“Raining Street” picked up by Black Static Magazine.

The “Yes” just in my inbox yesterday – super super psyched to be picked up by this smart mag out of the UK, and for a story about snake beans! Thanks to Andy Cox from TTA Press for digging it, heaven-sent beta reader, Angela Slatter and the Thorbys crowd who workshopped this with me.

 

This is Horror – finally.

TIH 145 J.S. Breukelaar on Aletheia, Crystal Lake Publishing, and Teaching Creative Writing

 

So I’ve been a fan of this show for years – I even wrote about it at Volume 1: Brooklyn and now I’m on it. You want a show that covers craft, art, suffering, conferences, story, inspiration, desperation, awards, missing out on awards, revision, publishing, self-publishing—this is it. Stephen Graham Jones, Paul Tremblay, Angela Slatter, Jeremy Robert Johnson, Scott Nicolay—they’ve all had their two cents worth and this is mine, PART 1 and PART 2.

Thanks to Michael David Wilson and Bob Pastorella for having me.

 

 

I tell Nick Kaufman the scary bits

Author Nick Kaufman has me on his blog to talk about the scariest part of writing Aletheia.

It couldn’t end at that moment of total narrative collapse, but it was really difficult for me to see beneath its broken structure at that point. And there was another thing. It wasn’t just the story that had broken. It wasn’t just the characters who were looking at me in gobsmacked revulsion at what I’d done to their world. I was looking back at myself, and wondering what the story, as I’d told it, made me? I wanted to tell the characters that the story had broken my heart, too.

Read more…

Review of “Gutted: Beautiful Horror Stories,” and Gamut sale

My review of Gutted: Beautiful Horror Stories is over at LitReactor. Neat collection, lots of stories and images that linger. Couldn’t really name a favorite, because of the breadth of styles and subject matter, loosely connected around the idea of naked souls bared to elements not always of this world, but I have to say that Josh Malerman’s story, “The One You Live With”‘d have to be one of the ones I read twice.

Also, Gamut Magazine picked up Rogues Bay 3013, my AI story with, I guess, Frankenstinian undertones. Or maybe they’re undertones. This Gamut, by the way, is the one to watch. Get your subscriptions in, is my thinking. And submit if you have anything. They tend to reach their 300 sub limit 24 hours after opening, so it might take some planning, but worth it. The main thing is to subscribe. That’s their model, and I think the ave subscription is $60/year, which is just a few bucks a month, well worth the incredible material they’re packing into every issue, from what I can see. And they’re using the money to pay writers pro rates, so you get pro fiction. All the way.

Weird as F@#k Horror up at LitReactor

In my latest column over at LitReactor five of my favorite authors talk about weird horror. Here’s a taste:

I think probably the biggest danger in writing that type of tale, however, is keeping it consistent throughout the entire story. I know that in my writing, as I get closer to the end, I tend to rush the words and drop a lot of the details and world-building that shapes the first half of the story. I get sloppy—it’s a common mistake. I think once a writer has finished their piece, it’s important to go back and make sure they haven’t neglected the atmosphere and details in the last half of the story (or novel) for the sake of wrapping up the plot.

Livia Llewellyn, author of Furnace,Word Horde.

The Weird derives from our attempt to grapple with an unreliable reality through the hooks and nets of literature, and the true monster signals the breakdown at some level of consensus reality, whether our shared understanding of the laws of physics or simply our place in the food chain, so the monster is often the horrific’s vector into The Weird.Scott Nicolay, author of Ana Tai Tangata, Fedogan and Bremer

We’re a species that looks under rocks, when it would have been perfectly fine for us to keep on walking by. But sometimes that instinct, it burns us. Sometimes our human curiosity, it brings us face to face with a vastness we can’t begin to comprehend. That’s kind of the magic of weird fiction, I think. It’s using our saving, maybe defining trait against us. In order to survive, we have to stop being human, basically. We have to cash out what we are in hopes of some version of what we used to be just walking on by that rock, into the future. Which is a bad trade. But, looking under that rock, it’s no guarantee of happiness either.

Stephen Graham Jones, author of Mongrels William Morrow

With classic horror the results are often expected right? It’s a demon, a ghost, a werewolf, a zombie, a vampire. With The Weird, it’s rarely what you are anticipating—it’s much worse, much stranger, so it’s hard to react, as a character. There is no silver bullet, no wooden stake. It’s something beyond comprehension. Richard Thomas, author of Tribulations, Crystal Lake Publishers.

My focus in stories is typically an emotional core. I’ve joked more than once that I like it when my work makes people cry, but it isn’t really a joke at all.

Damien Angelica Walters,author of Paper Tigers, Dark House Press.

Check out the full article over at you know where.

Blood under the bridge

v4i23-cover-front-copy-200x300Monday morning. Holy finish line. I could kiss my desk, which is almost clean enough to eat off again, now that I’ve scraped off all the blood. Barely a trace of the last three months left, and the bones are beginning to set. Feeling a twinge of wonder at having pushed through 4 part time jobs and a bunch of other hurdles, working 7 days and 3 nights a week, since the beginning of March, and coming out of it with just the regular teaching left ongoing, a two book deal, a new column gig, and two new stories sold. It doesn’t get easier and the stakes get higher, and it’s true, you do fail better.

It’s all true. Everything they tell you.

One thing is that I want to add Jacob Haddon, at Lamplight Magazine to the list of editor/writers without whom this whole “golden age” of smart genre fiction wouldn’t be possible. I’ve talked about this before. Zack Wentz, Keith McCleary and Matt Lewis, Tobias Carroll, Cameron Pierce and Kirsten Alene. J.W Wang, Richard Thomas, John Joseph Adams, Ellen Datlow, Joshua Chaplinsky, J. David Osborne, Joe Pulver, Neil Clarke. And now Jacob Haddon, whose eye and sense of story is behind the classy Lamplight Magazine, where you’ll find my new story, “Fairy Tale,” as well as work by Tim Deal, Gwendolyn Kiste, Subodhana Wijeyeratne, Matt Mikalatos, Douglas F. Warrick, Leanne Karwatowski, and Kevin Lucia returning for his Horror 101 series.. Please consider buying the double issue for $4.99 or subscribing to this dark drink of water. $10/year for four issues to mess with your dreams.

New article up at LitReactor: Six Killer Death Scenes

in which I talk about Laird Barron, Don DeLillo, Shirley Jackson and others. Here is a taste but you can read more at LitReactor. Image courtesy of LitReactor.

When my kids were little we had a family fun game called “Death Scenes.” We’d gather in the back yard or in the playing fields behind our house—the same fields, by the way, where Peter Jackson shot his matricide movie, Heavenly Creatures—and we’d compete to see who could die the best. Enter alien sniper, medieval archer, Zombie-werewolf, or evil wizard/giant/ogre guy, and… action. My son’s death scenes were of the running start-spiralling-fall-anguished-yowl-false-alarm-staggering-second-wind-high-pitched-screech-down-but-not-out-oh-wait-feotal-curl-is-it-over-yet-maybe-not variety. His four year-old sister in contrast went for a speedy demise followed by an unsettling open-eyed stare, and my death involved much thrashing and gnashing and pounding of fists. As the, um, adult I had to make sure that I went for just enough dramatic effect to win my son’s wide-eyed admiration, but not enough to make my daughter cry.

Thing was, I sometimes failed. I mean I failed not to make my daughter cry. I’d try to wink or smile or get up at exactly the right moment to make sure that she knew I was okay, but it was often too late. By which time her mouth would be quivering, and her brother’s eyes would be clouded over with concern (for her, not me) and Eugene the Killer Dog would be at her side and I’d be lying alone on the grass beneath the great pink expanse of New Zealand sky, just another drop-dead mom.

Crystal Lake Publishing picks up Aletheia and book number 2.

Crystal Lake Publishing Logo.png.opt266x188o0,0s266x188Crystal Lake, awarded Best Horror publisher of the year in 2013, and currently in the ring for a slew of Stokers, has picked up my new novel, Aletheia, to be released late in the year (cross fingers) as the first of a two book deal. Stoked for sure, and grateful to my agent, and to the kind, smart people in my corner who keep my eyes on the prize and my nose to the grindstone. Above all, pumped to be working with the tireless Joe Mynhardt and the CL team.