Scary Stories for a Good Cause: L.S. Johnson on "Ada, Awake"
Tell us a little about your story, “Ada, Awake.”
In 18th-century France, a young widow travels to sell an artifact, only to find the purchaser has more sinister plans.
What particular affinity for the history of France do you have that brings the setting in “Ada, Awake” to life?
Many years ago I had an idea for a novel, and I wanted to set it in a time and place where I could talk about current issues important to me, but without being overt (and preferably pre-telegraph, for plot reasons). I settled on a slightly alternative Ancient Regime France as the primary setting …
By Loren Rhoads (https://lorenrhoads.com/)
Tomes & Coffee Press
Tell us a little about your story, “Ada, Awake.”
In 18th-century France, a young widow travels to sell an artifact, only to find the purchaser has more sinister plans.
What particular affinity for the history of France do you have that brings the setting in “Ada, Awake” to life?
Many years ago I had an idea for a novel, and I wanted to set it in a time and place where I could talk about current issues important to me, but without being overt (and preferably pre-telegraph, for plot reasons). I settled on a slightly alternative Ancient Regime France as the primary setting, which lets me write about vast economic inequality, racism, misogyny, and the various flavors of power people wield … all in a landscape studded with gallows, heads on spikes, branded criminals, and many other touches dear to a horror writer’s heart. All that research stayed in my head and spilled over into other stories, including “Ada, Awake,” which is among other things a nod to the powerful noblewomen that dotted the French landscape throughout that century—there weren’t many of them, but they were there, and they weren’t shy about wielding what power they had.
What is your relationship to California, and does California influence your work?
I moved to California as a young twenty-something looking for a change; I didn’t plan to stay more than five years. That was over twenty years ago now. At this point in my life I feel equally shaped by California and my hometown of New York, but I’m only now starting to write stories set in the latter. I think, for me, a place has to become mythical? malleable? in my head before I can write about it; by that logic I won’t write about California until some time after I leave, if ever.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
California’s potential is tremendous, both economically and as a progressive beacon in the U.S. What is desperately needed is a clear-eyed look at our own greed, and to learn how to think communally again, rather than individually. We all need to give—some more than others—to ensure a better future for all.
Where can readers find more of your work?
My website is traversingz.com, where you can find links to my books and individual stories, and sign up for my mostly-monthly newsletter to get sneak peeks, ARCs, and more! I also have an author page on Amazon.
Publisher’s Note:
And with this post, this series exploring the concepts behind the stories in Tales for the Camp Fire and their authors’ relationships with California comes to an end. This all-volunteer charity anthology has come this far thanks to people donating their time and labor to put in the work necessary to bring this project to life.
If you would like to help out and get a great collection of horror stories, you can find the anthology in print and ebook on Amazon, or at future comic and book conventions (2020 dates TBA). You can also keep up to date on Facebook. All profits from the sale of this anthology will be donated to Camp Fire relief and recovery efforts administered by the North Valley Community Foundation.
My deepest thanks to everyone who has supported this book and given Tales for the Camp Fire the chance to accomplish its goal of giving back to the community.
Thank you,
E.M. Markoff (Tomes & Coffee Press)
Scary Stories for a Good Cause: Dana Fredsti on "You'll Never Be Lunch in this Town Again"
Tell us a little about your story, “You’ll Never Be Lunch in this Town Again.”
Back in the day (‘the day’ being the late ‘80s) I read Book of the Dead, an anthology of zombie stories edited by John Skipp and Craig Spector. I was, and still am, a huge fan of zombie movies and was delighted to find that this book existed. I know it’s hard to imagine a time when there weren’t a lot of movies or books to choose from in that genre, but we lived in a time before the remake of Dawn of the Dead …
By L.S. Johnson (https://traversingz.com/)
Dana Fredsti is the author of the Ashley Parker series, Spawn of Lilith series, and co-author of the Time Shards series. When she originally wrote “You’ll Never Be Lunch in This Town Again,” Melanie Griffith was still hot in Hollywood and cell phones had yet to become smart.
Tell us a little about your story, “You’ll Never Be Lunch in this Town Again.”
Back in the day (‘the day’ being the late ‘80s) I read Book of the Dead, an anthology of zombie stories edited by John Skipp and Craig Spector. I was, and still am, a huge fan of zombie movies and was delighted to find that this book existed. I know it’s hard to imagine a time when there weren’t a lot of movies or books to choose from in that genre, but we lived in a time before the remake of Dawn of the Dead. T’were barren years for those of us what loved flesh-eating ghouls…
After I read Book of the Dead and found out a sequel was planned, I became obsessed with the idea of writing a story for it. Well, I missed the boat for the sequel, but heard the happy news that a third Book of the Dead edited by John Skipp was in the works and submitted a story for it. That story, A Man’s Gotta Eat What a Man’s Gotta Eat (featuring Chuck T-Bone, a zombie detective that finds missing people), was not what Skipp was looking for, but he liked my writing enough to encourage me to write and submit another story. So I did, and that story is You’ll Never Be Lunch in this Town Again, which is my take on what would happen if a first-time director had to finish his or her film during a zombie outbreak. This Amazon review says it best: “Dana Fredsti’s ‘You'll Never Be Lunch In This Town Again’ is Hollywood satire at its best, as a young director reassesses his real priorities as tinsel town collapses around him and his dwindling cast and crew.”
Your depiction of Hollywood feels like an inside perspective. Have you worked in the film industry before?
I did, as an actress in some bad low-budget movies, a specialty stunt player (sword fighting being my specialty), and also as a production assistant and a Second AD (assistant director). I have no patience with actors who treat the crew with disrespect, and no patience with cast or crew that can’t figure out how to throw their own damn soda cans in the trash.
What is your relationship to California?
This is my home. I’m a California native, born in Torrance (a coastal town in Los Angeles), and raised in San Diego. I moved to Los Angeles (Venice Beach and Glendale) for over ten years, and then moved to San Francisco fourteen years ago. While there are other states I’ve visited that I love, I would not want to live anywhere but California. We have pretty much everything here, including awesome wine and breweries!
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
See above for awesome wine and breweries. Plus, if we ever seceded, I think we’d be okay. And despite political differences, when we have disasters—such as the horrible fire that destroyed Paradise—people join together and do what they can to help the survivors rebuild and recover.
Where can readers find more of your work?
My website www.danafredsti.com pretty much lists it all!
NEXT POST ON MONDAY 11/04/19, SCARY STORIES FOR A GOOD CAUSE: L.S. Johnson ON “Ada, Awake”
Scary Stories for a Good Cause: Crystal M. Romero on "The Relic"
Tell us a little about your story, “The Relic.”
The Relic was originally written for an LGBTQ anthology of flash fiction. This was my first encounter with the concept of writing a story with as few words as possible. I quickly discovered that it’s not as easy as I originally thought it would be. Hopefully I pulled it off.
By L.S. Johnson (https://traversingz.com/)
Tomes & Coffee Press
During her childhood, Crystal M. Romero fell in love with the horror genre. In addition to two novels, The Veil of Sorrow and Valley of the Dead, Crystal had five stories published in the LGBT 2008 flash-fiction anthology Chilling Tales of Terror and the Supernatural. Follow her onTwitter @Crstl_M_Romero or on Facebook at www.facebook.com/Crystal.1a.
Tell us a little about your story, “The Relic.”
The Relic was originally written for an LGBTQ anthology of flash fiction. This was my first encounter with the concept of writing a story with as few words as possible. I quickly discovered that it’s not as easy as I originally thought it would be. Hopefully I pulled it off.
Even with its title, “The Relic” evokes ideas of artifacts and the cultures that created them. Was there a specific culture or mythology that inspired the story?
I wrote the story when I was a university student studying Meso-American history and culture. When I came across the myth of the Jaguar Goddess, which existed in both the Aztec and Mayan pantheons, I found myself intrigued by her many attributes. In both cultures the Jaguar Goddess is the protector of women, especially during childbirth. In addition to being a protector she is also considered both an earth and moon goddess.
What is your relationship to California, and does California influence your work?
Although I wasn’t born in California, I’ve lived in the Golden State since I was a year old. Owing to this I consider myself a Californian. My early years were spent in Chico, Redding and Oroville, respectively. My high school years were spent at Las Plumas High in Oroville. Oroville is a small town that sits below Table Mountain and in the shadow of Paradise. After graduation I relocated to the Bay Area at the time when it was first becoming known as Silicon Valley. Although my first novel did not take place in California, my second novel, Valley of the Dead, takes place almost exclusively in both Silicon Valley and smaller areas in northern California.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
For me California has always been a beacon of hope for anyone looking for a place to belong regardless of ethnicity, religion or ideology. Even in the most dystopian vision of the world, I always envision California as a state that will always come through adversity with a positive outlook for our future.
Where can readers find more of your work?
Amazon.
NEXT POST ON MONDAY 10/28/19, SCARY STORIES FOR A GOOD CAUSE: Dana Fredsti on “You’ll Never Be Lunch in This Town Again
Scary Stories for a Good Cause: John Claude Smith on "My True Name"
Tell us a little about your story, “My True Name.”
Two key elements helped in the creation of this story. The first was I had a passing thought about Steinbeck’s Of Mice and Men, wanting to write something that relates—two drifters roaming the countryside—though I kind of twisted that idea into this horrific vision. The second element deals with names …
By L.S. Johnson (https://traversingz.com/)
John Claude Smith has published two collections (The Dark Is Light Enough for Me and Autumn in the Abyss), four chapbooks (Dandelions, Vox Terrae, The Anti-Everything, and The Wrath of Concrete and Steel), and two novels (the Bram Stoker Awards finalist Riding the Centipede and The Wilderness Within). Occasional Beasts: Tales, his third collection, has just been published and includes fourteen tales of weird horror.
Tell us a little about your story, “My True Name.”
Two key elements helped in the creation of this story. The first was I had a passing thought about Steinbeck’s Of Mice and Men, wanting to write something that relates—two drifters roaming the countryside—though I kind of twisted that idea into this horrific vision. The second element deals with names, so I’ll touch on it in the second question. The tale was originally published in an anthology put out by an online writer’s group I was in around twelve years ago … and which I was informed months later that perhaps four people had bought the anthology. I expect more will get to read it in this anthology.
As the title suggests, names play an important role in the world of your story. Was there a specific inspiration for this concept of a “true name”?
The names idea came to me in an email with an artist/musician friend. I had brought up Alex Lifeson from the band Rush, and he sent back a quirky response referencing, you guessed it, Bill DeathDaughter. I took that and ran with it. The names in the tale, as the reader will find out, deal in grim truths. They are statements dipped in blood and pain and, with the final revelation, well, something much bleaker than imagined …
What is your relationship to California, and does California influence your work?
From the dark alleys and avenues of Oakland and San Francisco, to the vast forests filled with mystery in northern California, inspiration abounds. My novel, The Wilderness Within, even takes place up north in a fictional town based on Old Station, California, where my best friend used to live. These elements could be anywhere in the world … or could they? I know California better than any other place, so I am sure the darkness in many of my tales has roots here.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California?
Without hope, what do we have? These are harrowing times, but I’ve got to believe something better is on the horizon. I only hope we don’t have to go through too much more of the overt negativity, fear mongering and such, before we get there.
Where can readers find more of your work?
Here’s my Amazon author’s page, so you can see my books and other anthologies I’ve had stories in … and pick up a few to investigate further.
https://www.amazon.com/John-Claude-Smith/e/B0065PB94K/ref=dp_byline_cont_ebooks_1
For those inclined to avoid the Big A, here’s links for Omnium Gatherum and Journalstone/Trepidatio.
OG: http://www.omniumgatherumedia.com/john-claude-smith
J/T: http://journalstone.com/bookstore/the-wilderness-within/
NEXT POST ON MONDAY 10/21/19, SCARY STORIES FOR A GOOD CAUSE: Crystal M. Romero ON “The Relic”
10/16 - Publisher’s note: Apologies for the post delay!!
10/21 - Publisher’s note: Updated “Next post on … ” from Jean Claude Smith to Crystal M. Romero.
Scary Stories for a Good Cause: Ross E. Lockhart on "Folie à Deux"
Tell us a little about your story, “Folie à Deux.”
“Folie à Deux” grew out of the desire to tell a fractured story, built from a series of found documents, by unreliable narrators. I wanted to write something that built on Lovecraft and Machen and their cosmicism and supernaturalism …
By L.S. Johnson (https://traversingz.com/)
Photo by Raymond Lawrason | https://www.haresrocklots.com/
Ross E. Lockhart is a veteran of small-press publishing, having edited scores of well-regarded novels of horror, fantasy, and science fiction, and anthologies including The Book of Cthulhu, Tales of Jack the Ripper, The Children of Old Leech, Giallo Fantastique, Eternal Frankenstein, Tales from a Talking Board, and Cthulhu Fhtagn! He is the author of Chick Bassist. Lockhart lives in Petaluma, California, with his wife Jennifer, hundreds of books, and Elinor Phantom, a Shih Tzu working as his editorial assistant.
Tell us a little about your story, “Folie à Deux.”
“Folie à Deux” grew out of the desire to tell a fractured story, built from a series of found documents, by unreliable narrators. I wanted to write something that built on Lovecraft and Machen and their cosmicism and supernaturalism, but also felt like there was something rational, yet ultimately ungraspable, at its heart. And a good bit of the mythic heart of storytelling. The term folie à deux comes out of 19th century psychology and refers to a shared delusion, literally meaning the madness of two. On the one hand, the title is about Cass and Hel, the twins at the core of the story. But it also expresses a dichotomous split, the Lovecraftian notion of the inability of the human mind to correlate all its contents.
You know, I had a couple things for this question, but I really just want to know: what led to the decision to bring together Lovecraftian mythos and Siamese twins?
I view Lovecraft as a sort of difficult uncle. I find myself fascinated by his imagination, particularly his Dunsanian Dreamlands, even as I am aghast at the racism that so permeates his work. Having edited multiple volumes of Lovecraft-inspired horror, I wrestle with this juxtaposition quite a bit, and in this story I try to deconstruct and decontextualize Lovecraft even as I try to understand him and his work.
But the twins? There’s a lot of Violet and Daisy Hilton in Cass and Hel. I’m a big fan of Tod Browning’s film Freaks, and while their role in the movie is small, it made a big impression on me, as did their semi-biographical film Chained for Life.
What is your relationship to California, and does California influence your work?
I’m a first-generation Californian. I grew up in San Diego as a bit of a surf rat, played in punk rock bands as a teen and into my twenties, ran record stores, and slowly worked my way north. These days I publish horror fiction. California is big and grand and golden, it is people from everywhere (and nowhere) mixing together and making it work in spite of earthquakes and fires and fascism and fear. It is perseverance and perversity and perception. And ultimately it is a place where you can sit and watch the sun sink into the ocean. California is a big part of my identity, and I can’t imagine living anywhere else.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
I’m not particularly a futurist. I want to be hopeful, but I am often disappointed by people who think from a point of fear rather than compassion, or those that put prejudices ahead of people. There’s a saying that where California goes, so goes the nation. We need to embrace that, to lean in to that, to lead actively and by example. And maybe then, the future will be what we need it to be.
Where can readers find more of your work?
I’m primarily an anthologist and editor. Recent anthologies include Tales from a Talking Board and Eternal Frankenstein. I’ve also got a short novel about California and rock and roll called Chick Bassist.
NEXT POST ON MONDAY 10/14/19, SCARY STORIES FOR A GOOD CAUSE: John Claude Smith ON “My True Name”
Scary Stories for a Good Cause: Anthony DeRouen on "The Patron"
Tell us a little about your story, “The Patron.”
I've always been fascinated by snow and how big of a factor it can play in stories. It can very much be your antagonist if the heroes of the story are caught unprepared. Such is the case in “The Patron” when a visiting family is caught in a blizzard …
By L.S. Johnson (https://traversingz.com/)
Anthony De Rouen has written three high-fantasy novels and is currently finishing the drafts on two supernatural horror screenplays. He turned one of the screenplays into a short called The Last Showing, which picked up a Silver Spotlight Award and was screened at the Halloween Horror Picture Show. In 2018 he founded the Death’s Parade Film Festival, which is happening October 5th, 2019 in San Jose, California.
Tell us a little about your story, “The Patron.”
I've always been fascinated by snow and how big of a factor it can play in stories. It can very much be your antagonist if the heroes of the story are caught unprepared. Such is the case in “The Patron” when a visiting family is caught in a blizzard. This can be all too real in some cases, but what happens after the blizzard passes makes for a chilling encounter with a nearby tavern.
“The Patron” has the structure—the feel—of a classic horror story. Why do you think some forms of horror keep frightening readers, generation after generation?
I grew up reading Scary Stories to Tell in the Dark, then when I got older I watched re-runs of The Twilight Zone. Both mediums shared a common baseline: quick and efficient storytelling that made you think. These forms of storytelling can elicit reactions much faster, and thus give you the chance to experience more in the same period as you would traditional narratives.
What is your relationship to California?
I was born, raised, and still reside in the San Francisco Bay Area.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
Any future can be hopeful if enough people are willing to stand up and make change.
Where can readers find more of your work?
You can find more of my work at http://anthonyderouen.blogspot.com/ and at https://www.deathparadefilmfest.com/
SCARY STORIES FOR A GOOD CAUSE will return 10/07/2019!
Scary Stories for a Good Cause: Chad Schimke on "Vivified"
Tell us a little about your story, “Vivified.”
“Vivified” is about second chances. I wanted to write a story about resurrection. Here is the blurb: When a young father doesn’t have access to his car, he decides to take a train ride. No biggie, he’s a successful businessman used to making hard decisions. But a deadly incident will force him to reexamine what’s truly important. Living his best life, and then … dead.
By L.S. Johnson (https://traversingz.com/)
Chad Schimke is the author of “Vivified”, “Behind the Walls”, “Picker”, “Weirder”, “Hallowseve” and “Midwinter”: a quirky gaggle of grotesque, bizarre and unsettling tales for your reading pleasure. He is a founder of the Alabama Street Writer’s Group, and a regular interviewee on radio shows. He is currently working on a novel series tentatively entitled Regenerates.
Tell us a little about your story, “Vivified.”
“Vivified” is about second chances. I wanted to write a story about resurrection. Here is the blurb: When a young father doesn’t have access to his car, he decides to take a train ride. No biggie, he’s a successful businessman used to making hard decisions. But a deadly incident will force him to reexamine what’s truly important. Living his best life, and then … dead.
In a sense, “Vivified” tells us two stories: one human, one animal. What inspired you to juxtapose Cliff’s story with the hare’s?
Cliff has everything figured out, and nothing new to learn. His success has made him cocky and arrogant. He’s a selfish jerk who only cares about the bottom line. He’s got a failed relationship and a kid he sees rarely. When he stops by a toy store to buy his daughter a present, he peers into a candy egg. The interior of a diorama, inside a candy Easter egg, reveals Cliff’s opposite: the momma bunny.
The momma bunny is on the other side. She’s utterly innocent and selfless, willing to risk danger to save her babies. She faces great peril but does what’s necessary anyway. She is free from the lure of material possessions or status, because nature gives her what she needs. In essence, she puts her kids first before her own life.
“Vivified” is also the story of transformation. The title means ‘restored to life’. I think that’s what happens, on multiple levels. Cliff is changed forever going forward.
What is your relationship to California, and does California influence your work?
I was raised in rural Northwestern New Mexico and came to California over twenty years ago. Somehow I made a life here in the big city so far away from my beginnings. I’m sad to see changes which have impacted San Francisco for the worse. But I still feel San Francisco holds great promise to effect change, locally and nationally. When I wrote about Cliff’s train ride, it was inspired by the time I took Amtrak to Sacramento on a business trip. I subdued the setting a great deal and changed the name, to keep the focus on the elements I thought were more important.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
I think California has the collective resources and imagination to do great things, and be of service to the country and the world. I am sometimes disappointed by her shortcomings, but overall California is a force for good.
Where can readers find more of your work?
You can find everything you ever wanted to know about my writing at my website, my blog, and my Amazon page.
NEXT POST ON MONDAY 9/09/19, SCARY STORIES FOR A GOOD CAUSE: Anthony DeRouen on “The Patron”
Scary Stories for a Good Cause: G.O. Clark on "The Twins"
Tell us a little about your story, “The Twins.”
“The Twins” started out as a poem, which I never completed. After setting it aside for a while, I went back to it and found it might work better as a short story.
By L.S. Johnson (https://traversingz.com/)
G. O. Clark is the author of 13 books of poetry (the most recent is The Comfort of Screams) and two short story collections. “The Twins” was included in his most recent short story collection Twists & Turns, published in 2016 by Alban Lake Publishing. He’s retired and lives in Davis, California.
Tell us a little about your story, “The Twins.”
“The Twins” started out as a poem, which I never completed. After setting it aside for a while, I went back to it and found it might work better as a short story.
I published a book of zombie poems in 2013, Scenes Along The Zombie Highway, in which many of the poems were about individual zombies, i.e., baseball player, ventriloquist, writer, etc. The “twins” poem, if completed, would have been included.
The idea was to put a human face(s) on those who had joined the walking dead. The “twins” were abandoned in the country by their parents, who couldn’t bear to kill them, when the zombie apocalypse was still in its earliest stages. Enter the old farm couple with their unfulfilled longing for kids, and the story more or less wrote itself.
While the setting of “The Twins” is grounded in modernity, the shape of the story feels almost like a fairytale. Was that a deliberate choice on your part?
I suppose there may be some fairytale elements within it, but they were not consciously added by me. A lot of the current zombie TV shows, movies, stories, etc. portray zombies as nothing more than rotting-meat targets, ignoring the fact they were once human just like everyone else. Of course, as in most of the current portrayals, you have to aim for the head in the end, or join their ranks.
What is your relationship to California?
I set the story in Missouri, Kansas and the neighboring north Texas area to literally give the characters room to roam. I don’t think it would have worked in the regions of California where I’ve lived, and now reside: San Jose and the Sacramento area, respectively. I moved to San Jose in 1959 from Massachusetts, and lived there for 25 years, before moving with my ex-wife and son to Davis, where I now reside in snug, mobile home retirement.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
I think California, as it has been for years, is always on the cutting edge as a general rule. Silicon Valley is the most obvious example. I hope it will continue to be so long after I’m gone. The future is my 36-year-old son’s now, who lives in Los Angeles, smartphone clutched in his hand.
Where can readers find more of your work?
http://goclarkpoet.weebly.com
*NEXT POST ON MONDAY 9/02/19, SCARY STORIES FOR A GOOD CAUSE: Chad Schimke on “Vivified”
Scary Stories For A Good Cause: Jeff Seeman On "Road Kill"
About “Road Kill”
When I was about twelve years old, I was captivated by Richard Matheson’s story “Duel.” I already knew that I wanted to be a writer, and I thought that I’d love to be able to write a story like that someday. But I didn’t want to write something that was merely derivative of “Duel”—I wanted to unpack the story and understand its essence, and then do something totally different …
By L.S. Johnson (https://traversingz.com/)
Jeff Seeman is the author of two novels, Political Science and Guns and Butter, and a tribute to Edgar Allan Poe, The Scythe of Time: An Essay and Homage. He was a contributor to the short story anthologies 18 Wheels of Science Fiction, 18 Wheels of Horror, and the Bram Stoker Award-nominated Hell Comes to Hollywood. A former editor of the Cornell Lunatic (Cornell University’s answer to the Harvard Lampoon), he has performed stand-up comedy in Los Angeles, Boston, and San Francisco.
About “Road Kill”
When I was about twelve years old, I was captivated by Richard Matheson’s story “Duel.” I already knew that I wanted to be a writer, and I thought that I’d love to be able to write a story like that someday. But I didn’t want to write something that was merely derivative of “Duel”—I wanted to unpack the story and understand its essence, and then do something totally different. I remember reading the story over and over and making detailed notes, trying to deconstruct it the way some kids might take apart a clock to see how it worked. I isolated every story choice that Matheson had made and consciously made the opposite choice. So, for example, we never learn anything about the trucker in “Duel,” but in my story the trucker would be the protagonist and we’d get to know him intimately. Matheson’s story is realistic; everything that happens, while unlikely, is still possible. So I would write a story that was full of impossible, supernatural events. More importantly, “Duel” doesn’t contain a single line of dialogue—we see the villain bearing down on our hero, but we never hear his voice. So my story would do the opposite—we hear the voice, a disembodied, malevolent force, but we never actually see our villain.
My twelve-year-old self never wrote that story, which is doubtless a good thing because I’m sure it would have turned out awful. But a few years ago, Eric Miller was compiling an anthology of trucking-themed horror stories, and he invited me to contribute. I remembered this idea I had played with way back when I was twelve years old, and I sat down and wrote the story as I had imagined it then—although, hopefully, from a much more adult perspective.
So “Road Kill” is really my attempt to pay tribute to Matheson—by taking a story I was fascinated by as a child and turning it inside-out.
On the future of California
In 2015, the Valley Fire devastated Lake County, burning thousands of acres and taking four lives. I have friends who lost everything in that fire—their homes, their possessions, their communities. Perhaps more importantly, they lost their sense of security, the feeling that they could ever be safe in their own homes. In 2018, wildfires broke out in both Northern and Southern California. The Camp Fire was the single deadliest, most destructive wildfire in the history of the state, burning over 150,000 acres and killing 85. In California, 14 of the 20 largest wildfires on record have occurred over the past 15 years.
I wish I could be more hopeful about the future of California, but honestly I think these disasters are going to continue and are going to get much worse until we as a country adjust our priorities. Most scientists now agree that the effects of global warming on temperature, precipitation levels, and soil moisture are turning forests into kindling during wildfire season. We need to stop wasting time on hateful, divisive politics and start working together to save our planet.
Where to find more of my work
Most of what I’ve written that’s still in print can be found on my Amazon author’s page: www.amazon.com/author/jeffseeman
*NEXT POST ON MONDAY 8/26/19, SCARY STORIES FOR A GOOD CAUSE: Crystal M. Romero ON “The Relic”
*Edit: The story order is being changed up with G.O. Clark’s story up next. Apologies for any inconvenience.
-Tomes & Coffee Press
Scary Stories For A Good Cause: Roh Morgon On "Little Pink Flowers"
Tell us a little about your story, “Little Pink Flowers.”
This story originally appeared the 2014 World Horror Convention Souvenir Program. When I received the invite to contribute to the program, I was on vacation with family in Colorado. I had no idea what to write—but then, as I was snuggling down into my sleeping bag, images of these little, pink but deadly flowers sprouting out of cornstalks just popped into my head, along with the idea that they had arrived on a meteor …
By L.S. Johnson (https://traversingz.com/)
Roh Morgon dreams up her dark tales while driving through California’s Sierra Nevada foothills. But it’s her time spent in more remote locales—the soaring peaks of Colorado, the windswept plains of Wyoming, the mysterious Carpathian Mountains of Romania—that provides the settings for her stories.
Roh’s best known for her vampire series The Chosen (which includes the novels Watcher, Runner, and the upcoming Seeker: Book III of The Chosen), the related 1840s historical horror novella The Last Trace, and the corporate horror novella The Games Monsters Play. You can find Roh online at www.rohmorgon.com, https://www.facebook.com/RohMorgonWriter, and Amazon.
Tell us a little about your story, “Little Pink Flowers.”
This story originally appeared the 2014 World Horror Convention Souvenir Program. When I received the invite to contribute to the program, I was on vacation with family in Colorado. I had no idea what to write—but then, as I was snuggling down into my sleeping bag, images of these little, pink but deadly flowers sprouting out of cornstalks just popped into my head, along with the idea that they had arrived on a meteor. Since I have a background in agriculture and working with farmers, the rest of the story just fell into place.
The “Little Pink Flowers" in your story are described very carefully, with specific botanical features. Did you undertake any research for your story, or are the flowers purely invented?
In the story, the flowering structures are described as resembling pink clover flowers—at first glance. But the blue spines and clear stalks, along with its parasitism and aggressive behavior, are all quite fictional.
What is your relationship to California?
I grew up in a remote canyon in Southern California surrounded by chaparral-covered hills, then spent a number of years in the rural Central Coast. My current home is in the blue oak grasslands of the Sierra Nevada foothills in Central California. Living with the ever-present danger of wildfire for much of my life, I’m humbled to be a part of this fundraising project for the families who suffered horrific losses in the Camp Fire.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
Unfortunately, as a horror writer and someone with a strong affinity for the natural environment, I have trouble envisioning a hopeful future for our state. Increasing development, fueled by an ever-expanding population, does not bode well for any areas but the most rugged mountains and scorching deserts. But if you were to ask me to imagine a post-apocalyptic California, I’d have no problem coming up with a dozen possible futures! 😀
Where can readers find more of your work?
Readers can visit my Amazon author page: https://www.amazon.com/Roh-Morgon/e/B005APORC2. My current project, the dark fantasy series The Chosen, follows the journey of a young woman struggling to survive in her new life as a vampire while attempting to adhere to her human morals. The series includes the novels Watcher and Runner, along with two novellas. The third novel, Seeker, is underway. To learn more about The Chosen, readers can check out my website: http://www.rohmorgon.com.
NEXT POST ON MONDAY 8/19/19, SCARY STORIES FOR A GOOD CAUSE: Jeff Seeman ON “Road Kill”
Scary Stories For A Good Cause: Sean Patrick Hazlett on "Mukden"
Tell us a little about your story, “Mukden.”
“Mukden” is a historical retelling of the prelude to its namesake military engagement. The Battle of Mukden, which took place in early 1905, was one of the largest land battles in history prior to World War I. The tale follows the mystical journey of Japanese soldier Captain Tanaka Hideki, a member of an occult organization known only to Japan’s senior leadership as Unit 108. His mission is to work with local Chinese bandits to determine the size, location, and disposition of Imperial Russian forces operating along the Manchurian rail line, but along the way, he discovers something far more sinister …
By L.S. Johnson (https://traversingz.com/)
Tomes & Coffee Press
Sean Patrick Hazlett is an Army veteran and speculative fiction writer. His short stories have appeared in publications such as The Year’s Best Military and Adventure SF: Volume 4, Year’s Best Hardcore Horror: Volume 3, Terraform, Galaxy’s Edge, Writers of the Future: Volume 33, Grimdark Magazine, Abyss & Apex, Perihelion, Unnerving Magazine, and Weirdbook, among others. He holds an AB in History and BS in Electrical Engineering from Stanford University, a Master’s in Public Policy from the Harvard Kennedy School of Government, and an MBA from the Harvard Business School.
Tell us a little about your story, “Mukden.”
“Mukden” is a historical retelling of the prelude to its namesake military engagement. The Battle of Mukden, which took place in early 1905, was one of the largest land battles in history prior to World War I. The tale follows the mystical journey of Japanese soldier Captain Tanaka Hideki, a member of an occult organization known only to Japan’s senior leadership as Unit 108. His mission is to work with local Chinese bandits to determine the size, location, and disposition of Imperial Russian forces operating along the Manchurian rail line, but along the way, he discovers something far more sinister.
Your story is set in Manchuria during the Russo-Japanese War. In choosing to write about Manchuria, were you drawing on personal experience, research, or both?
To craft the story and build the world, I spent a great deal of time learning about the events, personalities, and weapons of the Russo-Japanese. My experience as an Army veteran and cavalry officer was also helpful for making the narrative seem more real. I spent time researching Japanese mythology in order to populate this world with the demonic entities that hunt Hideki. Lastly, I tried to infuse the story with a Lovecraftian aesthetic, invoking it with a sense of dread and hopelessness.
What is your relationship to California, and does California influence your work?
While I’m an East Coast transplant, I’ve lived in California for nearly half my life. I’ve spent about three-quarters of that time in the San Francisco Bay area and the remaining quarter in Southern California’s Mojave Desert. I moved to California for the first time when I was 18 years old for college. 47% of the stories I’ve written and 44% of the stories I’ve sold have taken place in California, so it has obviously heavily influenced my work.
Where can readers find more of your work?
You can find my work on my Amazon page here.
NEXT POST ON MONDAY 8/12/19, SCARY STORIES FOR A GOOD CAUSE: Roh Morgon ON “Little Pink Flowers”
Scary Stories For A Good Cause: Sumiko Saulson on "Unheard Music in the Dank Underground
Your story “Unheard Music in the Dank Underground,” is mostly set in an underground laboratory in San Francisco. Was this purely your invention, or was it based on a real location?
A little of both. The exterior is Fort Point, a fort at Golden Gate Park under the Golden Gate Bridge near Crissy Field. The twisted maze of tunnels and rooms below under the bridge itself are completely fictionalized. They are based on World War I and II bomb shelters and bunkers, and the story on the whole is an homage to Mary Shelley’s “Frankenstein.”
By L.S. Johnson (https://traversingz.com/)
Sumiko Saulson is a cartoonist, science fiction, fantasy, and horror writer, editor of Black Magic Women and 100 Black Women in Horror Fiction, author of Solitude, Warmth, The Moon Cried Blood, Happiness and Other Diseases, Somnalia, Insatiable, Ashes and Coffee, and Things That Go Bump in My Head. She wrote and illustrated the comics Mauskaveli and Dooky, and the graphic novels Dreamworlds and Agrippa.
Your story “Unheard Music in the Dank Underground,” is mostly set in an underground laboratory in San Francisco. Was this purely your invention, or was it based on a real location?
A little of both. The exterior is Fort Point, a fort at Golden Gate Park under the Golden Gate Bridge near Crissy Field. The twisted maze of tunnels and rooms below under the bridge itself are completely fictionalized. They are based on World War I and II bomb shelters and bunkers, and the story on the whole is an homage to Mary Shelley’s “Frankenstein.”
What is your relationship to California?
I was born in Los Angeles. I lived there until I was 12, then I lived in Hawaii for 7 years before moving to San Francisco. I have lived in the Bay Area most of my adult life. I currently reside in Oakland, down the hill from Mills College in the Fairfax District.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
I think of California in Gene Roddenberry’s universe, where the Bay Area was home to Starfleet and a beacon of hope to everyone who loves multiculturalism, diversity, peace and the environment. I can’t really do better than that. They even solved homelessness and economic disparity. Queerer than Roddenberry and less heternormative, though.
Where can readers find more of your work?
www.SumikoSaulson.com, Amazon, Barnes & Noble, iTunes... Or local book stores in the Bay Area, Reno, and Sacramento.
NEXT POST ON MONDAY 8/05/19, SCARY STORIES FOR A GOOD CAUSE: Sean Patrick Hazlett ON “Mukden”
Scary Stories for a Good Cause: E.M. Markoff on "Leaving the #9"
Tell us a little about your story, “Leaving the #9.”
The story follows Adelia, a working class cook who has worked long and hard for a better life and is finally able to take that next step. With her are her brother, Miguel, and a client turned best friend turned “the grandma I never had.” Her sense of reality is shaken when strange occurrences begin to disrupt her attempts to achieve her dream. The setting was inspired by the ongoing gentrification and displacement of the Mission, San Francisco’s historically Latinx neighborhood. A reader described it as “[a] wonderful ghost story …
By L.S. Johnson (https://traversingz.com/)
www.ellderet.com
Latinx author and publisher E.M. Markoff writes about damaged heroes and imperfect villains. Growing up, she spent many days exploring her hometown cemetery, where her love of all things dark began. Upon coming of age, she decided to pursue a career as a microbiologist and spent a few years channeling her inner mad scientist. Her works include The Deadbringer, To Nurture & Kill, and her recent short story “Leaving the #9.” She recently published the charity anthology Tales for the Camp Fire under her imprint, Tomes & Coffee Press, to raise money for California wildfire recovery and relief efforts. She is a member of the Horror Writers Association and is mostly made up of coffee, cat hair, and whiskey.
Tell us a little about your story, “Leaving the #9.”
The story follows Adelia, a working class cook who has worked long and hard for a better life and is finally able to take that next step. With her are her brother, Miguel, and a client turned best friend turned “the grandma I never had.” Her sense of reality is shaken when strange occurrences begin to disrupt her attempts to achieve her dream. The setting was inspired by the ongoing gentrification and displacement of the Mission, San Francisco’s historically Latinx neighborhood. A reader described it as “[a] wonderful ghost story with some excellent unexpected tidbits.” To me, the story is about friendship and chosen family, and the ways that we discover whom in our lives we are truly important to.
Your story includes both Spanish and Nahuatl words. For readers unfamiliar with the latter, can you tell us more about Nahuatl, and why you wove it into your story?
I am fluent in Spanish since my mom never learned English, but I only recently began learning Nahuatl. Nahuatl is one of the many native languages of Mexico, and is still spoken today by 1.5 million people. I wove it into the narrative because I wanted to see all aspects of my culture represented in the story. All my works are like this, including the books in my main dark fantasy series, though the references there are not as overt.
Mind you, I’m not fluent in Nahuatl, but that’s my own fault. I’m a horrible student, but I’m working toward learning more about it. UC Berkeley, through their Program for the Study and Practice of Indigenous Cultures and Languages, offers Nahuatl courses in the fall. Another wonderful resource is David Bowles’s online Nahuatl course.
What is your relationship to California, and does California influence your work?
Just this May was Carnival San Francisco, and earlier in the year was Mexica New Year. The Mission Cultural Center had an exhibit dedicated to rebozos, and they offer classes such as Danza Azteca. My point is that California, and for me specifically San Francisco, influences my work because of how rich the Latinx community is. I live in a city where I have direct access to a part of my culture (Mexica) that I thought I could only ever experience through books or museums. I’m very privileged to be able to live here and I hope it remains so.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
I can imagine a hopeful future for California because we live in a time where injustices are being challenged on a national, state, and local level by communities of color. What might that future look like? Diverse.
Where can readers find more of your work?
My main body of work includes The Deadbringer, the first book in The Ellderet Series, and its standalone prequel To Nurture & Kill. The first book was described by Booklist as “An amazing action-adventure, tinged with Mexican folklore, that will appeal to fans of A Game of Thrones.” You can learn more about the world of the Ellderet by visiting www.ellderet.com or signing up for my Newsletter of the Cursed. You can also follow me @tomesandcoffee on Instagram, Twitter, and Facebook. As for my work as a publisher, visit the Camp Fire website at www.ellderet.com/campfire, where you’ll find interviews (such as these) by other contributing authors. There’s also a Facebook page where I post T4tCF events and updates. You can also catch me, editor Loren Rhoads, and contributing author and interviewer extraordinaire L.S. Johnson at Silicon Valley Comic Con on August 16-18 at Booth 21a. I’ll have my own works available as well as Tales for the Camp Fire. If you’re attending, please stop on by and say hello!
NEXT POST ON MONDAY 7/29/19, SCARY STORIES FOR A GOOD CAUSE: Sumiko Saulson ON “Unheard Music in the Dank Underground”
Scary Stories for a Good Cause: Ken Hueler on "River Twice"
Tell us a little about your story, “River Twice.”
A friend of mine once told me he would take a bullet in the knees for his daughters. Having observed him with his family for years, I truly believe he would have (though I never tested it). But one of the horrors of life is betrayal by people you should trust—friends, lovers, family—which is matched only by the horror they feel when you betray them. So I decided to write about that …
By L.S. Johnson (https://traversingz.com/)
Tomes & Coffee Press
Ken Hueler teaches kung fu in the San Francisco Bay Area and, with fellow members of the Horror Writers Association’s local chapter, gets up to all sorts of adventures (only some involving margaritas). His work has appeared in Weirdbook, Stupefying Stories, Black Petals, and Strangely Funny III.
Tell us a little about your story, “River Twice.”
A friend of mine once told me he would take a bullet in the knees for his daughters. Having observed him with his family for years, I truly believe he would have (though I never tested it). But one of the horrors of life is betrayal by people you should trust—friends, lovers, family—which is matched only by the horror they feel when you betray them. So I decided to write about that.
Kame begins the story by gently testing the sincerity of her boyfriend, and then she discovers that her father has a secret from her childhood. Investigating it puts her in a similar jeopardy to the one that endangered her so long ago. Will she be rescued this second time? Will either man come through for her?
Your story draws upon Japanese folklore, especially tales of kappas. What inspired you to choose the kappa specifically for your story?
Cunning. I saw a posting for an anthology of cryptid stories, and since only one story on each cryptid would be included, I narrowed my competition by picking an unusual one. I like anime and Japanese movies, so I knew about yokai, and I decided on kappas because they are wonderfully odd. I discovered a lot more interesting facts researching them, some of which are only alluded to in the story (look up how kappa get shirikodma to find out how one character actually died).
The anthology had a deadline, and knowing the speed at which I write, I decided against researching much about Japan and just moved the kappa to the US. Isn’t that inspirationally lazy? Still, I submitted the story in two minutes to midnight on the deadline, so I was right. And no one complained about the transplant.
What is your relationship to California, and does California influence your work?
I’ve lived in San Francisco for 25 years, and I find the variety of cultures and people and ideas inspiring. So many unusual and delightful things just seem to appear, and I think that adds a sense of anything-can-happen wonder to how I write.
Geographically, it doesn’t show up much. My locations are almost never specific, and for the same reason writers aren’t supposed to base characters on actual people (besides the lawsuits): it limits me. I like story and setting to blend.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
The people of California are very aware and innovative, and the culture encourages that. I believe we will be a part of the needed solutions.
Where can readers find more of your work?
I have a list of where I’ve been published on my website: kenhueler.wordpress.com. You will also find a link to stories under my humor pseudonym, Nathan Cromwell, the most recent of which, “The Very Last Time I Will Ever Have Sex with a Tree”, appears in Stupefying Stories magazine. Go ahead—who doesn’t like a rollicking tale of consensual arboreal canoodling? No one will judge you.
NEXT POST ON MONDAY 7/22/19, SCARY STORIES FOR A GOOD CAUSE: E.M. Markoff ON “Leaving the #9”
Scary Stories for a Good Cause: Clifford Brooks on John Wilson
Tell us a little about your story, “John Wilson.”
John Wilson came about by accident. The un-named narrator was a character in a novella I was working on. She only had a couple of lines, but I figured I needed to know more about her, so I wrote a character background. When I was done, I realized that what I’d basically done was write a short story about her …
By L.S. Johnson (https://traversingz.com/)
When not writing about ghosts and improbable Siamese twins, Clifford Brooks is a devoted cat daddy. On any given Sunday, you can find him walking one of his cats through the Bay Area’s many parks.
Tell us a little about your story, “John Wilson.”
John Wilson came about by accident. The un-named narrator was a character in a novella I was working on. She only had a couple of lines, but I figured I needed to know more about her, so I wrote a character background. When I was done, I realized that what I’d basically done was write a short story about her.
The style of “John Wilson” is unusual—some might call it poetic, or experimental. What inspired the focus on voice?
It wasn’t a conscious decision … it just came out like that. Ironically, the novella that spawned it has yet to be sold.
What is your relationship to California?
I grew up a small-town Midwest boy. I thought that’s who I was until I left the Midwest for California. And then, on a trip to Manhattan, it sealed the deal. I’d been mistaken. Horribly so. California is such a big place that there really isn’t just one California. San Francisco and Union City are worlds apart. More like galaxies apart.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
Because this is the technology center of the world, I see California, and especially the Bay Area, morphing into something totally unrecognizable in the next 20 to 30 years. Robot companions? Check. Self-driving clean vehicles? Check check. Empty office parks and traffic-free highways as employees work in virtual offices from the comfort of their beds? Hell yes.
Where can readers find more of your work?
I’m not nearly as prolific as I’d like to be, but one can find more on what I’m all about from the safety of my website: www.cliffordbrooks.com.
Anything you’d like to add that we haven’t asked?
Just that I’m an extroverted introvert. I know, it’s trendy for writers to call themselves introverts, but I’m an extreme case. Really. That being said, in small to smallish groups, I can be very extroverted. It’s a total response to my discomfort … the more uncomfortable I become, the harder it is to shut me up.
NEXT POST ON MONDAY 7/1/19, SCARY STORIES FOR A GOOD CAUSE: Ken Hueler on “River Twice”
Scary Stories for a Good Cause: Gene O'Neill on "Graffiti Sonata"
Tell us a little about your story, “Graffiti Sonata.”
An artist is under stress; he’s lost his ability to make art, and his wife and child are leaving him. Incidentally he notices some strange freeway graffiti that moves. The two events overlap.
Was there any specific inspiration for the graffiti in your story?
I was looking at some Freeway graffiti and thought what if graffiti moved? The story is built around that what if …
By L.S. Johnson (https://traversingz.com/)
Tomes & Coffee Press
Gene O’Neill has seen 150 of his short stories, novelettes, and novellas published, as well as seven short story collections and seven novels. Twelve of this group were Stoker finalists, two claiming the haunted house—Taste of Tenderloin (collection) and The Blue Heron (novella). Two novels and a novella collaboration will be out sometime in 2019.
Tell us a little about your story, “Graffiti Sonata.”
An artist is under stress; he’s lost his ability to make art, and his wife and child are leaving him. Incidentally he notices some strange freeway graffiti that moves. The two events overlap.
Was there any specific inspiration for the graffiti in your story?
I was looking at some Freeway graffiti and thought what if graffiti moved? The story is built around that what if. There is art and music in the story, and the title is a play on this: movement of graffiti and movements in a sonata …
What is your relationship to California?
I live in Napa. We lost a family home in the 2017 fire in the Napa Valley fire.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
California’s economy is doing well. If we can control fires, and we do something about global warming, everything will be fine in the future.
Where can readers find more of your work?
Readers can Google my name or check my name on Amazon.Com. I list upcoming books on my Facebook page.
NEXT POST ON MONDAY 6/24/19, SCARY STORIES FOR A GOOD CAUSE: Clifford Brooks ON “John Wilson”
Scary Stories for a Good Cause: Eric Esser on "Fable of the Box"
Tell us a little about your story, “Fable of the Box.”
It’s a story about wanting to be more than you think you are, and how that takes you places you would not expect, and maybe shouldn’t go. There are a lot of other influences packed in there too. I’ve always been fascinated by the Sumerians’ idea of the underworld, where instead of receiving a reward for your actions in life you become a shadow of what you once were …
By L.S. Johnson (https://traversingz.com/)
Eric Esser lives in San Francisco with his wife Courtney. He is a graduate of the Clarion Science Fiction & Fantasy Writers’ Workshop and a member of the Codex Writers’ Group. His fiction has appeared or is forthcoming in Schoolbooks & Sorcery, Pseudopod, and Fictionvale, among others.
Tell us a little about your story, “Fable of the Box.”
It’s a story about wanting to be more than you think you are, and how that takes you places you would not expect, and maybe shouldn’t go. There are a lot of other influences packed in there too. I’ve always been fascinated by the Sumerians’ idea of the underworld, where instead of receiving a reward for your actions in life you become a shadow of what you once were. This piece is also part of a series of stories I wrote inspired by southwestern Shropshire, a place I find interesting because it’s on the edge between England and Wales, where mythologies and cultures mixed, and where, back in the day, people were far enough removed from major population centers that they had a greater sense of the unknown and therefore of possibility.
As the title suggests, your story reads like a fable, or a fairy tale … what inspired you to choose that form?
I was writing a series of stories that played with telling over showing. I think there can be something almost hypnotic about a story that’s mostly told rather than shown, and I was working on that here. It also let me experiment with wide arcs over short page counts, which let me see more clearly how certain structures play out, and how turns of plot can be reminiscent of turns in poetry.
What is your relationship to California, and does California influence your work?
I was born and raised in California, so the short answer is that it influences me down to my bones. I see California as what America as a whole used to be: diverse, vibrant, looking toward the future instead of longing for the past, defining ourselves by whom we embrace rather than who we vilify. Maybe this is part of why I write speculative fiction, which is always trying to see the world from previously unimagined perspectives, and making us better for it through aspiration or critique.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
A hopeful future is one that people embrace and shape rather than run from. This often involves giving as much respect to the needs of others as to our own. For example, with respect to the housing crisis, you have to accept there will be more people here in the future than in the past and then figure out ways that are both realistic and just to deal with that. It’s not always easy because in our world people often have to fight so hard for what they have that when any change comes their self-defense instincts kick in. But I think California has a better chance of getting it right than most, in the end.
Where can readers find more of your work?
I have links to some of my stories on my website ericesser.net. I have a young adult urban fantasy story coming out later this year in the Schoolbooks and Sorcery anthology, a collection of queer-friendly stories from Circlet Press’ Ultra Violet Library imprint. Another story in the series I wrote working with Shropshire and forms of telling is “Thing in the Bucket,” available in print in Flame Tree Publishing’s Chilling Horror Short Stories anthology and in audio in Pseudopod Episode #430.
NEXT POST ON MONDAY 6/17/19, SCARY STORIES FOR A GOOD CAUSE: Gene O’Neill ON “Graffiti Sonata”
Scary Stories for a Good Cause: Loren Rhoads on "Still Life with Shattered Glass"
Tell us a little about your story, “Still Life with Shattered Glass.”
“Still Life” was directly inspired by taking MFA Creative Writing classes at the University of Michigan. My classmates’ more literary stories were grounded in theories of art, when I just wanted to explore as many genres as possible. This was back in the day, when students were strongly encouraged to write what they knew. A lot of them (me included) only knew living with our childhood families or trying to adjust to roommates at college. None of us had much life experience to draw on. We read an awful lot of roommate stories.
I set out to write a story about a bad roommate.
By L.S. Johnson (https://traversingz.com/)
lorenrhoads.com
Loren Rhoads served as editor for Bram Stoker Award-nominated Morbid Curiosity magazine as well as the books The Haunted Mansion Project: Year Two, Death’s Garden: Relationship with Cemeteries, and Morbid Curiosity Cures the Blues: True Tales of the Unsavory, Unwise, Unorthodox, and Unusual. Her short stories have appeared in Best New Horror #27, Strange California, Sins of the Sirens: Fourteen Tales of Dark Desire, Fright Mare: Women Write Horror, and most recently in Weirdbook, Occult Detective Quarterly, and Space & Time.
Tell us a little about your story, “Still Life with Shattered Glass.”
“Still Life” was directly inspired by taking MFA Creative Writing classes at the University of Michigan. My classmates’ more literary stories were grounded in theories of art, when I just wanted to explore as many genres as possible. This was back in the day, when students were strongly encouraged to write what they knew. A lot of them (me included) only knew living with our childhood families or trying to adjust to roommates at college. None of us had much life experience to draw on. We read an awful lot of roommate stories.
I set out to write a story about a bad roommate. Hopefully it's not clear until the end of the story which roommate is the worst.
I wanted to snark about artistic pretenses, too.
You mention that the story was inspired by photographers Joel-Peter Witkin and David Wojnarowicz. For readers unfamiliar with their work, can you describe their photography and how it inspired you?
The photograph of Joel-Peter Witkin’s that struck a chord with me is called “The Kiss,” in which he posed two severed heads mouth to mouth. It’s not a photographic manipulation. The men are clearly dead: their cheeks are sunken, their noses are beaks, one’s mouth is actually gaping open. The image is horrific and intimate and disrespectful and lovely, too, in its way. I wanted the photographer in my story to display the same sort of disrespect for the dead. To her, cadavers are simply props, even if she doesn’t rearrange bodies the way Witkin did.
On the other hand, David Wojnarowicz took a series of photos of his lover Peter Hujar, after Peter died of AIDS. The first photo shows Peter with his head on a hospital pillow. His open eyes are unfocused and sunken deep into their sockets. His mouth hangs open. The skin of his chest has collapsed around his collarbone. Consecutive photos focus on his hand atop a thin hospital sheet and his vulnerable bare feet. There’s something sculptural about the focus on his hands and feet, something Christlike. It’s a gut-punch to see this profound record of a love suddenly, brutally ended.
I wanted to write about a woman who looked at death as unflinchingly as these two men.
What is your relationship to California, and does California influence your work?
I moved from Michigan to California 30 years ago and hope never to leave. As much as I loved Ann Arbor, I can’t imagine ever leaving San Francisco for Michigan again. I fell in love as soon as I watched the sun set into the Pacific the first time. Although this particular story predates my coming to California, it wasn’t published until after I’d lived here for a number of years.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
I hope we can expand on the progress we’ve made, in terms of accepting people for who they truly are. Marriage equality was a huge first step, one I am thrilled to have seen in my lifetime. I hope we can get to a point where people can define themselves and their relationships freely and no one bats an eye.
Where can readers find more of your work?
My home on the web is lorenrhoads.com. I spend too much time hanging out on Facebook at https://www.facebook.com/loren.rhoads.5 or on Twitter at https://twitter.com/morbidloren. For people in Northern California, I’ll be at the Silicon Valley Comic Con in San Jose in August and then up at Sinister Creature Con in Sacramento in October. Come pick up a copy of the Camp Fire book in person!
NEXT POST ON MONDAY 6/10/19, SCARY STORIES FOR A GOOD CAUSE: Eric Esser ON “Fable of the Box”
Scary Stories for a Good Cause: Gerry Griffiths on "The White Stuff"
Tell us a little about your story, “The White Stuff.”
The story is about four friends celebrating Christmas together in a remote home out in the desert. Not exactly the holiday theme you would expect being surrounded by sand and cactus. But that all changes when everyone awakes on Christmas morning to newly fallen snow. Could it be a miracle of nature? Or is it more menacing? I’d like to think this story has a little Twilight Zone vibe to it.
By L.S. Johnson (https://traversingz.com/)
https://amzn.to/2GRlAmR
Gerry Griffiths lives in San Jose, California with his family, their four rescue dogs, and a cat. He has over thirty published short stories in various anthologies and magazines, along with a collection entitled Creatures. He is also the author of Silurid, The Beasts of Stoneclad Mountain, Death Crawlers, Deep in the Jungle, The Next World, Battleground Earth, Down from Beast Mountain, Terror Mountain, Cryptid Zoo, and Cryptid Island (prequel to Cryptid Zoo).
Tell us a little about your story, “The White Stuff.”
The story is about four friends celebrating Christmas together in a remote home out in the desert. Not exactly the holiday theme you would expect being surrounded by sand and cactus. But that all changes when everyone awakes on Christmas morning to newly fallen snow. Could it be a miracle of nature? Or is it more menacing? I’d like to think this story has a little Twilight Zone vibe to it.
Much of what happens in your story is shaped by the characters’ isolation—they’re in a house that is, as one characters says, “in the middle of nowhere.” Was this based on personal experiences?
Well, I can think of a couple of incidences. One time when my brother and I were kids we went camping with our parents in the Santa Cruz Mountains and got lost when we wandered off into the woods. At the time we were pretty scared and were in tears—until we realized all we had to do was retrace our footsteps back to camp. I don’t think our parents even realized we were gone. While in the Navy, the submarine I served on nearly sank while undergoing a routine test dive. I guess the thought of being stranded in the forest or lying at the bottom of the ocean certainly traumatized me. Like floating helplessly in outer space without a tether … or facing true terror running for your life in the middle of the desert.
What is your relationship to California, and does California influence your work?
California has been my home for much of my life. I was only a year old when my parents left London and brought me across the Atlantic on the Queen Mary in 1950. We were constantly moving from state to state as my father worked for Trans World Airlines and was always accepting new job opportunities with the airline, but we always seemed destined to return to California. I can’t think of anywhere I would rather live than here and have many fond memories. I’m sure they’ve influenced my writing. Sunshine is great for the imagination.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
Well, these are turbulent times for California. I think it’s important that we preserve and protect our wonderful state and share the core values as honest and compassionate citizens and not forget the historical legacies that made this state the fifth largest economy in the world. Everyone from all walks of life working together accomplished that. This is where we can step up and be proud of our Golden State. I think many of us have friends and relatives that lived in Paradise and the surrounding communities that suffered from the devastating Camp Fire. This charity anthology benefiting wildfire relief for the survivors is our way as Bay Area horror writers of doing our part to help with the effort.
Where can readers find more of your work?
I have an Author Central page on Amazon that lists my novels, the magazines I have contributed to, and a collection of short stories. Please feel free to visit and browse around.
https://www.amazon.com/Gerry-Griffiths/e/B003CGSL6E?ref=sr_ntt_srch_lnk_1&qid=1554922190&sr=1-1
NEXT POST ON MONDAY 6/3/19, SCARY STORIES FOR A GOOD CAUSE: Loren Rhoads ON “Still Life with Shattered Glass”
Scary Stories for a Good Cause: Erika Mailman on "Seven Seconds"
Tell us a little about your story, “Seven Seconds.”
I got interested in the guillotine and read several nonfiction books about it. I learned that some people believe there are seven seconds that elapse from the time of beheading to the moment of death. I was scared and intrigued by what you might see in your seven seconds …
By L.S. Johnson (https://traversingz.com/)
Photo by Petra Hoette | www.erikamailman.com
“Seven Seconds” arose out of Erika Mailman’s fascination with the French Revolution. Similar shades of this history are found in Betrayed, her young adult novel under the pen name Lynn Carthage. She has written two other novels under that name and three under her real name, including The Witch’s Trinity, which was a Bram Stoker finalist and a San Francisco Chronicle Notable Book. She holds an MFA in poetry, has been a Yaddo fellow, and is co-director of the Gold Rush Writer’s Conference.
Tell us a little about your story, “Seven Seconds.”
I got interested in the guillotine and read several nonfiction books about it. I learned that some people believe there are seven seconds that elapse from the time of beheading to the moment of death. I was scared and intrigued by what you might see in your seven seconds.
In “Seven Seconds”, your narrator travels to Paris and visits some of the city’s more gruesome locations. What kind of research went into crafting the story?
Hearing the horrible statistics about the French Revolution guillotine usage fascinated me. As my story says, at Place de la Nation, one of several guillotine sites, legend has it that in one 24-minute period, a headsman killed 54 people. What a desperate circumstance, that the ending of one’s life does not even require a full minute’s attention.
I wondered, what happened to the bodies? Did the families bury them? Unlikely, since usually an entire family perished together. And ... were the heads collected up separately? These kinds of questions drove me to research, and to at least an answer for those killed at Nation. I was able to therefore visit the cemetery at Picpus, where two mass pit graves hold 1,307 people: heads and bodies together, although not necessarily placed together. (I blogged about it over at Loren Rhoads’s site:
https://cemeterytravel.com/2017/10/13/deaths-garden-pariss-secret-cemetery/)
I revisited Picpus this April and I’ll be posting some photos on social media. In the meantime, my piece on watching Notre Dame burn is here: http://bit.ly/NotreDamefeu
Anyone who loves horror and/or history: you must visit Paris someday if you haven’t already. It is a city built for us.
What is your relationship to California, and does California influence your work?
I moved to California in Fall 1991, just in time for the Oakland hills fire. I remember the terror of watching the news, watching the smoke in the sky, and wondering if we were going to have to evacuate. At the time, I lived not too far from the Claremont Hotel, an historic structure whose fate was threatened, and whose placement on the hillside was considered the fireline that must not be crossed.
My roommate—with whom I’d driven cross-country from the east coast—and I decided we would voluntarily evacuate to stay with friends in San Francisco. I remember thinking whatever I left in the apartment might be destroyed. I had a Kaypro PC (remember these? With two floppy disk drives, and amber Fixedsys font?) and knew I couldn’t bring it on the BART. Yet it was the most valuable thing I owned. It held all my short stories and poems. My roommate convinced me to put the word processor in the bathtub, without water, of course, as the best line of defense against fire. And off we went. Upon return, all was fine for us ... but not for many people in the hills.
I will always remember the hills fire with a sickening sense of fear in my stomach. I feel so sad for those who lost so much, and I’m grateful to be part of this anthology helping people who experienced tragedy in the November 2018 Camp Fire. And thank you to you, the reader, for supporting efforts to ease their burden.
On a far lighter note, California captured my imagination and fueled my first novel Woman of Ill Fame, which is about a Gold Rush prostitute who gets caught up in a serial killer’s targeting of women of her profession. And Oakland’s Pardee Home Museum provides the fictional setting for House of Bellaver, a literary ghost story.
As writers, we constantly use our imaginations, sometimes in terrifying ways. But can you imagine a hopeful future for California? What might that future look like?
I will always find California to be a hopeful state. It was founded by optimism (well, and greed) and is a truly diverse and welcoming place to call home. I hope to see more people developing empathy for others—and I believe one of the easiest ways to develop that skill is to have kids read for pleasure from an early age. When we read, we are imagining the lives of others, which gives us great practice at doing that for people in real life.
Where can readers find more of your work?
At www.erikamailman.com, people can see “extras” about my four historical novels, including The Witch’s Trinity, which was a Bram Stoker finalist, set in medieval Germany during the era of witchcraft persecutions. It’s about a woman accused of witchcraft by her own daughter-in-law, which was actually a frequent happenstance from that time period.
At www.lynncarthage.com, I feature the Arnaud Legacy trilogy. It’s easy to pop into the trilogy with Books One (Haunted) or Two (Betrayed), but less straightforward to start with Three (Avenged). The second book, Betrayed, is set in Paris and provides a deeper amplification of some of the history I touch on in “Seven Seconds.”
NEXT POST ON MONDAY 5/27/19, SCARY STORIES FOR A GOOD CAUSE: Gerry Griffiths ON “The White Stuff”
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