Posts Tagged ‘Stephen King’

Those of you who don’t follow me on my other social media platforms may not know this, but at least once a week, usually Saturday, I post links to my novel Rose. The hope is, with enough regular mentions, people will notice the book and be tempted to read the book. If they see it often, it will worm under their skin and the possibility of entertainment they’re missing out on will nag at them. Perhaps they’ll even check it out just to see if they really are missing out.

It’s a simple strategy, but it does work. Not to the point where I’m getting dozens of new readers or reviews every week, but it does get results. For example, just this past week or so, Rose received two new ratings on Goodreads. And not too long ago, Rose received a bunch of new ratings on Amazon Canada and Amazon UK. And I think these consistent ads may have played a role in all of these new ratings.

And as I write this, I wonder if these new ratings are just a fraction of the new people reading Rose. They just haven’t let me know what they think as of yet.

This is why I keep posting about Rose. I want people to find the book. Someone like Stephen King may only need to post a couple of times about their upcoming book, and they’ll have thousands of pre-orders within hours. Less well-known but very established horror authors will post regular ads just to remind people that their book is coming out or that it’s already out or that it’s been out for a while. My philosophy is that I have to do ten times the work in order to get half of what I want. What I want is to have as many people as possible read my stories. So obviously, I’ll do what I can to get people to notice Rose.

I just can’t post everyday, because it would cost way too much money or because people would get sick of seeing Rose mentioned on my timeline. Or both.

In any case, I have a feeling that all my efforts are going to pay off even more than usual. Because COVID-19 has a lot of people isolating in their homes, they’re looking for new sources of entertainment, including books. Perhaps they’ll see Rose mentioned somewhere and think, “Hmm, that might pass the time for me. I’ll give it a read.”

Not the ideal way for someone to notice my work, but there you go.

And no matter the situation, I’ll keep writing and posting about my stories, with the hope that more people will notice and maybe want to read it. With any luck, they’ll find their new favorite horror story, and I’ll have another reader interested in my next book or publication, whenever that comes out.

And if this post has got you at all interested in Rose, I’ll post the links below. Yeah, of course I would insert an ad into this post, what did you expect? Anyway, if you’re not familiar, Rose is the story of a young woman who wakes up with no memories of the past two years. Pretty quickly, her body undergoes a startling transformation, becoming a human/plant hybrid. As those around her react to her transformation, she soon realizes they’re not all they seem, leading to a desperate fight for survival.

It’s some dark, creepy shit and you can check it out by clicking on the links below. And if you do end up reading Rose, let me know what you think. Positive or negative, I love feedback from readers, and they help me out in the long run.

That’s all for now, my Followers of Fear. If, like me, you’re celebrating Passover, then Happy Passover (and next year in person). If you’re celebrating Easter this weekend, Happy Easter. And no matter what you believe or don’t believe, stay safe, be healthy, and pleasant nightmares to you all.

Rose: Available from the links below.

Rose: Amazon US, Amazon UK, Amazon Canada, Audible

The other day, I posted my thoughts on the COVID-19 virus. Among those thoughts was my desire for writers and readers alike to support authors who will be struggling during the ongoing crisis. For a lot of authors, this crisis will cut into conventions, teaching seminars, readings, and so much more that they rely on to sell their books and use their craft. The best thing we can do for those authors is to support them. This could be by buying their work, writing their reviews, anything else you can do to help them out while we’re all stuck inside and trying to protect our health.

That said, there’s an opportunity to do just that.

I’ve known Jason Stokes, owner of Gestalt Media, for about a year. He’s a writer whose work I’ve read and reviewed, but he’s also the owner of a publishing company that tries to give authors the best experience with a publisher as possible. This includes better royalty rates and more control over the creative process than you might find at another publisher. And the model’s worked so far; in the year or so they’ve been in business, Gestalt Media has acquired a number of authors, many of them horror authors, and are sending their stories into the marketplace.

Not only that, but Gestalt Media put together a charity anthology last year for victims of the Virginia Beach shooting which included the likes of Stephen King and Neil Gaiman. Yeah, not kidding, those authors let their short stories be used in the anthology, Dark Tides, to benefit victims and families of victims of that charity. You can check out the anthology’s Amazon page by clicking on this link.

Anyway, just like authors everywhere else, Gestalt Media is working hard to support its authors during this difficult time. They’re raising money on GoFundMe to ensure their authors are able to whether the storm, and they’ve already made almost ten percent of their goal. And for every dollar they make, companies like GoFundMe, Intuit and Yelp will match them. Yeah, every dollar does count here!*

Now, I know a lot of you might be struggling yourselves during this difficult time. Many of us are out of work and unable to make an income during this crisis. I understand. But if you are able to help somehow, please consider doing so.  I’m lucky enough to still be working and making enough money to meet my needs, so I was able to donate. And if I can, I want to help further, so I’m spreading the word where I can.

And if you can’t help out monetarily, maybe consider sharing the campaign on your social media. The more people who know about this,  the more people will be likely to donate. And if you can help out monetarily, great! You’ll be helping out plenty of authors.

Whatever way you can help, please do. We’re all in this together. In fact, the whole point of all these measures is to make sure we all get through the crisis together. This would only be a continuation of the communal preservation we’re engaging in.

And if you can’t help out, that’s fine too. We all have things we can and can’t do, even now.

Well, that’s all for now, Followers of Fear. I’ll include the link for the fundraiser down below. Until next time, pleasant nightmares!

Gestalt Media Creators Relief Fund

*How they were able to work that deal, I don’t know, but I’m not going to complain when they’re able to get results.

I had a revelation recently. No, not the kind that inspires texts that are the basis for entire religions. I had that already, and you do not want to know what information was imparted to me. No, it’s about Lovecraftian fiction.

Now, the common image among people, readers and writers, of Lovecraftian fiction is Cthulhu or any other Great Old One/Elder God/giant terrifying monster from the deep sea/outer space/alternate dimension. And that’s not wrong. From stories like The Dunwich Horror to the recent science-horror film Underwater, big monsters are a major part of the story and, along with the mind-bending insanity and dark truths they represent, are the main source of horror.

But it’s recently come to my attention that Lovecraftian horror stories are about more than just the monsters. Sometimes, it’s about psychological horror. Sometimes, you can have an effective scary story by not showing the monster, but by instead relegating the monsters to mere glimpses or suggestions and focusing on the characters’ reactions. And if done right, it can lead to some compelling horror.

There are actually plenty of stories like this. And if you’re reading this blog, you’ve probably run into plenty of them. The Call of Cthulhu, for example. Being by Howard Phillips himself, it’s obviously Lovecraftian, but have you ever noticed that we never really see Cthulhu? Think about it. The closest we ever get to seeing the High Priest of the Great Old Ones himself is through the eyes of a Scandinavian sailor’s diary. The narrator only sees drawings and statues of him.

And yet we’re scared, because the very idea of what we glean from these diary recordings is of a worldwide cult, one devoted to a very real god. One that will use humans as its pawns so that, when it finally arises, it’s in prime condition to take over our world. And the cult will do away with anyone who gets in their master’s way.

And while that’s a great example, there’s plenty more where that came from. Last year’s film The Lighthouse (see my review here) was Lovecraftian with a capital L, but we barely saw any of the marine monstrosities supposedly behind the horrors occurring on the island. And what we did see, we weren’t sure if they were real (within the film, anyway). Are they monsters, or are they just the manifestations of two men on an isolated island having a breakdown? Or maybe it’s a bit of both. It’s hard to tell.

A great example of this Lovecraftian psychological horror, 2019’s The Lighthouse.

And not just The Lighthouse. Stephen King’s novella N is told from the POV of people who all claim to be guardians of a circle of stones. If they don’t perform certain rituals, the stones will become a portal for terrible monsters. We never see these monsters though, and it’s possible that all the characters are suffering from a shared delusion. Or is it something more?

And in the novel I’m reading now (I hope to finish it and have the review up tomorrow or Thursday), there’s a Lovecraftian undertone, but the focus is on the characters and how they’re dealing with all the lies and hidden secrets swirling around them.

Or maybe that’s not a Lovecraftian undertone, but some other supernatural undertone. I’ll let you know when I finish the novel.

Anyway, it’s a good thing I’ve noticed that. The story I’m trying to write next is going to be heading into that psychological/Lovecraftian territory, so hopefully I can do a good job of it. And even if I don’t, it’ll at least be good practice.

That’s all for now, my Followers of Fear. I’m off to bed. I hope you’re not going stir-crazy while social distancing yourselves. If you want, we can talk in the comments for a bit.

Anyway, until next time, pleasant nightmares!

It’s been a while since I’ve done any sort of tag, so I saw this on my friend Kat Impossible’s blog and I was like, “Sounds like fun.” And while I’m not sure I believe in “perfection,” I tried to come up with stories that come close to that in my personal opinion. Most of these titles are from the horror genre, but I do add some from other genres and even a few other mediums (I can be a rule breaker when I want to be). With that in mind, let us begin the Perfect Book Tag.

THE PERFECT GENRE

(pick a book that perfectly represents the genre)

I had a hard time choosing on this, between what could be considered a quintessential horror novel, and what could be the most terrifying novel (AKA the “perfect” horror novel). In the end, I wanted to include the quintessential novel elsewhere, and I hate repeating myself, so I decided on the most terrifying novel I’ve ever read, The Girl Next Door by Jack Ketchum. Honestly, this novel’s show of brutality, the ease in which regular people can be persuaded to commit acts of evil and the graphic descriptions of torture and cruelty were enough to make me put the book down at times just so I could process what I was reading and get control of my dread. If you want perfect horror, this might be close enough.

Just don’t blame me if this gives you an upset stomach or nightmares. Trust me, it’s a tough one to get through.

THE PERFECT SETTING

(pick a book that takes place in a perfect place)

Again, I’m not sure if there’s anything considered “perfect” in entertainment, let alone a perfect setting. However, as far as I’m concerned, this might come damn close. The Doctor Who universe has every sort of setting imaginable. From futuristic cityscapes, to the distant past, and even our own modern times, you can find aliens, historical personages, gods and demons, magic (sort of) and science, friends and enemies, and even new universes or pocket universes! It’s an endlessly adaptable setting, and that’s why it’s my choice for perfect setting.

Also, I know it’s a TV show and the books are expanded universe and semi-canonical at best, but like I said, I like to break the rules.

 

THE PERFECT MAIN CHARACTER

(pick the perfect main character)

For this one, I didn’t pick perfect as in “they’re the best at everything and never have to improve. The story is just a way for the reader to fawn over how amazing the characters are.” Those are known as Mary Sues and Gary Sues, and most writers learn to stop creating them when trying to write compelling stories. Instead, I picked examples of characters I like to work with the most: women/girls who don’t start out as protagonist material, but as time goes on they grow into their heroine roles. Sailor Moon and Buffy are two great examples of those characters, as well as the reason I love that character type.

Neither Buffy Summers nor Sailor Moon started out as heroes who were thrilled with their roles. They just wanted to be normal girls, not burdened down with these destinies to save humanity from evil. But over time, as they get stronger and build their support networks, they become stronger, able to defy evil and inspire everyone around them and everyone watching them, regardless of age or gender. It’s part of the reason why these characters have endured over thirty years after their debuts, and part of the reason why I am who I am today.

 

THE PERFECT BEST FRIEND

(loyal and supportive, pick a character that you think is the best friend ever)

 

This one was easy. She’s smart, kind, brave, and is willing to point out when you’re wrong or doing something stupid. And she’s willing to stand up for the oppressed when no one else will, including many of the oppressed. She can be a bit stubborn, and at times she loses sight of reality when it comes to studies or other things she deems important. But honestly, Hermione Granger would make a great best bud.

 

THE PERFECT LOVE INTEREST

(pick a character you think would be an amazing romantic partner)

Let me level with you all. I may be bisexual, but I’m aromantic, so I don’t really feel romantic attraction to anyone. Sexual, definitely, but I have trouble imagining myself wanting to be tied to someone like a partner or lover. And since I don’t feel like telling the world about a character I may find sexy, I’ll just leave this one blank. Sorry if you really wanted to know what my type was or wanted to set me up with someone you know. You can’t change someone’s nature that easily.

 

THE PERFECT VILLAIN

(pick a character with the most sinister mind)

Remember that quintessential horror novel I mentioned as a contender for Perfect Genre? Yeah, IT was the runner-up. But in terms of villains, Pennywise is the ultimate, hence why he’s here. Honestly, he’s a perfect mix of both the human villain and the supernatural. He understands human fears and motivations, is a master manipulator and knows just how to get under our skin and either terrify us into a stupor or make us his pawn. At the same time, he’s this giant cosmic entity from beyond the universe, a thing we can only grasp as orange lights known as The Deadlights. His motivations aren’t born from hatred or greed or any human desire, but from the need to feed and eventually the need to procreate. It’s just another show of his Otherworldly nature.

And let’s face it, he’s devious! It takes a special sort of evil to enjoy being an evil clown 24/7, and Pennywise does it better than the Joker. Yeah, you read that right. What are you going to do about it?

 

THE PERFECT FAMILY

(pick the perfect bookish family)

Well, they’re not from any books, at least not originally, but the Addams Family would be my perfect fictional family. You can guess why.

 

THE PERFECT ANIMAL OR PET

(pick a pet or fantastic animal you need to see on a book)

Although I’m against the breeding of white tigers (they’re a genetic abnormality and breeding them leaves the tigers with all sorts of genetic problems), White Blaze from the anime Ronin Warriors is a creature I always wanted. He’s a tiger and deadly towards his enemies, but he’s smart, kind and good with people. You could honestly have him babysit your kids, he’s that good. And in a fight against evil, you couldn’t ask for a better animal partner.

In fact, White Blaze might be part of the reason why tigers are my favorite animal. And it’s not hard to see why.

 

THE PERFECT PLOT TWIST

(pick a book with the best plot twist)

I won’t say what it was. But it left me reeling. Took me half the next chapter to realize the author was serious and wasn’t pulling my leg. Still the hardest a twist in a novel has ever hit me.

 

THE PERFECT TROPE

(pick that trope you would add to your own book without thinking)

Let’s face it, I love a cosmic horror twist. The idea of an entity that defies human conception, to the point it can drive us mad, excites me as a horror writer to no end.

 

THE PERFECT COVER

(pick a cover you would want on your own book)

I want a cover similar to this on one of my books someday. Either that, or something that disturbs just to look at it.

 

THE PERFECT ENDING

(pick a book that has the perfect ending)

My favorite endings in horror have the horror continuing on long after the heroes appear to have won. So if I have to pick one that’s a good example, I think I’ll go with Needful Things by Stephen King. Great book with an enigmatic and terrifying antagonist. If you haven’t read it yet and you have a stomach for horror, you might want to change that sooner rather than later.

 

I TAG THEE:

  • Priscilla Bettis
  • Iseult Murphy
  • Joleene Naylor
  • Ruth Ann Nordin
  • Matt Williams
  • YOU!!! (If you want to)

That’s all for now, my Followers of Fear. Tomorrow, I finally start that essay, and then I start on a new short story. But in the meantime, what did you think of my choices? Any of them resonate with you? Let’s talk in the comments.

Until next time, pleasant nightmares!

On Sunday, I posted about finishing my first short story of 2020, a science-horror story called “Primordial Nuclear Soup” (what a title, right?). I mentioned in that post I wanted to find a beta reader to take a look at the story before I edited it and tried to send it anywhere. Thankfully, I found someone very quickly who turned out to be the right sort of reader for this story. They gave me some excellent feedback on ways the story could be improved, but there’s one point that I wanted to focus on.

With “Primordial Nuclear Soup,” I was going for an ambiguous ending to the story. You know, the kind where things are left kind of open, leading to readers wondering what happened after “The End”? Yeah, apparently I confused my beta reader with that. They actually asked me if I’d cut it off early.

Now, this may have been because I simply forgot to put the words “The End” at the end of the story. But it got me thinking: when is an ambiguous ending good for a story, and when does it actually get in the way of telling the story?

As usual, when faced with a writing quandary that I can’t reason out on my own, I go to Facebook groups for writers. I got a variety of opinions on the subject, some of which felt more on the mark than others, but one response in particular resonated with me. The writer in question said that ambiguous endings work best with ambiguous stories.

What do I mean by ambiguous stories? Well, these are stories where so much is up in the air, that an ending where things are up in the air makes sense. A story with an unreliable narrator fits this description, or a story like The Haunting of Hill House, where we’re not sure if the house is really haunted and we feel the psychological strain on the characters. By the end of the latter, we’re still not sure whether the house is haunted, so an ending that still leaves us questioning what the hell just happened fits nicely.

Of course, some more “definitive” stories may benefit from an ambiguous ending, especially if it ramps up the tension. “All That You Love Will Be Carried Away,” a Stephen King short story about a traveling salesman contemplating suicide, has an ambiguous ending dependent on whether the protagonist sees a light from a farmhouse through a snowstorm.* It’s a great way to top off a story revolving around a troubled man wondering whether or not he should kill himself or live to write a book about his encounters on his travels.

As for my own story…well, it’s science horror. And science/science fiction tends to deal with exactness. Even though the Xenomorph from the pinnacle of science horror, Alien, has an unclear origin,** everything else in that film is clear as crystal. So perhaps I need to give my own story a clearer ending.

Well, we’ll see. I’ll give the story an edit before I start that essay (yes, I’m going to write it) and see what I can do with it. Hopefully, I’ll make something a magazine won’t want to throw in the trash after the first page.

A dramatic shot of “Rose” I couldn’t help but take.

Oh, and while I have your attention still, did you know today is the two-year anniversary of when I announced Rose was accepted for publication? Yeah, it happened on this day in 2017, and a lot’s happened since then. A year of edits and rewrites, the release and all the marketing, the audio book, and so much more. More and more, people have been telling me they’ve enjoyed the story, and hearing that is the most gratifying feeling ever. Makes me want to keep writing.

If you haven’t read the Kafkaesque story of a young woman turning into a plant creature (and that’s just the start of her problems), and you’d like to check it out, I’ll include the links below. And if you do read it, please let me know what you think. I love feedback, and reviews help me out in the long run.

That’s all for now, Followers of Fear. Until next time, pleasant nightmares!

Rose: Amazon US, Amazon UK, Amazon Canada, Audible

*It’s been 19 years since it first came out, so I’m not sorry I didn’t include a spoiler warning.

**I like to pretend Prometheus and Alien: Covenant never happened. They take all the mystery out of the franchise.

Well, this has been a busy day today. Met with the Ohio chapter of the HWA for a very productive meeting, ran some important errands for stuff happening at work and in the Jewish calendar, watched a movie with dinner, and…oh yeah, got the first short story of 2020 out of my way. It looks like I’m making good progress on those writing goals.

“Primordial Nuclear Soup” is a science-horror story about a team of scientists and their military escort who go into a nuclear power facility two years after a meltdown, and what they encounter there. It was inspired by a YouTube video I watched going into some of the science about the Chernobyl disaster, and was further influenced by a certain Stephen King story and a certain Godzilla movie (neither of which I can reveal without giving too many hints about the story). It’s about sixty-five hundred words long, so it’s not super long. And as it’s partially science-fiction, there will hopefully be plenty of magazines or anthologies that would consider publishing it.

I had a lot of fun writing this short story, but it was also challenging. I thought I knew which way it was going to go, but the story ended up going in different directions than I expected. I was actually pantsing for the last half or so, but it ended up working out in the end. Maybe that’ll give it a bit more surprise for any readers.

For now though, I’m going to see if I can’t get someone take a look at this story before I edit and submit it anywhere. I want it to be in top shape, after all.

As for what’s next, I’m going to do some research into essay writing for that essay I mentioned wanting to write. If I feel up to the task, I’ll write that essay. If not, I’ll move onto my next story. After all, I have nine short(er) stories I mean to work on, and I’ve already figured out which one I’ll be tackling next. Should be good to get it out, considering how long it’s been knocking around this twisted head of mine.

Well, it’s late, and I’ve got work in the morning. Goodnight, my Followers of Fear, and pleasant nightmares!

You ever read a book that came out well before you were born, or a book that came out a few years ago but set well before you were born, and throughout the book a character or even the author expresses viewpoints that, if expressed today, would not go over well? The sort of views that would make you go, “Anyone who says that today would only be applauded by the lowest dregs of society. The rest would villify them.”

It’s an unfortunate part of the writing process, but sometimes writers will have to write stories where those sorts of views are expressed, even if not their own. I’ve had to do it several times over the course of my writing career, usually from the POV of a neo-Nazi or a white supremacist. It’s necessary, but it’s always a trial to do it. God help me if I ever have to read something like that out loud.

I bring this up because as I said in a previous post, I’m busy doing research for a story to go into the short story collection I’ve been putting together. That story is set in Victorian England, an age that, as many of you know, I’m a big fan of. You guessed it, I bought a bunch of new books to better understand that age. And this week, while I was reading one book and seeing information I’d previously learned in another volume repeated here, I realized that, to a certain extent, I will be putting these attitudes of the age into the story.

Including the ones I find reprehensible.

There are generally four ways writers include these sorts of ideas and beliefs into their stories. An author may include a character who’s already very forward-thinking or contrarian, taking on viewpoints which their peers will not get or abhor, but the audience will sympathize with and allow them to pity the characters who don’t think like that (think Wonder Woman’s attitudes regarding WWI-era norms and gender roles in her movie). Other times, characters may start with one attitude and then evolve to a different one over the course of the story as part of a character arc (Villetta Nu’s arc in the anime Code Geass: Lelouch of the Rebellion towards non-Britannians). There are characters whose whole point in existing are to present a contrasting view, usually as something for a protagonist to work off of or a driver of the plot (think Big Jim Rennie in Stephen King’s Under the Dome).

And then there are times when the author says, “Screw it, there’s no way around this,” and just portrays those attitudes as authentically as possible. I have a feeling with this story, I’m going to have to go with this route.

The books I’m using as research. I think they’ll be quite helpful in creating the level of detail I’m looking for.

I still haven’t worked out the details of this story, other than the time period and certain elements/characters. I don’t know how much of the Victorians’ beliefs and attitudes will make it into the story, or which ones for that matter.* Still, they’ll be there throughout the story for the sake of authenticity. It’ll be weird writing them into a story when they may go against everything I stand for. But for the characters, they’ll be the norm, and as true as the fact that the sun rises in the east and sets in the west.

The cognitive dissonance will be a mind-fuck.

But if the dedication to authenticity helps make the story good, then I won’t have any complaints. That’s what’s important in the end, isn’t it? Even if I have to write in a discussion on how chloroform subverts God’s commands on childbirth.**

What are your thoughts on including attitudes and beliefs that you don’t agree with in your story? Any fun reminiscences on the subject?

*Did you know that it was considered dangerous to give children fruit while they were young? It was believed the sweet taste would excite them and lead to delinquent behaviors. Also, while germ theory was starting to enter public consciousness, it was a slow process. In 1865, the Female Medical Society published statements asking doctors to take more steps to decrease death in women by childbirth. The medical journal The Lancet responded by calling their suggestions for cleanliness “erroneous,” and asserted that these deaths were caused by women leading immoral lives, which could mean anything from engaging in prostitution, feeling sexual desire, or enjoying pickles too much.

**Yeah, that was a debate in the 19th century. Did chloroform, when used in childbirth, prevent women from feeling the pain God ordained for women? What an age!

Over the past couple of months, people in the horror-themed Facebook groups I belong to have been raving about this particular book. I looked it up and it sounded up my alley, so when I had an Audible credit, I downloaded the audio book. But before I started it, I found out the book was written by the same guy who wrote the novel The Perks of Being a Wallflower, as well as wrote/directed its movie adaptation. Really? Isn’t that a sweet, YA rom-com? How do you jump from that to horror? (looks up what that book is really about.) Oh. That’s pretty dark. Yeah, I can see how the dude transitioned to horror.

Imaginary Friend follows Kate Reese and her son Christopher as they leave Kate’s abusive boyfriend and move to a small town in Pennsylvania. However, soon after they move there, Christopher disappears in the woods near his school. He reappears a week later, unable to remember what happened to him, except being led out of the woods and back to civilization by someone called “The Nice Man.” While Kate is happy to have her son back, and things start to improve after he returns, Christopher has changed. He’s smarter now, unable to sleep, and suffers from headaches a lot. And he’s in contact with the Nice Man, an invisible being who instructs him to build a treehouse in the woods he disappeared in, and to do it before Christmas. If he doesn’t, something bad will happen. To the town, to his mother, and to him.

This one was hard to put down. I normally only listen to audio books while at work, but the story was so intriguing and out there that I listened to it while checking email and cooking dinner. Imaginary Friend feels a lot like Stephen King novels like It or Needful Things, these huge stories based around weird concepts that are both scary and hard to put down. I mean, you got a kid who goes missing in the woods, and then when he comes back, has to build a treehouse to save the world from the Apocalypse. And that’s just what I feel I can tell you without spoiling too much.

I also have to give Chbosky credit: I had a hard time predicting what was going to happen as we got further into the story. Every little piece of the puzzle had the potential to surprise me, and quite a few did. During the “darkest hour” of the book, when things are at their most pessimistic, you felt the misery and the tension as the situation deteriorated. And that climax! Woo-boy, that was epic. Like, the final battle of an Avengers movie epic.

Not only that, but the characters are very well-developed. Also like some of King’s books, especially earlier ones, just about every character is well-developed. I felt like I’d known some of these characters my whole life, from Kate and Christopher Reese to the two or three old ladies suddenly regaining their faculties after years of dementia.

I do have one major gripe about the book: as the story goes further on, the novel takes on an…evangelistic air. It’s not like the Left Behind books, where it’s trying to get people to become born-again, but the story leans more in that direction than in the direction of The Stand or Supernatural. I don’t think the goal is to convert me: rather, I think Chbosky is using his Catholic upbringing to give the story a particular authenticity and philosophy other non-evangelistic Ultimate-Good-versus-Ultimate-Evil stories don’t have. There are some interesting ideas on the nature of guilt, our relationship to God, and how to find different kinds of salvation presented in the story.

Still, there were times when I was like, “Dude, scale it back a bit. I’m starting to get how people feel when I start ranking villains in horror, and they’re not horror fans.” That’s happened before, and it’s gotten awkward.

On the whole though, Imaginary Friend by Stephen Chbosky is an engrossing horror novel that’s weird in the best of ways and full of terror and twists. On a scale of 1 to 5, I’ll give it a 4.4. Pick it up and see for yourself. You’ll never look at treehouses and deer the same way again, but you’ll have a hell of a ride thanks to it.

Today’s guest is an author who’s book, A Cosmology of Monsters, has been blowing up the horror scene since its release in September. I finished it last month, and found it to be an amazing read (see my review here). And I’m not the only one who liked it, because Cosmology ended up becoming a nominee for the Goodreads Choice Awards Best Horror (and yes, I am jealous). So, I’m very excited to have the author today. Hailing all the way from across the Internet, I bring you Shaun Hamill!

Rami Ungar: Welcome to the blog, Shaun. Tell everyone here a bit about yourself and about your novel, A Cosmology of Monsters.

Shaun Hamill: I grew up in the Dallas-Fort Worth Area, and got my bachelor’s in English from the University of Texas at Arlington. In my early 30s I attended the Iowa Writers’ Workshop and got my MFA. I wrote most of A Cosmology of Monsters there.

A Cosmology of Monsters is a literary horror novel about a family running a haunted house attraction in the suburbs of Fort Worth, Texas. Narrated by the youngest child, Noah, the novel tracks the family’s fortunes across 50 years, and explores the monsters—both metaphorical and literal—that haunt them. It’s a generational saga, an homage to Stephen King and H.P. Lovecraft, and most importantly, a story about the ways love can either save or damn us.

RU: How did the idea for Cosmology come into being?

SH: This novel was born out of the wreckage of a couple of projects. The first was a sprawling tragi-comic saga in the style of John Irving or Meg Wolitzer, about a family operating a youth hostel in Taos, New Mexico. The second was a short story about a married couple breaking up as they tour a haunted house attraction. Neither piece quite worked, but one day while I was walking my dog, the two ideas put themselves together and I realized that my epic family business novel should be about a haunted house, not a youth hostel. It would give me a chance to merge my taste for character-driven literary fiction with my love for the darker, more eerie tones of the horror genre. Noah’s voice came to me right away, as did Eunice’s suicide notes and the romance that opens the book. The rest of it came organically, as I followed the story where it led, exploring my characters and their ever-darkening world. I was perpetually surprised by what I found. I would never have been able to plan a book like this, and I hope some of that dark joy of discovery carries over for the reader.

RU: What was the research and writing process like for Cosmology? And what challenges did you face in writing the book?

SH: Research was a big part of the process of writing Cosmology. When I started the book I had only read a few Lovecraft stories, and I hadn’t ever worked behind the scenes of a haunted house. I read all of Lovecraft’s fiction, and also spent time reading scholarship about his life and writing. For the haunted house parts of the book I relied on my own knowledge as a patron of the attractions, and a tour of an out-of-season haunted house that I took in my late twenties. I also watched documentaries about haunted attractions, listened to podcasts, lurked on message boards, and so on.

The biggest challenge of writing this book was the revision process. My first draft weighed in at 220,000 words, and the published version is just over 100,000 (my agent insisted that the book would be tough to sell at its initial length). Figuring out which threads of story could be condensed or severed altogether took a long time, as did rewriting the entire ending to make it smaller and more meaningful to the characters. It forced me to carefully consider my characters and themes, and brought them into sharp focus by the end of the editorial process. I’m very pleased with the result, and humbled by how much better my agent and editors made my book.

RU: Haunted houses, both literal attractions and metaphorical haunted homes, are a big part of the book. Are you a fan of haunted houses yourself?

SH: I’m a big coward when it comes to haunted houses. I used to have a group of friends that I went with when I still lived in Texas, in my mid-to-late 20s, but I would never go to one by myself, and haven’t been to one since 2012 or 2013. I’ve always been fascinated by them from a distance, though. I’ve wondered about the people who work there, what it’s like to have the scenes of your life play out against such a fantastical backdrop.

RU: If you could design a haunted house attraction, what would it be like?

SH: The attraction in the book, The Wandering Dark, is exactly my idea of the sort of haunted house I would like to run. If money and practicality were no object, I would love to do a haunted hotel—something more immersive and stranger than the typical spook-a-blast attractions in the genre.

RU: Do you see yourself revisiting the world and characters of Cosmology someday in a future story?

SH: I go back and forth on this question. Some days I think it would be fun to continue the story of the Turner family, and I have done some brainstorming for a sequel. Other days I think that a sequel would lessen the impact of the book’s final pages and cheapen it. I guess I’ll wait and see if there’s a market for a sequel and then decide. Even if I never write a direct sequel, I will probably find ways to weave elements of that world into future stories.

RU: What is it about horror in general that attracts you to it?

SH: I have a melancholy outlook on life, so horror fits my disposition. I’m not attracted to the gore or violence, but rather the atmosphere of dread and dark wonder that I find in my favorite horror stories. I don’t like being terrorized. I like being creeped out. I love the idea that there is something beyond the known world, dark secrets to discover. It’s the sort of thing that Lovecraft does in his best work, as does Thomas Ligotti. I also love character-based horror, like Stephen King writes. I love stories about good people struggling against supernatural threats. It’s an effective way to illuminate the strength of the human spirit, what’s most noble and wonderful about people.

RU: Are you working on anything now? Do you have any future writing plans?

SH: I recently finished a rough (and I mean very rough) first draft of a new novel. I have an outline for another, different novel with my agent. We’re trying to decide which project to pursue first. My hope long-term is to keep doing what I’m doing now—writing books and publishing them and (hopefully) getting paid to do so. Fingers crossed COSMOLOGY won’t be the only thing I get to publish!

RU: What advice would you give to other writers, regardless of background or experience?

SH: Write a lot and read a lot. Read deeply in your own genre, but also outside of it. Join a writing group or take a writing class if you can afford it. If you’re able, get on the reading committee for a journal or prize—I learned more from reading the slush pile for Carve magazine and the Katherine Anne Porter Prize than I ever learned in a classroom or working alone at my own desk.

RU: And finally, if you were stuck on a desert island for a while and could only bring three books with you, what would you bring?

SH: Songs of a Dead Dreamer and Grimscribe by Thomas Ligotti, The Collected Stories by Lorrie Moore, and Three Novels by Stephen King (an omnibus of Carrie, ‘Salem’s Lot, and The Shining).

RU: Good choices. Thank you for joining us, Shaun. I hope we can do it again someday.

If you’d like to find out more about Shaun Hamill, you can find him on his website and on Twitter. You can also find A Cosmology of Monsters on Amazon if you’d like to read the book (which I highly recommend). And if you are an author with a book coming out soon and are possibly interested in having an interview, hit me up on ramiungar@ramiungarthewriter.com, and we’ll see what magic we can conjure.

That’s all for now, my Followers of Fear. Until next time, pleasant nightmares!

Last year’s premiere of Castle Rock on streaming service Hulu garnered lots of attention and love from critics and from viewers, both longtime Constant Readers and folks unfamiliar with King’s work. When word of a second season reached fans’ ears, we got excited. Which Stephen King stories would they draw on? Would the showrunners make every season different, like early American Horror Story? Would the different stories be connected by more than just a common location, like later American Horror Story? Or would it be a continuing story with the same actors and characters, like every other TV series out there?

We sat down and watched ten episodes over the course of eight weeks. And while I can’t vouch for the rest of the fandom, I can say this season far surpassed season one.

Season 2 follows Annie Wilkes–yes, that Annie Wilkes–as she and her teen daughter Joy find themselves stranded in Castle Rock after a horrific car accident. They’ve come at an interesting time, as Castle Rock and Jerusalem’s Lot–yes, that Jerusalem’s Lot–are about to celebrate the latter’s four-hundredth anniversary, and the Lot’s growing Somali population are facing discrimination and threats of violence from the likes of Ace Merrill, nephew of pawnbroker and loan shark Reginald “Pop” Merrill. Annie just wants to have her car repaired and leave town before her past comes for her and Joy. But when someone finds out about who she used to be, events are set in motion that will bring not just Annie, but the whole town to the edge of sanity.

While Season 1 was more influenced by newer, weirder Stephen King, Season 2 was definitely more old-school King: visceral, terrifying, and at times very explosive. Drawing on elements from mainly Misery and Salem’s Lot, the storytelling is mixed with terrifying scares and fun twists (episode 7, am I right?). And even the things you see coming from a mile away (and there are a few) are told in such a way that you don’t mind seeing them coming. And you gotta love all the homages to and Easter eggs referencing King’s works, including a heartfelt tribute to The Body (aka Stand by Me) in episode 3.

Probably the best episode was episode 5, “The Laughing Place,” which gives Annie a new backstory. Honestly, I was a little unsure at first, but as the episode goes on, it just hits you with the weight of the story and the emotion behind it as Annie becomes the person she meets. Sure, Annie is changed from a metaphor for toxic fandom to a painful example of what untreated mental illness can do to a person, but here it works.

“The Laughing Place;” best episode this season.

The actors were also great. Lizzy Caplan’s Annie Wilkes is a wonderful forerunner to the character we meet in Misery, a woman trying to do right by her daughter even as she wrestles with demons that not even medication can fully contain. Tim Robbins (aka Andy Dufresne of The Shawshank Redemption) gives the character of Pop Merrill, in the books a greedy and scheming man, a human side with guilt and a history he’s trying to make amends for. Yusra Warsama is excellent as Dr. Nadia Omar, Pop’s adoptive daughter dealing with her world basically imploding due to what’s going on around her. And Barkhad Abdi and Elsie Fisher as Nadia’s brother Abdi Omar and Annie’s daughter Joy, respectively, give great performances as people trying to deal with their upbringing and at the same time move away from it towards something positive.

If there’s one thing I’m going to ntipick, it’s that I wanted to see more of John “Ace” Merrill. It’s not easy to explain this without spoiling anything, but basically we only get to see one side of the character for a single episode, and then it’s a different side for the next nine. And I kind of wanted to see more of that first side (though the second side is an excellent villain). Did that make sense? I hope it does.

Overall though, Castle Rock season 2 is a scary and tense thrill ride drawing from some of the best of King’s earlier works and then some. On a scale of 1 to 5, I’m giving the season a 4.8. Sit down and buckle up, you’re going places you never imagined going before.

And while no season 3 has been announced, I feel it’s only a matter of time before we get word on that, so let’s start speculating. Which characters will come back? What stories will be drawn on?* And can I please get a commission to write an episode for the show? Only time will tell.

*I’m hoping The Library Policeman, Needful Things and maybe Apt Pupil.

What did you think of Season 2? What do you hope to see in Season 3?