“How Does A Funny Guy Like You Write Horror?”

15 08 2018

I get this a lot when I tell people what I do. The path doesn’t seem obvious unless you’ve been on it.

Were your parents Monty Python fans? Mine were, and fans of Steve Martin, and Spike Jones, and that old Bloopers record, and Alan Sherman, and Mork and Mindy.

At the same time, I had a still-inexplicable attraction to the morbid. The teen next door collected “Creepy” and “Eerie” magazines, which I read. Sundays would be days of chest-tightening anxiety with the strange, dark color pallet of the ABC morning cartoons, the mind-bending appropriation of The Groovie Ghoulies, the creepy-ass music of the NBC Sunday Night Mysteries followed by Night Gallery.

I used my library card for Alfred Hitchcock anthologies, tales of the Strange But True, and through them discovered Fritz Leiber and sword-and sorcery.

The possibilities of the the supernatural being true mixed with my desire make life as funny as TV. I chased laughs and avoided free-floating dread all the way up into my 20s.

When you think about it, ’70s Humor is pretty unsettling. Drugs were a laugh riot. Pointing fingers or thumbs caused magic if you were alien enough or cool enough. Men skeeved on women on the regular. Everyone had compulsive catch phrases. Giant feet stamped on everything. All social institutions were corrupt. Giant hedgehogs persecute British criminals who nail people’s heads to the floor.

I had wanted to be a stand-up comedian.  A sketch comedy group later, I decided prose was less nerve wracking.

But in the ’80s, there were only “Spy” and “Mad” magazines. I wasn’t sophisticated enough for “Spy” or sharp enough for “Mad”. I tried dark-humored horror at “Weird Tales”.

So it went for nine years. Eventually I realized I was trying to write horror through a humor lens, which is different than writing dark humor. I was writing The Groovie Ghoulies when I wanted to write Terry Southern or Roald Dahl.

Then I sold a story about energy drinks and dance crazes merging people into carnivorous new lifeforms. I’ve been chasing that high ever since.

Nowadays, there’s McSweeny’s and all sorts of boutique pubs for humor, but I dunno. McSweeny’s has a repetitive formula and the other markets are so niche, I’d have to derail to learn their culture.

How did you get here? How did you get where you are?

Here’s a guy dealing with these questions.

How to Alienate People By Telling Them You Write Horror — Drew Chial

I get around, wheeling and dealing in my hip bohemian community. I’m a man about town, getting recognized in my seasonally inappropriate dark t-shirt and jeans. 1,091 more words

via How to Alienate People By Telling Them You Write Horror — Drew Chial





Make Your Prose Ecstatic

1 07 2018

This is written in a tongue-in-cheek manner, but the advice is good and from an Odyssey Workshop instructor.

“Ecstatic Moments and How to Destroy Them” by Donna Glee Williams

 





Stephen King’s Top Ten Rules For Success

23 06 2018





Writers: Maybe *This* Is Why You Don’t Like Self-Promotion…And A Solution.

20 06 2018

And THIS is one of the biggest reasons that introvert writers struggle with marketing. Not because we’re “shy.” It goes so far beyond that.

and a plan of action

The Introvert’s Guide to Launching a Book





Writers: Get This Book!

18 06 2018

“The best selling character eats, nods, opens, closes, says, sleeps, types, watches, turns, runs, shoots, kisses, and dies….The most important thing to note is that in the best selling novel someone is doing something as dramatic as surviving or dying, and they are not, as their less-selling friends prefer, yawning.”

This is a quantitative analysis of best sellers. What best-selling characters are most prone to do. How the plots are structured. How men and women write differently. How the novels are titled. Down to percentages of “the” in best-selling text.

The book reinforces everything you may have seen in other writing books: active characters, dynamic plots, use of  arcs, etc. But for me, this book gives a concrete foundation for all of the advice.

I’m already adapting my plots accordingly. What I have taken away so far: my characters need to express “need” in detail. I tend to underwrite. I tend to think things do not need explanations. I thought I was being economical, but I’m realizing that I’m just not committing to my characters.

Writing an action pulp series is helping me to realize I need to be bolder in my choices. This book is helping me to see that this boldness will produce results.

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Hey! I’m In This!

15 06 2018

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Every reaction, no matter how violent, always reaches some equilibrium state. This final anthology in the Enter the… apocalyptic trilogy shares stories of what the new normal looks like after the end of days.

Contributing authors include:

Richard Jones, Kevin Wetmore, Lou Antonelli, Alice Weyers, Tim Starnes, Donyae Coles, Nicholas Gregory, Emily Devenport, Timothy Turnipseed, Chad Schimke, Davyne DeSye, Zac Roe, Tom Barlow, Tim Burke, David M. Hoenig, Tori Stubbs, Bruce Golden, Holly Saiki, Lisa Timpf, Mark Wolf, Peter Talley, Allyson Russel, Anthony Addis, Richard A. Shury, Russel Hemmell, Madison Keller, Calvin Spears, Adam Breckenridge, Keith Hoskins, Amelia Kibbie, Cullen Thomas, Stephen Miller, Geneve Flynn, James Austin, Elizabeth Eve King.





Write Towards Your Conflict, Delay Your Resolution

4 06 2018
man couple people woman

Photo by Gratisography on Pexels.com

While I was at the SFWA convention in Pittsburgh, a panelist mentioned Jim Butcher adding just-one-more conflict to resolve before the story concluded. Stumbled across an article that agreed with Jim Butcher’s plotting.








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