are there any reviews of your work, positive or negative that have stayed with you?

I am a lucky one and for the most part reviews have been great. But there are some funny stories about people who didn’t understand my books. When I published the first Croatian edition of Shtorka (the book is about a young girl suffering from schizophrenia that talks to her in an archaic language, forcing her to kill everyone who deserves punishment) one girl contacted me, asking if Shtorka is in reality a cat. Yes, you have read it correctly.  

What aspects of writing to do you find the most difficult?

I don’t find writing difficult at all. Everything that comes after writing is much harder. 

Is there one subject you would never write about as an author? 

Never thought about that really. Straight out of the head-there isn’t. 

How important are names to you in your books? Do you choose the names based on liking the way it sounds or the meaning?

I use names of my friends and their children in books that are not so gory. And in some books I try to think of names that are different because I think every character should be an individual. 

Writing, is not a static process, how have you developed as a writer over the years?  

Fantasy was the genre I started in. It was also dark, but still fantasy. Then I moved on to Sci-Fi before finally discovering that horror and thriller are genres that suite me the most. 

What tools do you feel are must-haves for writers? 

Brain and a normal amount of ego. :D         

What is the best piece of advice you ever received with regards to your writing?

Any story needs to be logical no matter the topic. 

Getting your worked noticed is one of the hardest things for a writer to achieve, how have you tried to approach this subject?

As I have started of in Croatia, I tried to focus on the reviews and reaching out to media. Time did the rest. Now, my best strategy is by doing the same thing and along the way I am trying to promote Croatian mythology as it is the topic more relatable to a bigger specter of people. 

To many writers, the characters they write become like children, who is your favourite child, and who is your least  favourite to write for and why?

Well, I would say that books are my children, not the characters. Why? Because I end up killing most them in the end so I try not to attach myself to them. If I had to pick someone let me pick two from the book Shtorka. Era Torin would be my favorite because she is fragile; a murderer, but fragile. And the one I hate most is probably Amon Amnest because he is a hypocritical child molester. 

What piece of your own work are you most proud of?

 You can’t ask a mother of books that question. Just kidding. I am actually proud of everything because I can see personal growth in each sentence. 

And are there any that you would like to forget about?

No. None. 

For those who haven’t read any of your books, which of your  books do you think best represents your work and why?

I think Shtorka and Shtorka Manifest best represent me because I have written them to my liking, not thinking about what other people will think of them. 

Do you have a favorite line or passage from your work, and would you like to share it with us? 

The first contact of Shtorka to Era: 
May I be here and by thy side linger, while the world is cracking and dense roots over you it grips. Devoted will I lie in the darkness of the attic, till your luck bares fruit. May this darkness be holy because in her lap I shall nurture you.

Can you tell us about your last book, and can you tell us about what you are working on next?

Well, this is actually the first time I am telling it out loud, but I am working on the third book in Shtorka series. Last book was Shtorka (part 1) translated and published in English. 

If you could erase one horror cliché what would be your choice?

The human stupidity of running upstairs to save themselves. 

What was the last great book you read, and what was the last book that disappointed you?

The last great book was I read was S. King’s Bag of Bones (I know, I know…am a bit late to the show) and the worst…let me just remain quiet there. 

What's the one question you wish you would get asked but never do?  And what would be the answer?

J: Question: Would you like twenty million dollars, no strings attached? Answer: If you insist. 

Don’t judge me on this last one. You are thinking it as well, aren’t you?