Women in Horror Month Fiction Fragments: Kenesha Williams

Monday, I kicked off this month-long series of posts for Women in Horror Month and Black History Month and had the chance to chat with serious horror fan, Dimi Horror. If you haven’t had a chance to read that post, check it out.

Today, Girl Meets Monster welcomes horror writer and soon-to-be filmmaker, Kenesha Williams.

Kenesha Williams is an author, screenwriter, speaker, and Founder/Editor-in-Chief of Black Girl Magic Lit Mag a speculative fiction literary magazine. As an, essayist she has written for, Time Magazine’s, Motto and Fireside Fiction. She is also a screenwriter currently in pre-production on a horror web series and a short film. You can catch up with her on her website www.keneshaisdope.com

Ten Questions

GMM: Welcome to Girl Meets Monster and thank you for being part of my first Women in Horror Month series, Kenesha.  What projects are you currently working on? Is horror your primary genre, or do you write in other genres? If you write in other genres, which do you feel most comfortable writing, and why?

KW: Thanks for having me! I’m currently working on a proposal for a one-shot comic that’s a Zombie Western, it’s really exciting and a great opportunity to show how racially diverse the West actually was in the 1800s. I’m also writing a pilot script for a contemporary horror series that I like to think of as Insecure meets The Magicians. Horror is my primary genre, even when I try to write another genre, I usually throw in horror elements, LOL! I also write science fiction, urban fantasy, and mystery. Since I can’t help but throw some horror into most of what I write, I’d say that horror is the genre I feel most comfortable writing in.

GMM: When did you first know that you were a horror writer? How did you develop an interest in the genre? What initially attracted you to horror stories? Which writers influenced you then? Which writers influence you now?

KW: I think I knew I was a horror writer when I couldn’t write something without someone dying, LOL. My mother was a big horror fan, so I read from her stacks of books and got into the genre myself. She also took me to my first horror film, so she definitely influenced my love of horror. My initial influence was Stephen King because my mom was a big fan, so his were the first “adult” horror novels I read. I would also be remiss not to add in R. L. Stine with his Fear Street series and Christopher Pike’s YA horror novels as well.

When I was in my early twenties, I went looking for horror authors that looked like me and I found Dark Dreams: A Collection of Horror and Suspense by Black Writers. That collection introduced me to Brandon Massey and Tananarive Due. Then I started buying everything they put out and got put on to LR Giles (Lamar Giles) as well. Then that search lead me to Octavia Butler, who I had read, but her Patternist series, which was Science Fiction, because my mother had it in her library. But then I started to read her horror with Kindred and Fledgling. Finding all these new to me authors had me wondering, where had they been all my life and also like, hey we do write horror!

GMM: The documentary, Horror Noire: A History of Black Horror (2019), explores Black horror and the portrayal (and absence) of Black people in horror movies. As a definition of what Black horror means begins to take shape, Tananarive Due says “Black history is Black horror.” What do you think she meant by that? Can you give an example of how this idea shows up in your own work?

KW: I believe the phrase Black history is horror means that our history in this country (the United States) has been one that’s been marked by horrific acts like the Transatlantic Slave Trade, the years of enslavement for our people, and of course the legacy of Jim Crow that we’re still fighting against. We can mine any of those moments in history for horror stories. 

The work I’ve done so far deals with the legacy of Black history in America and how it manifests today, though it is not always the source of the horror. For example, the story you’re featuring today I wanted to explore the idea of the reconciliation of the horrific past Black Americans have endured with the present climate, i.e. replacing statues of white slave owners with more progressive figures.  My main character believes that the changes that are being made are just lip service, and I think that’s a feeling that a lot of Black people can identify with. President Obama was voted in with the slogan of Change, but then his successor was a harkening back to the bad old days. It showed that a good portion of the country didn’t want change, in fact they wanted to Make America Great Again by returning to a time when whites were in power and minorities knew their place.

GMM: As a WOC writing horror/dark speculative fiction, do you feel obligated to have a deeper message in your stories? Can writers of color write stories without broader messages about identity, class, and racism? Is it possible to divorce yourself from that ongoing narrative within our culture when you set out to write a story?

KW: Often that is my biggest question, does everything I write have to have a deeper message? I don’t think I can write a story without infusing identity in it when I write Black characters, it’s not realistic to me to disregard identity. Black people are not a monolith, of course, but there are some experiences that I believe are universal. But I also want Black people to have genre literature that is fun without it having to be an issue book. So, I try to balance that. There are some of my stories that the horror ties back specifically to race, and then there are others where the horror is just horror with Black main characters. 

GMM: What are your top five favorite horror movies, and why? Top five horror novels? Which book or movie scared you the most?

KW: OMG, this is so hard. Okay, first I’m going to go with the horror movies that shaped me growing up:

  • Pet Sematary—This was the first horror movie I saw, and my mom took me to it. I couldn’t have been more than 11 because we were still living in Germany. My mom loved horror and had a sick sense of humor, so she kept making the slashing the ankles motion to me, scaring the bejesus out of me.
  • The People Under the Stairs—I probably watched this around the same age. I think this movie stuck with me because it was the first movie I saw where people were being cruel to children and as a child; I was just like, wow could this really happen. Also, it was the first horror movie I saw with a Black protagonist. I heard that Jordan Peele is remaking this movie and I’m excited to see what he does with it.
  • Nightmare on Elm Street and Halloween—These two were my introduction into slasher films, which I still love. I mean, they’re classics for a reason.
  • It Follows—I know people either love or hate this one, but I loved the atmosphere and the idea of an apparition spreading like an STD was innovative.  

Top five horror novels in no particular order and exceptionally hard to narrow down:

  • Firestarter—I am a big Stephen King fan, and this was the first book of his that I read, borrowed from my mother at thirteen years old.
  • The Goode House by Tananarive Due—This was a “freezer” book for me, I had to put it on ice for a while so I wouldn’t freak myself out reading it. I’m a fan of the Haunted House subgenre of horror and I really loved this one. I am also a big Due fan and will read anything she puts out, so it was hard to narrow it down.
  • Thunderland by Brandon Massey—Another freezer book, this is a really atmospheric novel that made me look over my shoulder several times. 
  • Horrorstör by Grady Hendrix—This was hard because I’m a big Grady Hendrix fan and I really love all of his books for different reasons. The sad thing is I couldn’t say My Best Friend’s Exorcism because I didn’t finish it because it was scaring the heck out of me. So, I put it back in my TBR pile. I need to finish it. But Horrorstör was amazing because he took a setting that most people don’t see as scary and infused the everyday horror of working retail and doing repetitive, seemingly pointless tasks, with the supernatural underpinning of a haunted store. 
  • Night of the Mannequins by Stephen Graham Jones—This is a new favorite of mine. I don’t want to spoil anything because it has a nice twist, but let’s just say it’s weird in wonderful ways and if you like slasher-who’s next to die types of books, then you’ll enjoy this.

GMM: How do you feel about white-identifying writers who write stories about non-white characters? What problems have you encountered? What potential issues do you see with white-identifying writers telling BIPOC stories? What advice would you give those writers?

KW: I don’t have a problem with it if the white writer has done their research, doesn’t rely on stereotypes, and doesn’t act like their non-white character is just a white character with a tan. And I’ve seen it done well and I’ve seen it done marginally well, and I’ve seen it done poorly. A criticism I have that I see that happens a lot is that they’ll make the character disconnected from “Blackness” and I’m guessing that’s because they don’t really know what it’s like to be in community with Black people. We are never in isolation even if you live in a predominately white area, so if your character has no family to talk to or connect with or if they don’t have any friends of their same race, it makes me think you haven’t done your research. The advice I’d give is for the writer to ask themselves, why do you think your character should be non-white and why should you tell their story. Bonus question: Are there own voices writers telling this story, and would your time be better spent amplifying them? Nothing hurts more than a white identifying writer getting praise for writing something similar to something a POC has already written.

GMM: All writers have experienced some form of impostor syndrome. What has your experience with impostor syndrome been like? Did you ever have a particularly bad case of it? If so, what caused it and how did you manage it?

KW: OMG, yes. Every time I sit down to write. So, my bad cases have been at conventions. I am a big fan of both Grady Hendrix and Paul Tremblay, and I got to be on panels with both of them. I was like OMG what am I doing here, does anyone want to hear what I have to say, etc. etc. I had to call my husband, and he was like, Babe they asked you there for a reason you’ll do great. And he was right, I got asked for a reason and I ended up having a great time on both panels and both Grady and Paul are just really amazingly nice people, so that was even better. They say, never meet your heroes, but I can say that everyone I’ve met in the horror community has been just great, so I’m lucky.

GMM: Aside from writing, what other contributions are you now or have you made to the horror community, or to other speculative fiction communities?

KW: Aside from my own writing, when I created Black Girl Magic Lit Mag in 2016, I created a platform to amplify other WOC’s writing in the speculative fiction genre. It’s one of my proudest accomplishments. Currently, I am part of several FB groups for diversity in speculative fiction and I use those to amplify other voices and encourage other WOC to join the community.

GMM: Has social media helped in getting you noticed as a writer? What has worked for to date? What hasn’t worked? What advice would you give new writers who are trying to build a social media following?

KW: Yes, social media has definitely helped with getting noticed. I feel like it’s a necessary evil because sometimes I don’t want to be “on” and also, it’s a distraction. I can spend so much time on social media and not realize that all these incremental check ins add up to HOURS. 

What hasn’t worked for me is Twitter, in terms of selling anything. I think people don’t go to Twitter to buy; they go to talk, and so it’s not a good promotional tool in terms of direct selling. I think Twitter is good for showing your personality if you want people to be interested in YOU, not necessarily your work.

I think the best advice I’d give to new writers is to use social media to get people to your mailing list because that’s something YOU OWN. Social media platforms owns the audiences on their respective platform and if for any reason you’re kicked off the platform or you just want to be a bit of a recluse you can’t take that audience with you, even if you garnered a million fans, if you don’t own that list it can all be taken away. Instead of traditional social media I think the best way to gain an audience is through websites like Prolific Works or Book Funnel, that unlike social media, aren’t free, but give you ways to build your audience through group promotions with other authors in your genre.

GMM: What are you reading right now? What else is at the top of your TBR pile? What classic horror novel have you secretly never read that you think everyone else has?

KW: Right now, I’m reading Death by Dumpling: A Noodle Shop Mystery by Vivien Chen and The Writing Life: Reflections, Recollections, and a Lot of Cursing by Jeff Strand. Also on my TBR is:

  • Dying With Her Cheer Pants On: Stories of the Fighting Pumpkins by Seanan McGuire
  • The Lodestone Puzzle by Lynn Emery, I preordered it and it arrives on my Kindle on Feb. 16th
  • The Bluesman: Lady of the Grave – it’s a comic based on the horror-adventure novels THE BLUESMAN by Stuart Jaffe, Illustrated by Garrett Gainey, with character design and production by John Jennings

I’m also reading a lot of screenplays because I’m writing a couple right now.

OMG, someone’s going to take away my Women in Horror badge because I’ve never read any of Shirley Jackson’s work. I’ve seen most of the film/tv adaptions of her work, but I haven’t read the books. I’m going to put The Lottery at the top of my TBR.

SERVED COLD by Kenesha Williams

“If you don’t hurry, we’ll be late.”

This didn’t push Trisha any harder to finish getting ready. Only one of them was excited about going to the naming ceremony, and that was only because Ella wanted to see Brent. Trisha didn’t care what they renamed her high school as long as it wasn’t another dead racist. The whole thing seemed like a farce, anyway. They didn’t change the name because they thought it was wrong. They changed it because of public pressure and then finally because someone had in the middle of the night toppled the slaveholder’s statue in front of the school.

Ella walked out of the bathroom to find Trisha lounging on her bed in the same position she’d been in when she left the room, “If you don’t want to come, just say so.”

Ella and Trisha were Irish Twins only eighteen months apart and with Trisha held back–red-shirted–a year because of her emotional immaturity they were in the same graduating class. No one ever mistook them for real twins, however, because Ella was white and Trisha was Black. Or biracial, if you were being technical.

Both of their dads were really involved, and they each called the other’s biological father, Dad, as well as their own. They couldn’t be happier if they lived on a commune, but instead of a commune they lived in a charming house at the end of a cul-de-sac with their Aunt Ginny, who had no children, save them.

“I’m coming. I just don’t see the big deal.”

“It’s history! Who would have thought they’d change the name? EVER. And I bet they choose a person of color or at least a woman.”

Ella was the eternal optimist, but it was easier for her to be. She wasn’t the one who had been stricken with anxiety and a panic disorder since she was eight. The doctor said it was a reaction to their mother’s sudden death, a kind of PTSD. Whatever it was a reaction to, it was hell on Trisha.

Trisha and Ella made their way to the crowd and found a group of their friends. All the kids had pushed to the front, while most of the parents and other adults hung back. There was a new statue in front of the school, and a drop cloth covered it. The signage for the school hadn’t been adhered yet to not give away the surprise, but they had a man in overalls standing in a scissor lift waiting for the signal to begin screwing in the metal letters.

“I wonder who it will be?” Gemma, their shared best friend, stage whispered to them while they stood elbow to elbow. Gemma was wearing something impractical as usual, a crinoline skirt with gym shorts underneath, rubber boots, and a tank top that had a picture of Garfield on it. It was darling. On some people it would be an insane look, but Gemma could make anything work.

“Probably another dead guy that no one remembers.” Trisha replied.

Ella rolled her eyes and then stood on her tippytoes, surveying the crowd. “Have you guys seen Brent?”

Trisha and Gemma traded a look. Sometimes it was like they had ESP. They knew things about the other, even when they were nowhere near each other. Trisha never said it out loud, but she felt closer to Gemma than she did her own sister.

Gemma didn’t have anxiety like Trisha, but she’d been in therapy for a couple of years dealing with her own issues. She’d had an eating disorder in middle school and her parents put her in in-patient treatment for an entire semester. When she came back, she was a healthier weight, but some of the light had gone out of her eyes. Trisha knew what that felt like.

The principal and the mayor made their way out of the school and stood in front of the crowd. They had erected a small podium for the occasion, and the mayor looked at it hungrily. Mayor Collins had opposed renaming the school, but when he realized that all of his constituents weren’t as backward as he was, he changed his tune.

Trisha wondered what meaningless platitudes he’d espouse once he stepped up to the mic.

A gush of wind picked up and teased the bottom of the drop cloth, threatening to unveil the surprise before the mayor. Trisha wished they could get on with it and just announce the damn thing. What were they waiting for? 

The wind played with the drop cloth again, and it looked as if the statue underneath were moving. The cloth undulated in ways that seemed to defy natural physics. It was like someone was trying to free themselves from the shroud of the cloth. Trisha rubbed her eyes, wondering if her meds were playing tricks on her.

Of course, she’d had to pop a few to get through this debacle. Any event with more than a handful of people could trigger an anxiety attack that would sideline her for the rest of the day. These weren’t new meds and she shouldn’t have been seeing things, but she swore someone or something alive was under the cloth and not a statue of brass or concrete.

She looked at Gemma to see if she noticed anything strange, but Gemma was busy snapping pics for her social media. Trisha looked around to see if maybe Ella saw, but Ella had slipped away, probably to stand near Brent. It was the whole reason they were out here, anyway.

This time when Trisha looked at the statue, she clearly saw a foot step forward. So she wasn’t surprised when she heard the first scream from the crowd as the statue jumped down from its perch, cloth still over its head, and rushed over to the mayor.

As the statue ran, the cloth slipped away, revealing that it was a rendering of Nat Turner, of the infamous slave rebellion. It was probably a mistake to have made his likeness holding a sword because the now animate object used it to thrust straight into Mayor Collins’ rotund belly.

The screams got louder as the crowd realized what was happening. Trisha watched the blood drip from the sword and thought to herself that she was so glad she hadn’t missed the naming ceremony. She was going to have to find and thank her sister for bugging her to come.

Once everyone stopped screaming and running.

Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you Friday!

Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.

3 thoughts on “Women in Horror Month Fiction Fragments: Kenesha Williams

  1. Love the interview…and looking forward to your next #WIHM post(s)…”One, Two, Freddy’s coming for you/Three, Four, Better Lock Your Door….” *trails off into the distance*

    Like

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