Preview of my interview with The Speculative Edge Issue #1

July 21st Interview with George Wilhite By Shane R Collins George Wilhite has had an eclectic writing career. He earned his masters in American literature from Sonoma State University. Wilhite serves as a contributing editor for Static Movement and regularly writes book reviews for The Horror Review. He self-published his first collection of short stories, On the Verge of Madness, in July, 2011 and his second collection, Silhouettes of Darkness, was picked up by Musa Publishing and is scheduled to release September 28th, 2012. Currently, he is penning his first novel. Collins: Your first collection you self-published but your second collection is through a traditional publisher. How do the two experiences compare? Wilhite: I decided to self-publish the first time just to get a book out. I was having some success with publishing individual stories, though still for little or no money, but no luck with a publisher willing to release a collection. Collections are much harder sells than novels. I have no talent in the area of graphic arts, so I knew I needed help with the cover. For a reasonable cost, the publisher, Lulu.com, provided a serviceable enough cover, but nothing extraordinary. To be honest, the most interesting element of the cover is the photography from my wife I offered as base material. Another struggle of self-publishing was the editing. I didn’t have much money to spend so I just went over the manuscript several times myself, and my ever-patient wife did so a few times, and I also enlisted the help of some fellow writers. While the process was all rather painstaking, it was worth the effort to have an actual book to promote. So far, the process with Musa seems different in just about every way. I had already been through the stories individually, and the manuscript as a whole, just as many times as I had with On the Verge before submitting it to Musa. The great thing now is that they will bring a fresh set of eyes to the final editing process and--thank goodness!--a talented artist to create a book cover. It is a great relief to let these specialists help make the book the best it can be and to tap into their existing marketing and distribution. Collins: Why do you enjoy writing horror over other genres? Wilhite: I think one of the main reasons I write horror goes back to writing from character. This genre exposes defining moments for human beings, in the sense that moments of terror, of confrontation with fear and trepidation of the unknown, even the unknowable; bring out the best or worst in us. If you read firsthand accounts of war, this same kind of juxtaposition of wrong and right, kill or be killed, comes up time and again. Films like“Platoon” and “The Hurt Locker” presents these kinds of themes well, and I think horror provides similar insight into the primal self within us all. Collins: Once your second collection comes out this October, what’s next on your writing agenda? Wilhite: I am currently writing my first novel. The novel is the first in a planned series “Intrepid City.” I have spent considerable time creating a huge backstory for this series, so if the first book catches on, I hope to find a publisher interested in committing to the series. Intrepid City exists in an alternate universe where demons, humans and Halflings co-exist. The Underworld is still home to plenty of demons, imps and other creatures and the stories I have planned have much to do with the intrigue between their world and ours, which they call Up Above. The main character is a private detective/gun for hire, a demon who has come to appreciate humankind and chosen to live among us, passing as human. These unique qualities lead to his involvement in cases and adventures featuring many different infernal creatures, and some cameo appearances from some well-known humans from our past, damned to The Underworld. It has been great fun to write. Collins: Do you have anything specific that you want to say to your readers? Wilhite: No matter how dark the subject matter of my work gets at times, there is an undercurrent that human beings can survive even the most savage and effective attacks from supernatural forces. Even my stories with disturbing endings, either open-ended or bleak, normally have some aspect the reader can cling to and think “well, if Wilhite decided to continue this, it is possible things could be resolved.” Rarely do I just leave my characters in some kind of existential chaos. Collins: Do you have any advice for other writers? Wilhite: Just do it. In today’s extremely competitive market, you must write for the love of writing. If not that, writing must provide some kind of release, outlet for emotions or pain, or perhaps a taming of a personal demon. In short, there better be something in it for you, because the likelihood of even earning a part-time salary from it is a pipe dream. Now, that doesn’t keep yours truly from “keeping that pipe lit” and pursuing the dream myself; I am just saying the money, fame, whatever great commercial success would provide, cannot be the reason you write. If that is your only motivation, it will show in your writing. If you love to write, write. Write often. *To read the rest of this interview, be sure to check out the August issue of The Speculative Edge!   Their website link: https://sites.google.com/site/thespeculativeedge/home

A Conversation with Horror Writer and Director Brianna Stoddard

Today's guest is Brianna Stoddard, a writer, editor, screenwriter and director of horror and erotica. We are fellow editors of themed anthologies at Static Movement. Brianna is here to talk about her work and writing process. Please check out her web site and Static Movement Calls for Submissions at the end of tis post.

Welcome, Brianna. Much of your own work and the anthologies you edit contain elements of erotica. Did you start writing erotica first, then crossover to the horror genre, vice versa, or has your writing always had elements of both?

I started my first “professional” novella when I was 15, but it took several more years to finish it as life got in the way. I had been writing ever since I was young, but that is my first piece to get accepted and published. Which by the way, is a lesbian erotic story now named How much is love worth? It is available now in many places around the net.  So yes, I started initially in the erotica genre but moved onto many more. I can’t specifically stay in one place since I find I can have more fun bouncing around and seeing where it takes me. For me, I enjoy writing horror the most. I guess I just have a wicked imagination.

The theme of our anthology Ruby Red Cravings is vampires, a theme that has been visited many times. What was your approach to keeping the book fresh and unique?

I didn’t really have to ask for much, I just asked for original and that’s what the talented authors gave me. I only slapped it together. I owe the great stories to them, although I did give some ideas that were used in the stories.

Your own three contributed stories for Ruby Red Cravings all have a common thread-children as vampires. Is this a theme you have developed, or plan to, in other works?

I am not the first and I probably won’t be the last, but yes I hoped I was the first to think of them with a vicious “killer” personality. I would love to write a children’s or young adult book to that effect. I just have to decide how far I’m going to go, it all depends what age group it is appropriate for. I will enjoy that. Some pretty good ideas are already coursing through my brain begging for attention, thanks for giving me the idea!

Your website states you are also a screenwriter and director. What kinds of projects are you working on, or have completed, in these areas?

I am sadly having trouble directing films in my hometown right now. But I have two Christmas videos I have filmed of my daughter. I am putting them up for Christmas on my YouTube page this year. I just hope good luck comes my way to get more done. I am on the verge of selling my first screenplay, so I am really excited. I have two completed right now to sell, a horror and a lesbian romance. I am sending my romance in to an agent in New York, so we’ll see. I have too many fighting for my attention though. I will be busy busy busy- for a long time.

What is/are your current writing project(s)?

I am trying to get into any anthology I can while waiting for agents for my screenplays and children’s books. I try what I can to fill my own anthologies for Static Movement while I also advertise as much as I can for my books on the market. I’d love to see more sales in that area. No one ever said writing was easy or always paid a bunch of money, but I am working toward that goal and I wouldn’t trade it for the world.

What writers and books have influenced your craft and how?

Everyone I meet through my editing has an awesome talent, and I am constantly surprised. I have read many stories to get me inspired and to learn new words I haven’t heard. Plus it always helps to think of something no one has discussed. But my biggest inspiration comes from Marquis de Sade , JK Rowling, and Stephanie Meyer. They are my favorite writers of all time and they inspire me to reach for my dreams. JK Rowling had it pretty tough, which is kind of where I am, so if she can become that successful- then why not me? Kevin Smith, Quentin Tarantino, and Tim Burton are my favorite directors. They inspired me to write screenplays and to become a director. I hope someday I can meet those amazing men.

Thanks for stopping by, Brianna, and good luck on all your endeavours.

Brianna's Web Site: http://briannastoddard.webs.com/

To check out Brianna's current Static Movement calls for submissions: http://staticmovement.proboards.com/index.cgi?board=briannastoddardantho

Brianna Stoddard is a 26-year-old redhead from Pennsylvania. She writes, edits, designs amazing costumes and clothes, all while trying to manage single parenthood with two crazy (but very loveable) kids. She can be found on Twitter, Myspace, and Facebook. Stop by and check out her site. She always loves meeting a new friend!

When Love Bites by Vanessa North, Author of Two in Winter

Today's blog is an article contributed by Vanessa North (TWO IN WINTER-see cover and purchase links below), about writing paranormal romance love scenes.

When Love Bites

by Vanessa North

When I began writing about the Ushers, I had vague ideas about the world-building aspect of the series. I knew I wanted to set the scene in contemporary America, and I had this vision in my head about about a private school campus in western Massachusetts that had been taken over by wolves in the 1970s, and the Amazon Compound was born. My characters look and dress like humans, talk like humans (except the Guides, they’re a little stuffy sometimes) and for the most part live in a dictatorial society. But, world-building in paranormal romance ends up involving more than just setting and clothing and customs.

As  my hero, Jack, says to his mate, Bianca, “We aren’t human, why would we mate as if we were?”

In other words, somehow, with my werewolves, I had to create a mating ritual, something sacred to the species that would bind the two wolves together in something like a marriage. Now how does a girl who blushes at sexy scenes in R-rated movies go about creating a mating ritual between werewolves?

Step one: Pour a glass of wine. No, a bigger one.  Pick up a pen and start doodling. Realize the doodles are slightly pornographic. Blush. Burn them before spouse or children see them. Start typing on the computer, get distracted by Tumblr, Pinterest, and Twitter. See a photo of a man with a hairy chest, remember that werewolves are hairy and oh, yeah.  Writing. Werewolf mating ritual. One last look at that hairy chest for inspiration. Okay. Pour another glass of wine. Start thinking logistics. Do they need to be in a particular sexual position? No, don’t want to restrict the sexy-times for future books, though has potential for more potent dirty talk. Write a few lines of dirty dialogue. Blush. Delete. Okay, scratch the sexual position theory. Ceremonial words? Again with the talk. Love scenes are about action! Write a few lines of action. Blush, but keep them. Now we’re getting somewhere, and the characters seem like they’re getting somewhere too, but how do we make it special, not cheesy, and still sexy? Back to Tumblr for more inspiration. Did you know Tumblr is like a cross between blogging, tweeting, and porn? See something on Tumblr that can’t be unseen. Oh. Blush. Exit browser and vow never to look at the internet again. Bleach brain.

Now. Where was I? Did I mention that my weres are feminists? Oh, dear. That lends a whole other dimension to this. What if the mating ritual is inherently tied to the male “claiming” the female, marking her in a way that other males will know she is his? How sort of barbaric and totally anti-feminist. Now, how do we get our alpha females to accept this? Well, they’ll have to do some claiming and marking of their own, won’t they?

Brain is now churning out all kinds of ideas and a mating ritual is being established.

Write it. Read it. Revise it.

Really, the most important thing is to remember that while the characters aren’t human, the readers are. They want a story that will resonate and feel authentic. So the sexy stuff needs to be that way too. If the characters are behaving—even in bed—in a way that is consistent with their goals, motivations, and conflict, the readers will understand and respond to that. Make the ritual serve the story, and it will all work out.

PURCHASE LINKS:

Amazon

LSB (Liquid Silver Books)

All Romance Ebooks

Another Ray Bradbury Tribute by David S. Pointer

David S. Pointer (full bio below) is a poet and frequent contributor to my Static Movement anthologies. As a follower of this blog, he noticed I posted Ken L. Jones's tribute to Ray Bradbury, and sent me his own tribute as well.

Ray Bradbury Rides Again

David S. Pointer

The bio-engineered angels

attend Ray Bradbury’s second

service, reanimating him then

fly into deep space where acres

of prescription pills are being

planted as seed crop in misshapen

soil mounds and decorative pod

gardens for the outer space elite

as Ray points to an earthly period

between 1904-1913 when a private

entrepreneur bought up most of the

American medical schools while

partnering with FDA for increased

profits with pills replacing natural

plant medicine, green soon plowed

asunder as Orwell crawled in his

Indian crib and Bradbury circled

this old earth one more time then

asked the angels for anatomically

correct space wheels equipped

with a steam computer fishtailing

on up into unknown atmosphere

About the Author: David S. Pointer has published social and political poems in the small press scene for 22 years. In 2007, while taking a surgical technology program, David decided to add horror and Science Fiction poetry to his writing arsenal. David was also influenced by Ray Bradbury when he was a child and teenager. Recently, David has a new chapbook released entitled “Sinister Splashplay” at “Virgogray Press” available at www.lulu.com. David’s work has recently been published or will appear in “Weird City 3,” “Mass Dissidence” “Science Gone Mad” and other “Static Movement” anthologies. Moreover, David will have poems in all three anthologies “Indiana Crime 2012,” “Indiana Horror 2012,” and “Indiana Science Fiction 2012.” Finally, David will have a flash fiction story in the upcoming anthology entitled “Battlespace.” This anthology is a fund raiser for wounded veterans participating in the Warrior Cry Music Project which helps veterans heal through the arts.

In Memoriam: Two Poems for Ray Bradbury by Ken L. Jones

Today's guest is poet, horror author and comic book scribe Ken L. Jones. A short bio is included at the end of this post, but to add some context to the poems, Ken had the opportunity to meet Mr. Bradbury so these are memoirs of a friend as well as honorary words from a fan. The first poem is written in memoriam, the second was written by Ken wrote a couple of years ago for Bradbury's birthday and was passed on to its honored subject by a mutual friend. 

Dirge for Ray Bradbury

by Ken L. Jones

Red Planet nighttime

Strolls along a beachside as it fades away

Into everything all at once

A spoonful of campfires lights my way

That has the rhythm that burns all books

And like a merry-go-round reversing at super speed

He is gone, he is gone

And from what was once like a carnival of snow

Falling on the earthlings below

He says here’s to all the dreamers

Who are still alive now carry on

And now it is time for me to go

To be the singer of the poetry

Of what awaits us all on the other side

My words are my voice I have left behind

Be good to one another

Oh man be kind

Until I see you again some other time

The Man Who Photographed A Painting of Suddenly The Impossible Happened

(For Ray Bradbury)

 by Ken L. Jones

　

Empty rusty iron beaches

Whose cliffs are like Buddhas

That have lost their heads

Offer me a penny

For my kick the can

Floating thoughts

But I tell them I am too busy

Reading a copy of

Jack In The Beanstalk

That I saved from the fires at

The library at Alexandra instead

While I make a breakfast

Of the glistening White Chapel fog

That twirls around my head

I am strangely sad

Like a shadow puppet

I am unrecognizable in all

That I will never understand

I want to be more unreal

Than a tape recorder

I want to be more than pouring raindrops

Twirled by a ceiling fan

I have yet to find out if there is a Statue of Liberty

On the dark side of the moon

Or why Alpha Centauri

Performs a ballet in the summer sky

I want to live forever

Like I was a comic strip character

I want to pull out the intestines

From the word goodbye

But the open sea’s crashing waves

Walk about on stilts made of riptides

That end in shoes of tangled kelp

Night is coming on

Like a lost child unbidden

Yet my muse has on

A kimono that is very Dionysian

As it parts to reveal

All that I have ever

Truly wanted or care about or felt

I am grown old and my body betrays me

But like Quixote

At windmills I continue to tilt

Still blessed with a child’s imagination

After nine decades

Screaming with joy like Tarzan

As I race on foot

Across the African veldt.

About Today's Guest: Although he has been writing professionally for over thirty years and does every kind of writing you can imagine from comic books to doctoring movie scripts Ken L. Jones considers himself first last and always a poet which doesn’t mean that he doesn’t find time to write a lot of horror and other genre style short stories too. His work has appeared in many of the fine Static Movement anthologies of late as well as such companies as Red Skies Press and Panic Press too and to answer your question yes he did have the opportunity to become friendly with the great Mr. Ray Bradbury back in the days when Ken was a famous cartoonist who used to attend the San Diego Comic Con as did Mr. Bradbury.

Bram Stoker Award Winning Author John Everson on his new novel NightWhere

John Everson is the Bram Stoker Award-winning author of Covenant, as well as the novels Sacrifice, The 13th,  Siren and The Pumpkin Man, all released in paperback from Dorchester/Leisure Books. His sixth novel, an erotic horror descent into dark desire centered around a mysterious adult club called NightWhere was released by Samhain in June 2012. He has had several short fiction collections issued by independent presses, including Creeptych, Deadly Nightlusts, Needles & Sins, Vigilantes of Love and Cage of Bones & Other Deadly Obsessions. Over the past 20 years, his short stories have appeared in more than 75 magazines and anthologies. His work has been translated into Polish, Italian, Turkish and French, and optioned for potential film production. He is also the founder and publisher of the independent press Dark Arts Books (www.darkartsbooks.com).

John shares a deep purple den in Naperville, Illinois with a cockatoo and cockatiel, a disparate collection of fake skulls, twisted skeletal fairies, Alan Clark illustrations and a large stuffed Eeyore. There's also a mounted Chinese fowling spider named Stoker courtesy of Charlee Jacob, an ever-growing shelf of custom mix CDs and an acoustic guitar that he can't really play but that his son Shaun likes to hear him beat on anyway. Sometimes his wife Geri is surprised to find him shuffling through more public areas of the house, but it's usually only to brew another cup of coffee. In order to avoid the onerous task of writing, he holds down a regular job at a medical association, records pop-rock songs in a hidden home studio, experiments with the insatiable culinary joys of the jalapeno, designs photo collage art book covers for a variety of small presses, loses hours in expanding an array of gardens and chases frequent excursions into the bizarre visual headspace of '70s euro-horror DVDs with a shot of Makers Mark and a tall glass of Newcastle.For information on his fiction, art and music, visit John Everson: Dark Arts at www.johneverson.com.

John is our guest today, here to talk about his writing, including his latest novel NightWhere. Follow this link to The Horror Review to see my full review.

• Amazon.com
• Barnes & Noble.com
• Kobobooks.com
• Samhain Publishing.com

 Well, John, I just finished reading NightWhere and I have to say “wow.” It is one of those horror novels that just devastates the reader. I will leave it to you in my questions whether we will include spoilers, but please tell us how the idea came to you.

I wish I could remember! I thought of the idea for NightWhere over a decade ago, before I finished the last draft of my first novel, Covenant. A lot of my short fiction up to that point had dealt with obsession – and the dangers of following desire down, down, down into the rabbithole. My first collection of short fiction, Cage of Bones & Other Deadly Obsessions, dealt fairly exclusively with erotic horror – deadly sexual obsessions. So I suspect the idea of a sex club that lured people in and put them on an increasingly dark and debauched path came from the same place as those stories. We all have desires that we yearn to quench, but know that we should not. But what happens when we do. And then go further?
uench, but know that we should not. But what happens when we do. And then go further?

NightWhere is basically the story of what happens to someone who gives in to their forbidden sexual desires 100%... and then takes it farther.

One of the emotionally driving forces of the book, which I think sets in apart from other extreme graphic horror I have read, is Mark’s love for his wife Rae, regardless of the depravity she has spiraled into. Was this part of the original concept, or did you realize later this was necessary?

No, it was always part of the concept -- Mark’s love for Rae is the crux of the story. It’s his love for her that makes him first stay with her when she’s sleeping with other men and then it drives him to chase her through the degradations of The Red to try to bring her back home. In a way it’s like the old Greek myth of Orpheus following his wife Eurydice into the Underworld to try to rescue her.  Love is strong, but can love truly conquer the darkness in the soul, once set free?

I know from your other books you don’t hold back when sex and violence are integral to the story you are telling, but was it difficult to write a book that had extreme sexual content in almost every chapter?

The writing was easy, but I was worried throughout that I was going to either “go too far” or, perhaps, “not far enough.” There were a couple scenes where I considered dropping some of the perversions that are inflicted on Mark. But ultimately, I decided that they were what the novel called for. I had to put them down. 

I also worried a bit that with the amount of “swinger” stuff in the start of the book, where Mark’s and Rae’s relationship is established, that I might lose some of the horror crowd looking for a monster on page one. I was concerned that the book might have too much sex for the average horror fan and way too much horror for the readers looking for dark erotica. But… in the end, I just told the story and tried not to worry about tilting it to appease one audience or another.

Your last novel, The Pumpkin Man, took place in coastal Northern California, not far from where I live, in fact. What drew you to this area as a location? Was it important to set that particular novel there?

The Pumpkin Man and my previous novel, Siren, were both set there, in fact. The Pumpkin Man is really based on the town of Jenner, while Siren takes place a little farther north. I set both books in that locale because I love that area of the country. I’ve visited San Francisco more than any other city outside my home of Chicago, and it’s the place I’d move to in a heartbeat if I could. When you drive the coast north of the city, the landscape gets increasingly beautiful – and remote. There are places just a half hour out of the city that are desolate and remote and beautiful and feel like you’re a hundred miles from anyone. That kind of physical setting is perfect for a horror novel (or a horror movie -- Hitchcock used Bodega Bay for The Birds).

For Siren the location was a natural – a rocky coastal region near the ocean is exactly the setting a Siren would be found in. For The Pumpkin Man, that setting was less called for; the story could have taken place in the cornfields of the Midwest (and that would probably be expected, given the title). Instead, I decided to flip the location. My two protagonists from Chicago inherit a cottage near the ocean and decide to go check it out, since they’ve also both just lost their teaching jobs thanks to the annual RIF layoffs. They end up locked in this isolated town where horrible murders are happening (people getting their heads cut off and replaced with pumpkins carved in their own likeness). But since the killer seems to be following Jennica, our heroine, she can’t really do much other than stick it out and try to solve the mystery of The Pumpkin Man at his apparent source, before he finally cuts too close to home.

I was lucky because I had two different business trips that took me to San Francisco during the writing of those books, and one of them, as I was wrapping up Siren, gave me the opportunity to tack on a day of vacation. So I rented a car and drove up the coast for a day and night (I stayed just a few miles from Jenner). I shot a lot of pictures and video to help finalize last descriptions in Siren and to firmly set the location I planned to use as the backdrop of The Pumpkin Man.

Please describe your writing process, and whether it remains consistent form one book to the next.

My process has varied from book to book. Covenant, my first novel, was written very slowly, in little starts and stops over the course of several years.

I used National Novel Writing Month (NaNoWriMo) back in 2002 to jumpstart  Sacrifice, the sequel to Covenant – It had been more than two years since I’d wrapped the first draft of Covenant, and I knew I needed to begin a new long project. So I dove in to the “write a novel in a month” challenge, and wrote more than half of that novel (50,000 words) in three weeks. Of course, I was sick for the whole next month afterwards, from burning the candle at both ends and it took me over a year before I went back and finished the book.

The 13^th was the first novel I wrote once I was contracted to Leisure Books, and for that novel, I forced myself into a more steady writing rhythm, writing once a week after work at a bar (I go there straight from work and dive right into writing instead of losing hours at home before beginning work). I did some writing during the weekends on that one as well. It took me about 11 months from start to finish.

For Siren, The Pumpkin Man and NightWhere, I kept with the once-a-week “big progress” writing night at my local bar after work (which gives me a solid block of 4-5 hours of writing time), but I also forced myself to get up early before work and knock out a few hundred words a day. Since all of those novels were contracted books with deadlines, I set up word count goals that I needed to hit every week, whether I made the word count goal in two mega-writing sessions or seven small 1,000 words-a-day sessions.  And for NightWhere, I quickly abandoned the morning writing sessions (I hate getting up early) and did a lot more work late at night in my basement, where I could light candles to help the mood and play good soundtrack CDs from bands on the 4AD label, or The Cure’s live DVD performing the album cycle of Pornography/Disintegration/Bloodflowers.

What advice would you give a new horror writer in the current publishing environment?

First, I’d say to hone your craft by writing and submitting a lot of short fiction. I think writing lots of short stories helps a writer find his/her voice and rhythm, and can teach a lot about how to develop characters and plots without investing a year of your life on a giant novel project. It allows you to rack up publication credits as well, and start building some name awareness in the horror community.

A lot of people in the current climate will disagree, but I still believe that writers should work with traditional presses to publish their books. Whether they are well-known indie presses like Cemetery Dance, Bad Moon Books, Delirium or Necro, or midlevel houses like Samhain or big NYC houses like St. Martin’s,  Random House, Signet, etc., I think working with professional editors is an important part of learning how to be a better writer. Lots of people are seeing the e-book revolution as a great excuse to “shortcut” the process. “Who needs a publisher?” they ask, and proceed to pummel readers with all the shit that they could never get published in the past. There are times when the freedom of e-publishing is a good thing, because certainly there is good stuff that never managed to get a good publishing deal. But if you’ve never managed to get anyone of note to buy your work before? It may be that you need to work on your craft a lot more before anything you write should be published. That’s why we had gatekeepers called publishers. To read the slush piles of half-baked stories and seek out the ones that were actually worthy of being promoted.

Sometimes the new age of “instant self-publishing” allows great new stuff to hit the public fast. But mostly? There’s a reason much of that work didn’t sell before. And it shouldn’t sell now.  Self publishing is too easy. Anyone can write. But the world of publishing is supposed to reward those who are really good at it by offering them promotion and widespread distribution and a decent check at the end to compensate all the work and struggle the author put in to become a professional author. Call me old fashioned, but if you really want lifelong success in writing, I still believe you usually have to work a little harder than scribbling out a story on Sunday and posting it on Kindle on Monday.

Where do you see the horror genre going in the next ten years?

People have asked me this before, and honestly, the answer is … nowhere. And that’s OK. Horror isn’t so much an evolving thing as a “constant” – a genre that allows  people to explore their deepest fears. Some of those fears are 100% universal – fear of the dark, fear of being killed, fear of having your most precious things taken unexpectedly away from you by a force you can’t control. Every generation has their own particular boogeymen based on what’s going on in popular culture at the time, but the basic tenets of horror go back to the same fears that we had 100 or 1000 years ago. The monsters may change, but the fears that create them don’t.

Horror will continue to deal with those fears.  And we will always have them.

What are you working on now?

My seventh novel, which I started working on a few weeks ago, is called Violet Eyes. It’s a story about a recently divorced woman and her son who have just moved to a town near the everglades to escape her abusive husband. But they only just begin to settle in when the town is overrun by spiders. But these aren’t your normal house spiders… these spiders have been bioengineered for a covert purpose. They have purple eyes, and they seem to be hatching from people’s heads. And just when you thought that was bad enough… the hordes of purple flies descend.

For those who’ve read my short story collection Creeptych, you’ve already gotten a taste of Violet Eyes in the novelette “Violet Lagoon” which was essentially an expanded version of the intended prologue to this novel. I outlined the book three years ago, and then wrote the Creeptych closing story based on the future book’s prologue outline.

Now I’m finally letting the spiders have their day.

Ron Koppelberger, author of "Raven's Blood" chats about his writing

Buy from Createspace

Raven's Blood

by Ron W Koppelberger

A Book of dark and dreamlike poetry. Imagine a world of dreams. Imagine a world where shadow and light combine to create an image painted in whispers, in silent contemplation, in dreams of what is and what has been. Imagine a selection of dark poetry that stirs the soul and captures the innermost wont of our desires and aspirations. Raven's Blood is a collection of poetry created in hours of silent contemplation and wonder. Come imagine the world in half-lit splendor and often with just a touch of fear.

Ron Koppelberger began writing when he was ten years old, his grandparents gave him his first typewriter. He has written 103 books of poetry and 18 novels. He has published 682 poems, 736 short stories and 143 pieces of art in over 256 periodicals, anthologies and books as well as in 11 radio broadcasts. He loves to write and nothing thrills him more than seeing his work in print. " The creative process is a thrill for me as is influencing the reader in a positive way, in a thought provoking way. One of my primary goals involves touching the reader and giving them a gift, the gift of a long forgotten memory or perhaps a special insight that may not have been apparent."

Ron stops by my blog today to discuss some aspects of his writing.

Welcome, Ron. We are acquainted through Static Movement. I believe you have appeared in every themed anthology I have edited for them, and almost all your submissions were poetry and flash fiction. Do you enjoy writing longer stories and novels? Which do you prefer and why?

I enjoy writing flash fiction because it allows for me to get the idea on paper,  quickly and in a short bursts.  I feel that some of the best and most profound fiction is flash fiction,  of course nothing beats the involvement of writing a novella or a novel or even a longer story.  Poetry is kind of like flash fiction to me,  I have written 103 books of poetry and it comes to me like eating or sleeping.  The idea is to get the image on paper,  to give the reader something to look at with words and emotions.  I feel I can do this effectively with a good piece of poetry.  Ultimately I don't have a preference,  the writing in whatever form is a catharsis for me and I enjoy it with a passionate affection.    

What is your writing process? Are you a full-time writer? How often do you write?

I write at night,  or in the morning.  My day begins around 1 or 2 A.M. in the morning and continues on throughout the day, sometimes as late as 8 P.M.  I enjoy the privacy of early morning hours and most of my really good writing takes place in the early hours of the morning.  I am a full time writer and poet,  I like to devote 6 to 8 hours a day writing and sending in submissions.  As far as writing I try to devote some time every day to writing,  I think that writers who say they don't have enough time are joking,  you can accomplish a great deal with only two or three hours of writing a day.

Who are some of your favorite writers and why? Do you read a lot? Do you think that’s important for a writer?

I am a big fan of Lovecraft, Poe, Bradbury, King, Koontz, Straub, and others to numerous to mention.  I enjoy the writers listed because I can connect to them at some level.  A good book is an adventure,  an emotional experience that is meant to enrich us in spirit and soul,  that's what I look for in a writer.  I read as often as possible,  I believe a good writer has to be a reader first.  Experience comes with reading and the experience teaches us how to communicate better,  more effectively.    

Where do you see the horror genre headed in the next ten years?

I think the craft of horror writing and writing in general is headed for new horizons,  with Kindle and Nook the profession is getting a shot in the arm.  I think that a burgeoning company like Static Movement for example is a writer's greatest asset,  one of mine for certain.  The field of horror is subject to societies evolution and it's continuing desire for the genre.  I think the field of online and electronic endeaver are just begining to be created and that birth is an advantage to the aspiring Horror writer and poet.

What are you working on now?

I just finished a book of Dark Poetry called Raven's Blood (Available through Create Space-see my link above-gw-),  and I am currently working on my next volumn titled "A Butterfly Whispers".  In addition I find myself working on the new Static Movement Anthologies and with several of the new editors.  Within the next year or so I am hoping to publish the first installment of my epic poem called "August Snow".