And we got another one on the calendar. Below, in order, are the upcoming events I’ll be vending at as an author in 2022. If I’m lucky, some of you may even be able to stop by and say hi!
First, ParaPsyCon III will be held May 21stand May 22nd at the Ohio State Reformatoryin Mansfield, Ohio. This is a cool gathering of ghost hunters and paranormal investigators, psychics, authors and so much more. And it’s held at one of the coolest locations on Earth, the Ohio State Reformatory, a former prison that’s now a museum, film set (Shawshank Redemption was filmed there) and one of the most haunted locations I’ve ever been in. Cost of admission is just buying a self-guided tour to the prison, so stop by if you can.
Then, on June 4th, 2022, I’ll be attending the Ohio Author Book Fair atthe Destination Outlets outlet mall inJeffersonville, Ohio. This is a new event I recently heard about from a friend of mine, and I know one or two of the hosts, so it seems like a good time. Anyway, stop by and say hi if you can. You can do some shopping for books, then check out the shops, grab a bite, and play some mini-golf (they apparently have a small course). You don’t necessarily have to go in that order, but I would like it if you stopped by at some point.
And finally, I’ll be at the West Virginia Penitentiary Paracon on August 13th at the West VirginiaPenitentiary in Moundsville, West Virginia. Like ParaPsyCon, this is taking place at a former prison that’s reputedly haunted and will feature ghost hunters and paranormal investigators, psychics, authors and so many more. If you can stop by, please do. More information on the event will be posted as we get closer, but you can get updates by liking the Event Facebook Page. Hope to see you there!
Well, that’s all for now, my Followers of Fear. I got Spider-Man: No Way Home on Blu-Ray, so I’m going to go watch that. Tomorrow I’ll start prepping the apartment for Passover. And after that? Well, we’ll see what happens. In any case, I hope to see you at one of these events. I know you all live all over the world, but a guy can hope.
Anyway, until next, good night and pleasant nightmares!
I heard a movie based on this book was coming out later this year, so I thought I would check it out. And since I had to drive up to Cleveland yesterday (it’s a Passover thing, don’t ask) and the audio book was long enough for the drive to and back, I thought I would listen to it. I started as I pulled out of my parking space and finished about a mile from my complex on the way home. And I have to say, it certainly added to the drive.
Set in an unnamed village on Halloween night 1963, Dark Harvest follows Pete McCormick, a teenage boy who is participating in the Run, an annual harvest ritual where he and the other teen boys in town chase a living pumpkin-headed scarecrow known as “Sawtooth Jack” and “The October Boy.” The kid who manages to catch and kill Sawtooth Jack before he reaches the church in the center of town by midnight wins great prizes for him and his family, including the right to leave the village. Pete is gearing to win this year, even if it means breaking some rules, but he soon finds out there’s a darker truth to the Run. And losing might not be the worse thing in the world.
I have to say, while I was able to predict certain things, I enjoyed the story. I was sucked in by the immediate weirdness of the tale and by the haunting atmosphere. There’s this explosive potential in the narration and the reveling in violence and death that comes from the story. It really fits the Halloween vibe, as well as the cruelty and nihilism that comes with it. And while some things were predictable, as I said, it’s such a joy watching them unfold.
That being said, the style of narration was kind of annoying at times. There’s a lot of addressing the reader and rambling on the thoughts of individual or multiple characters. Great, it’s lots of psychological flowery language, but I would like to reach the next exciting bit of the story, and what does this all add to the overall book?
That, and it wasn’t really explicit about why the Run exists. It’s hinted it’s some sort of pagan ritual to help with next year’s corn harvest and keep people in town, but it’s never really spelled out or how this sort of thing began in the first place. Mostly, you hear stuff about how the Run is part of a way of life, but that only explains so much.
Still, I had a great time with this novel and was glad I finally got around to reading it. On a scale of 1 to 5, I’m giving Dark Harvest by Norman Partridge a 4.3 out of 5. It’s a fun little Halloween romp that you can gobble up in a day or so. Whether or not you plan to see the movie version, if you haven’t read this one and love your Halloween stories, I recommend checking it out.
That’s all for now, my Followers of Fear. I hope to have some exciting news out very soon. Until next time, good night and pleasant nightmares!
The editing process can take a toll on authors’ mental health, no matter their experience.
As I’ve mentioned more than once (especially during the past few weeks), the publishing process for Rose was something of a roller coaster for me. At least, it was on the mental health scene. There were days and weeks I was feeling on top of the world, and then there were weeks where I was freaking out and wondering how the hell I would ever get this novel into a state fit for publishing.
It’s been nearly three years since Rose was released, and I’m older, wiser, and I want to say calmer. However, I know that roller coaster could start up again during the editing process of Hannah and OtherStories, so I’m writing this post. Both as a reminder to myself, and to help anyone who might go through something similar with their own upcoming books.
Here’s are some tips for getting through the editing of publishing of your upcoming book and the mental health rollercoaster that it is.
First off, remember that this is natural. There’s nothing wrong with you, you shouldn’t be expected to stay happy because you’ve got a book coming out (whether it’s your first or your 247th), and every author goes through difficult periods in life. We have human brains, and those brains, while being the most advanced supercomputers on Earth, have some quirks built in. Our neurochemicals don’t always act naturally, and life can upset those chemicals as much as genetics. So if you’re having a bad period, don’t heap further stress on yourself by being upset with yourself. Just remember that this will pass and good periods will happen as well.
Our brains. Great supercomputers, but they aren’t perfect. So these feelings are natural.
That being said, if your feelings become too much or last for prolonged periods, consult a licensed doctor/psychiatrist/therapist. They may be able to help you with medication, the talking cure, and strategies for coping with those wacky neurochemicals.
And that brings me to my next point: have a support networkand coping methods in place if you can. I know everyone’s circumstances are different, but it really helps to have someone to talk to or multiple people who can come together when you’re feeling down. Having those people who will stand by you and help take your mind off of the craziness of the publishing process can make things all the more bearable.
Not to mention those coping strategies. Taking some time for self-care when you need it improves things immensely. I already have Sailor Moon DVDs awaiting me in my room and ice cream in the fridge. Those are my comfort foods and anime, and they got me through more than a few crazy nights. Not to mention that methods such as hypnosis and meditation, going for a run or dancing, a nice drive, a good book and so many other things, can really help when your mental health starts to spiral.
That being said, certain coping mechanisms should only be done sparingly. For example, I tend to eat more sugary foods and drink alcohol when I’m under stress. Not the healthiest way to deal with my feelings, so I have to be careful not to do it too much.
Okay, now that we’ve gone over the self-care stuff, here are some practical tips when it comes to the editing and publishing of the book:
Edit in chunks or manageable blocks. This is something BSC Publishing Group, which is publishing Hannah, is doing with their clients. Rather than sending notes for the entire book all at once, they send notes for a few chapters or a single story at a time. That way, neither author nor editor is overwhelmed by the process and it feels more collaborative. I kind of like it, as it means I have less of a giant workload to get through, and I can work on other projects in-between chapters. And if you like it, maybe talk to your editor or publisher to see if you can do something similar.
Expect big gaps without activity. You know how you have to wait several weeks or months to hear if a short story is accepted or rejected by a publisher? It’s even worse with a book. Case in point, three months would often go by between submission of a new draft of Rose and getting new notes. And the time between acceptance of Hannah and the first round of notes was about six months. So no, you didn’t do anything wrong. And no, the publisher isn’t ignoring you. They’re just juggling a lot of projects, and they have to devote time to all of them.
Approach each issue/suggestion individually. Finding out your stories has issues, such as a plot hole or a character that doesn’t make sense, or a scene that doesn’t work like you thought it would, can seem insurmountable. Just know that every novel and collection has issues that need work on, including great ones. For Rose (which I like to think is great), after I got my anxiety under control, I went after each problem individually. First I handled the main problem with the antagonist, then the issue presented with the amnesia, and then the monumental problem with the flashbacks, which led to two-thirds of the book getting rewritten. Hopefully that won’t happen to you (though on the plus side, it did rid the book of some problems later in the draft). But taking it one problem at a time does yield results over trying to tackle, and agonizing over, all of them at once.
Remember, the publisher believesin your book enough to publish it. Sometimes, editing the book and guessing what people will think of it, we tend to doubt our own abilities. But remember this: the publisher believes your book is not only good, but it’s good enough that it’ll sell copies and they won’t take a loss on it. And that’s in an unedited state with issues! So if you could write something that good in that state, you’re more than capable of getting it up to scratch for publication. Just keep reminding yourself that and it might boost your spirits a bit.
Finally, keep reading and writing. During the quiet periods in-between drafts or before you go to bed. When you’re wondering how to tackle a problem with your book or when you’re just looking for some down time. When inspiration strikes you or when the new book by your favorite author comes out. Just keep reading and writing. Do it because you love it. Because it’s nice to get lost in imaginary worlds with imaginary problems and imaginary people. Because it’s relaxing and a great way to let the problems of the world slip away. Plus you occasionally get insights from the stories of others to improve your own stories. But that’s not important. It’s important to just sit down and enjoy these activities, because they’re what got you into the storytelling business in the first place and have led you here. And they will lead you onwards from here too.
Rose had plenty of issues before publication, and Hannah still has its share. Still, the publishers for both believe/believed in them to publish them, and that’s an important thing to keep in mind.
Well, those are my thoughts on mental health and the publishing process. I’d include some stuff on marketing, but then we’d be here all night. Anyway, I hope you found these tips helpful. If you think of anything I missed, feel free to put it in the comments. And if you have a book you’re working to get up to snuff for publishing, I wish you the best of luck. You’re in the middle of a tough journey, but you can get through it. And if you managed to get through the trials of writing and editing the book in the first place, you can get through the trials of getting it in shape for the publisher.
Until next time, my Followers of Fear, good night and pleasant nightmares.
A handy graphic for understanding the three act structure, courtesy of Wikipedia.
The other day, I was talking with some other writers about how to write a decent short story (an eternal question among writers, including the ones who’ve gotten them published). And I noticed that, with a lot of my recent short stories, most of them fall into a decent three act structure. And then I said, “I know the existence of the three act structure is dubious, but it’s the truth.”
And, like many odd things, that little exchange has stuck in my head.
So for those of you who don’t know, the theory of the three act structure states that all stories, especially longer ones, can be divided into three separate acts or sections: the setup, the confrontation, and the resolution. The acts may then be divided into smaller scenes or subsections, but they all fit into those categories. Some examples given of stories with the three act structure are Star Wars, Die Hard, and Avengers: Endgame (though I sometimes think everything before the five-year jump is its own separate act or prologue).
While many of us are taught this structure in school, most of our teachers will let us know that not everyone believes in the three act structure, let alone say they use it. Some prefer using a five act structure. Others say storytelling is too complicated and diverse to say a story can be divided into a formulaic structure. And nearly all playwrights will agree that if it can’t be told in one act, tell it in two.
Good example of a story in three acts (supposedly).
That last one might be a joke.
I’m usually of the camp that believes storytelling is too complicated and diverse to boil down into a structure. Look at Stephen King stories. Most of his shorts, like Graveyard Shift, Night Surf or The Boogeyman, are simple one-scene stories with maybe a twist at the end, and I dare you to try to fit books like IT or Salem’s Lot into three acts. Then there are stories like Kill Creek by Scott Thomas or Interview with the Vampire by Anne Rice, which feel like they fit into four acts.
As for my own books, Snake is in multiple sections, much like the books I was reading up to and during the writing process, and I see Rose as in-the-apartment and after-leaving-the-apartment (if you read the book, you know what I mean). I can’t see the stories in The Quiet Game as anything but a progression of events. And I wouldn’t even know where to start with The Pure World Comes or the stories in Hannah.
So, is the three act structure a real thing? Well, yes and no. I feel like it’s more of a framework for people to examine fiction, both others and their own. You don’t have to use it if you feel it doesn’t work for you or if you feel a story has too much happening in it to divide the plot into three separate sections.
But if you do find it helpful, use it to your heart’s content. I’m sure many writers, especially plotters like myself, find the three act structure helpful for planning their stories. And as I said above, many of my recent short stories, including the ones that have been published, fall into three acts. Though I think of them less as acts and more like beats, scenes, settings, or occurrences. And if I’m trying to keep a story within a certain word count, I can see using this structure to my advantage.
So what is the three act structure? It’s a prism to understand some fiction stories through, as well as an actual tool for writing. It’s not perfect, and most stories don’t fit into it that well, but that doesn’t mean the idea isn’t useful. Hell, it might even help you hone your craft and get a few more short stories out there. And that is never a bad thing.
Unless you’re trying to write an award-winning musical. Then you might want to keep it to two or maybe just one act.
That’s all for now, my Followers of Fear. March has just started and it’s already looking a lot better than January and February is (world events notwithstanding). I hope I can update you on exciting developments in the near future. And until next time, pleasant nightmares.
Ladies and gentlemen, we have our first publication of 2022!
Some time ago, I met another Jewish horror writer by the name of Richard Gerlach. There was an anthology being created at the time of holiday horror stories, and we thought we’d team up to write one with a little Jewish flair. We wrote a story set around Hanukkah and submitted it. It didn’t get in, but it birthed a friendship and we both believed in the story, so we kept shopping it around.
Dead of Winter from Dublin Creative Writers Cooperative and Spark Street Media, which contains mine and Richard Gerlach’s story “Azazel Dances.” Looking forward to hearing what you think of it!
Some time last year, the story was accepted by the Dublin Creative Writers Cooperative,* who in partnership with Spark Street Media are releasing the anthology Dead of Winter. And our story, “Azazel Dances,” is featured in the anthology! Which is out today!
Honestly, Rich and I are so excited for you to read this story, which centers on a demon who interferes with two feuding Jewish families around Hanukkah. Not only do we get to add to the ever-growing subgenre of Jewish horror (something I’ve been trying to do anyway), but we worked really hard on this story. Like really hard. Like oh my God, the amount of work that went into this story to make sure it was ready for publication! And it was not easy for either of us to find time to edit it, either. Like, I tried to buy the guy a bottle of wine because we somehow made the deadline despite the amount of work and how crazy our lives got! Sadly, mailing alcohol without subscriptions or memberships to special clubs is troublesome.
The point is, we put in a lot of hard work, and I’m very proud of the work we put in to write and edit this story together. So I hope you read it and see what we managed to create together. And if you like what you read, please make sure to spread the word somehow. Goodreads, Amazon, Twitter, Instagram or TikTok, whatever. Leaving your thoughts online somewhere allows us writers to know what people think of our work, as well as helps other readers decide whether or not to check out the book.
Anyway, that’s all for now. I’ll leave a link to check out Dead of Winter below. Ebook is already available, and paperback shouldn’t be far behind. Either edition, there are a lot of great stories in there besides the one by Rich and me, so it’s worth your while. And while you’re at it, you should also check out Richard Gerlach. He’s a great writer with another story in another anthology and has more on the way. He also writes for Divination Hollow Reviews and is a co-host for the podcast Staring Into the Abyss. You can find him on his Twitter account here, his previous publication here, Divination Hollow Reviews here, and the Twitter account for the podcast here.
That’s all for now, my Followers of Fear. I don’t know how we got to the end of February so fast, but I’m looking forward to whatever March brings. So until next time, good night, happy reading and pleasant nightmares!
*Dublin Ohio, which was used for a short scene in Rose. Not Dublin, Ireland. Just clarifying.
Fairy tales have been on my mind a lot lately. Granted, that’s nothing new. When writing Toyland, I knew fairy tales and children’s stories were going to play a part in the story, since it was about a school haunted by a ghost obsessed with a children’s fairy tale. And yes, I still hope to get that book published.
But recently, I took a class offered by the Horror Writers Association on fairy tales, which got my imagination working. And then I watched a couple of TED talks on YouTube on the subject. And last week, I wrote my own twisted, dark fantasy version of Cinderella in just one sitting while everyone else was watching the Super Bowl. This was at the same time I spent two weeks coming up with an idea for a novel involving fairy tale elements, the idea finally crystallizing on Saturday before going to see Giselle. A ballet, by the way, that could be considered a fairy tale. It certainly has enough fairy tale elements to qualify as one.
All this has made me hyper-aware of just how much fairy tales have permeated our society. Not just as stories or elements of our favorite stories, but in advertising, fashion, music, art, and even our expressions (“Cinderella story,” anyone?). They are freaking everywhere, and used/enjoyed not just by children, but by teens and adults too.
Not exactly. In fact, fairy tales were often for adults as much as children. Early written versions of Little Red Riding Hood were told as parables to warn young ladies about getting into bed with the wrong sort of man, or as metaphors about entering womanhood (especially if cannibalism is kept in the story). In fact, that is still the case in some places: in Ireland, many still believe in fairies and tell stories, or “tales,” about them and what places to avoid. And in parts of Scandinavia and Iceland, beliefs in trolls and elves are still popular. Many countries in Asia, especially in southeast Asia, still believe in many types of spirits (and according to the classical definition of fairies, just about any supernatural entity can be considered a fairy, so it counts), and use stories to warn new generations of the dangers of pissing them off.
This adaptation of “The Tale of the Bamboo Cutter” is a prime example of how fairy tales can be recontextualized for new eras.
But beyond warnings, fairy tales, like many other kind of stories, are reflections of how we look at our world. Hansel and Gretel, for example, was probably told in an age of famine, poverty and witch hunts, given its elements and the lessons imparted in it. Even better, fairy tales can be recontextualized for new ages. Cinderella tales are increasingly told to make the lead less passive and more in control of her own life, and the Studio Ghibli film The Tale of Princess Kaguya, based on the Japanese fairy tale The Story ofthe Bamboo Cutter, retells the story with the theme of how Kaguya wants none of the finery her foster parents gift her, only to be surrounded by people who love her. This feels relevant in an age with rising consumerism, online image-building, and social isolation.
And that’s the cool thing about fairy tales, too. You can retell them in so many different ways. Hell, you can even come up with new ones. Plenty of writers are creating their own fairy tales, such as Diana Wynne Jones did with Howl’s Moving Castle, Melissa Albert with The Hazel Wood and many more. And many stories today use elements of fairy tales. The inclusion of “The Three Billy Goats Gruff” in Stephen King’s IT isn’t just a fun choice by King, after all: King originally started plotting that story as a modern interpretation of “The Three Billy Goats Gruff.”
Makes you wonder what elements of fairy tales and legends you’re putting into your stories, doesn’t it?
And that’s the thing. Even you can make up your own original fairy tales or retellings. In fact, plenty of writers are, and will as the world changes. I wouldn’t be surprised if we get an updated version of Anansi and the introduction of stories to the world in the wake of so many states attempting to rewrite history or schools attempting to ban books. And I wouldn’t be surprised if this pandemic, or any of the major conflicts we’ve experienced in the past several years, make their way into a new or an old fairy tale. I’ve already come up with a few ideas for some, and might write one or two in the near future.
And I bet, no matter who’s telling the stories, they’ll continue to influence society for years to come. From the “Once upon a time” beginnings to the optional “they all lived happily ever after.”
That’s all for now, my Followers of Fear. I spent most of President’s Day writing, so I’ll take the rest of the night off. I’ll be back soon, as I’m expecting to share some good news very soon. Until then, my Followers of Fear, good night, pleasant nightmares, and don’t try to wake me up with a kiss. I bite.
Also, here are some of the videos I watched while researching fairy tales. Give them a watch. They’re quite edifying:
As many of you know, I’m a big fan of manga author Junji Ito. While sometimes his stories can be hit-or-miss with me, there’s no denying the man has a distinctive style that aims to bring out the full horror of whatever story he’s drawing. And his latest release in North America is Deserter, a collection of some of his early works dating back all the way to the late 80’s. You can bet I was curious. What was Junji Ito, the author and illustrator behind such terrifying stories as Uzumaki and Remina like during his early days? I was determined to find out.
Now, as I said, this is a collection of the author’s early works, and with just one exception, the stories are presented in the order they were chronologically published in. And that really gives you a clue on Ito’s evolution as an artist and storyteller. For example, the artwork is a lot rougher and feels more rushed in the earlier stories in the collection. You can see more of a reliance on thicker brushes and the characters are a bit more sketch-like. Ito’s famous for purportedly spending up to ten hours a day on a page with pen and paper, making his artwork as dark as possible. If I had to guess, this would be from the days he couldn’t afford to do that, or wasn’t yet at that stage, and that explains the roughness we see.
The stories in the earlier sections are also pretty rough around the edges. The first, “Bio House,” feels shocking for shock’s sake and has a rather slap-dash kind of plot, while “Where the Sandman Lives” makes little sense. Others, such as “Face Thief” and “The Devil’s Logic” have good concepts behind them but the payoff is either a rushed conclusion or a story that feels like its potential wasn’t fully reached.
It’s not that they’re bad, they were good enough to be published. They just remind me of some of my earliest horror writings, when I was realizing you needed more than a monster to tell a horror story but I didn’t yet have the tools to write a truly scary story. That’s how those stories feel to me.
However, once you get to the last five stories, you can see Ito really gaining experience and the stories improving in quality. “A Father’s Love” still is a little rough in the art department at times, but it has a compelling stories and characters you really feel for (ooh, I shipped those two young kids!). “Village of the Siren” is a bit long-winded, but it has a really cool idea and the artwork to match. “Bullied,” which is a famous story of Ito’s that I’ve been waiting to get to America, is a terrifying story of karma and psychological trauma built around childhood guilt. And the titular story, “Deserter,” is a meditation that asks, “Who is really doing the haunting? Who is really trapped in a haunted house?” I was in awe of that one.
Overall, I’m conflicted on what score to give the collection. On quality alone, I’d give it a 3.3 out of 5. However, the value of the book and how it shows Ito’s evolution is a 4 out of 5. I’ll meet it halfway and award Deserter by Junji Ito a 3.6. If you’re new to Junji Ito, I wouldn’t advise checking this one out till you’ve read some more of his work, particularly Uzumaki or Remina. However, if you’re already familiar and want to consume more of his work, I would totally recommend it just to see how the author evolved and to read those last five stories.
That’s all for now, my Followers of Fear. Life is crazier than the Joker right now, but I’m hoping have some good news in the near future. Either that or you’ll hear about my attempts to open the gates of Hell just so I can get some peace and relaxation.
Until next time, my Followers of Fear, good night and pleasant nightmares.
Some of you may remember at the start of the pandemic I had the pleasure to interview Alma Katsu, author of the critically acclaimed novels The Hunger and The Deep (you can read that interview here). I loved both novels, which took on the historical events of the Donner Party and the Titanic, respectively, and turned them into supernatural horror stories. It won’t surprise you, then, that I’ve been looking forward to her next historical horror novel for a while now.
Two pieces of good news: first, Ms. Katsu has a new novel, The Fervor, coming out in late April! The novel takes place during World War II at a Japanese internment camp and involves a strange disease and a stranger monster from Japanese legend. Yeah, you can tell this is right up my alley!
Second pieces of good news: Ms. Katsu has agreed to let me interview her about the book! So without further ado, let’s talk to Alma Katsu and find out why you should be as excited as I am for her new novel.
Rami Ungar: Welcome back to the blog, Ms. Katsu.Please tell us about The Fervor and how it cameabout.
Alma Katsu: First came the decision to set the next book in WWII. That had to do with trends in publishing, frankly; I’d sat in on the editors’ panel at the Historical Novel Society conference a few years ago, when it was time to come up with a proposal, and their advice was that historical fiction was pretty much dead except for WWII. I’d always thought it would be interesting to write about the internment camps, but then the question was how to turn that into a horror story? Objectively, the horror should be pretty evident: here was a government locking up its own citizens, people who hadn’t committed a crime, because they didn’t trust them. Because the average citizen (with the help of propaganda) believed that Asians were inherently sneakier and untrustworthy.
RU: You’ve talked about your Japanese heritage and how it influenced the story. Can you go into thatfor us?
AK: This was the first time where the main character of the book has the same ethnicity as me, and it was pretty eye-opening. For one thing, as I was writing I realized that I had a lot of resentments about the way my mother had been treated coming to America after the war, and the way I’d been treated as a minority (to a lesser extent) bottled up inside. Add to that the preconceptions about Asians and Asian women, in particular. This was an opportunity to write the truth, to dispel myths. It was freeing.
RU: I can only imagine!And speaking of Japanese elements, there’s been a surge of stories inspiredby Japanese culture, particularly yokai, in the West.Some examples include Nothing but Blackened Teeth byCassandra Khaw and my own novel Rose.What do you think of that surge,and where do you think it comes from?
The Fervor by Alma Katsu.
AK: I’m afraid I don’t have much to offer here. I know some folks are big into Japanese folktales and such, so I’m not aware of a surge per say. It always seems to be fairly popular thanks to anime! Japanese yokai and yurei are part of the fabric of life for Japanese, and so I’d heard and read stories when I was a kid, and it didn’t seem you could tell a horror story with Japanese characters without incorporating it in some way.
RU: Well, I can attest thatanime was definitely an influence on me.Anyway, The Fervor also involves anepidemic in a Japanese internment camp.Did the COVID-19 pandemic influence your decision to include that?
AK: I drew on COVID, yes, the feelings of mass panic and confusion, but The Fervor is about racism. I decided to write it after watching what’s been happening to this country over the past four years or so. I’m not naïve but it’s been bewildering to see racism go mainstream in America. It’s comforting in a way to think it could be a disease, something you could catch, as that at least is understandable. The January 6th attack on the Capitol also influenced the book: The Fervor was an attempt to look at what this country has been going through and compare it to another horrible incident in America’s past, and show that we haven’t changed much.
RU: I’m looking forward toseeing how that plays out in the book. So, what research did you do for the book?
AK: This was different from The Hunger (the Donner Party) and The Deep (the sinking of the Titanic), events that I didn’t know a lot about. I already knew a lot about life in the internment camps, because I’d heard stories from my in-laws, seen documentaries and read articles. I knew what the issues were, I knew how the interned felt and what they had gone through. For the book, it was more a matter of filling in the gaps. I lucked out in that a neighbor’s family had been interned at Minidoka, which is featured in the book, and had a trove of documents from the camp: maps, rosters, newsletters, all kind of non-official documentation that typically gets lost to time. It was a real windfall.
RU: Yeah, primary sources like that are always a boon when writingabout history or using it. And speaking of which, you’ve written about the Donner Party, the sinking of the Titanic, and now the Japanese internment camps. Are there any other ages or historical eventsyou would want to write a story about?
AK: After doing three books and having them change a bit each time (going from being fairly close to the history to becoming reinterpretations of events, maybe just shy of alternate histories), I think it’s time to re-evaluate. I’m sure there are plenty of interesting historical events (I’d love to do another Western, for example) but I’m a little burned out on close reads of history right now.
RU: Fair enough. Switchinggears a bit, what are you working on nowadays?And when can we expect tosee the TV series based on your spy novel, Red Widow?
AK: I just handed in the second in the spy novel series, and though I’m sure it’ll need some work, I’m glad to have that behind me. I’m working on a new project that I can’t talk about at the moment, and hope to be pitching a few TV proposals soon.
Red Widow, the TV series, is chugging along. The pilot script is being polished right now, and we hope to know whether we’ll be shooting the pilot before too long.
RU: Final question: what are you reading these days? And are there any recent reads that you wouldrecommend others check out?
AK: There are so many great books coming out this year that it’s hard to single out just a few. Let’s see… SA Barbes’ debut Dead Silence just came out. It’s space/horror: think Aliens meets Titanic. It’s a lot of spooky fun. I had the opportunity to read Andy Davidson’s The Hollow Kind, a wonderfully suspenseful, creepy southern Gothic with a dual timeline. It doesn’t come out until October, however. I’m really excited for Catriona Ward’s next novel, Sundial, which I think I liked even better than Needless Street.
RU: Well, thank you for joining us, Ms. Katsu. It was a pleasure to have you again. Please keep us posted on your progress.
If you are interested in The Fervor, you can preorder it now from most retailers. You can also check out Ms. Katsu’s other books, including The Hunger, The Deep and Red Widow. And, of course, you can find Ms. Katsu on her website, Facebook, Twitter and Instagram.
That’s all for now, my Followers of Fear. I look forward to reviewing The Fervor this coming spring. And in the meantime, I’m sure I’ll be back soon with plenty to share with you. Until next time, good night and pleasant nightmares!
I should be in bed now, but I can’t! I’m too energized, too excited, too joyous! That Which Cannot Be Undone, the anthology my friends and I have been trying to create, is fully funded!
So, if you’re new around here and have never heard of this anthology, then let me first say hello. I’m happy to have you reading my blog and showing interest in my career as a writer. Secondly, over the course of the pandemic, some of my fellow Ohio horror writers and I came together to form our own publishing press, Cracked Skull Press, with the goal of putting out an anthology of stories that emphasized writers from our state. Furthermore, the stories would all be set in Ohio and would revolve around the theme “that which cannot be undone,” which became our eventual title.
To fund this project, we launched a Kickstarter campaign back in late November, and worked our butts off to get noticed and to get people to pledge to support us. I’m proud to say, with four days left of the campaign, we are fully funded and have exceeded our funding goal!
There are so many people I want to thank. To the people who pledged, of course, you get a huge thank you. We literally could not be doing this without your help. An even bigger thanks to the people from this blog, my Followers of Fear, who pledged their support. It means a lot that you support my projects and my career, and I’m so happy to have you supporting this one. To the writers who said they would contribute works to our anthology if we were fully funded, and to the many individuals who posted and promoted the Kickstarter, we also extend a big thank you. We can’t wait to showcase your stories and list your contributions in the Donor section. And to the other members of Cracked Skull Press, Ray Pantle, Randall Drum, and David Day, I’m so glad to be working with you and can’t thank you enough for the hard work you put into this project. There will be more hard work from here on out, but I’m sure we’ll be up to the challenge.
And if you still want to be part of this project in some way, there are still a few days left of the anthology. You can still pledge your support and thereby help us in case we encounter further costs to this anthology. Or if you’ve already pledged, you can increase how much you pledge before the end of the campaign. You can do so using this link: https://www.kickstarter.com/projects/crackedskullproject1/that-which-cannot-be-undone-an-ohio-horror-anthology
I’m so excited right now, my Followers of Fear. I can’t wait to tell you what’s coming next with this project and our eventually publication in October 2022. As with all my other projects, I’ll make sure to keep you updated on this one, right up until it’s out in print/ebook.
And yes, don’t worry, this won’t be the last project from Cracked Skull Press. We’ll have plenty of ideas for further projects. Keep an eye out and get ready for great stuff on the horizon.
Until next time, my Followers of Fear, good night and pleasant nightmares.
I know I said I’m trying to cut back on this self-promoting stuff, but you have to admit this is a good enough reason to post.
So, as you all probably know by now, some writer friends of mine and I formed a publishing press, Cracked Skull Press, and are doing a Kickstarter campaign for our first anthology, “That Which Cannot Be Undone.” Every story within the anthology will be set in Ohio, written by Ohio horror writers, and center around the theme “that which cannot be undone.” If we make our funding goal, we plan to release it in October.
And guess what? As of today, seven days before the end of the campaign, we’re just $999 away from making our funding goal! I know! You cannot imagine how excited we are by reaching this milestone.
Of course, we need your help to reach the finish line, so we would be honored if you would pledge your support to the anthology. Folks who do will be listed in the Donors section at the end of the book, but you can also get an electronic and print copy of the anthology sent free of charge; signed copies of books by the contributing authors; amazing swag, including Ohio horror-themed Tarot cards (you’ll plotz when you see who’s on the Death and Devil cards); and for our highest pledges, you could come to our release party with a plus one! You can use the link here to contribute: https://www.kickstarter.com/projects/crackedskullproject1/that-which-cannot-be-undone-an-ohio-horror-anthology
And if you’ve already pledged and want to pledge more, you can use the “manage pledge” feature on Kickstarter to increase your pledge. Just saying.
Anyway, thank you all for pledging and sharing the Kickstarter campaign. Working on this anthology has been such a journey and we’re so glad to see that it looks like we might reach our funding goal. And we at Cracked Skull Press know we wouldn’t get this far without you. We can’t wait to show you your support and faith was well worth it.
That’s all for now, my Followers of Fear. I just wanted to log on and let you all know where the campaign stands. You’ll hear from me again about this on the results of the campaign. In the meantime, one more thing I want to mention:
A week from this Saturday, January 29th, 2022, I’ll be at the Lafayette Hotel in Marietta, Ohio for the Hidden Marietta Paranormal Expo. It’s a convention full of ghost hunters, psychics, paranormal enthusiasts, and one or two authors like me, which you know is going to be fun! I’ll be there signing books and doing Tarot readings, so I hope to see you there!
Until next time, my Followers of Fear, pleasant nightmares!
Rami Ungar The Writer 