Women in Horror Month Fiction Fragments: Valjeanne Jeffers

Last week I had some very interesting conversations with Violette Meier and Aziza Sphinx. If you haven’t checked out their posts, or the previous posts in this Women in Horror Month/Black History Month series, please do so.

Today, Girl Meets Monster has the pleasure of welcoming Valjeanne Jeffers.

Valjeanne Jeffers is a speculative fiction writer, a Spelman College graduate, a member of the Horror Writers Association and the Carolina African America Writers’ Collective. She is the author of ten books, including her Immortal and her Mona Livelong: Paranormal Detective series. Valjeanne has been published in numerous anthologies including: Steamfunk!; The Ringing Ear; Luminescent Threads: Connections to Octavia E. ButlerFitting In: Historical Accounts of Paranormal SubculturesSycorax’s Daughters; Black Magic Women, The Bright Empire, and, most recently, All the Songs We Sing, Bledrotica Volume I, and Slay: Stories of the Vampire Noire.

Ten Questions

GMM: Welcome to Girl Meets Monster and thank you for being part of my first Women in Horror Month series, Valjeanne. 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?

VJ: Hi Michelle, thank you for having me. I’ve just released the 3rd novel of my Mona Livelong: Paranormal Detective series: The Case of the Vanishing Child. It’s a horror/steamfunk novel based in an alternate world, and the main character, Mona, is both a sleuth and a sorceress. I’m also working on a screenplay of my novel, The Switch II: Clockwork.

Horror isn’t my primary genre, but it’s one of my favorites. I write under the broad umbrella of Speculative Fiction, so I also write science fiction/fantasy, which is also described as Afrofuturism. I feel comfortable writing in almost any genre, and I tend to mix them. The Switch II: Clockwork, for example, is a steamfunk novel, but it is also Afrofuturistic.

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?

VJ: I actually didn’t think of myself as a horror writer until author Sumiko Saulson featured my writing in 100+ Black Women in Horror. Sumiko told me that my readers had approached her and asked that she include my Immortal series. I was both amazed and honored. That’s when I decided to add horror to my writing menu, and I went out of my way in my Mona Livelong series to scare my readers.

I’ve always enjoyed reading and watching horror. I can remember watching horror movies with my parents (for example, The Shining), and as a little girl, I was addicted to Dark Shadows. The first horror writer I fell in love with was Stephen King. Of course, when I first began reading horror there were no writers that looked like me. All of this changed in the 1990s. I discovered Octavia Butler, and later Nalo Hopkinson, Brandon Massey and Tananarive Due. These are writers, along with Richard Wright and James Baldwin, that I credit as my earliest influences. They continue to impact my writing, as well as Keith Gaston and N.K. Jemison.

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?

VJ: I’m sure she meant that African America history is one of trauma and violence: from our being kidnapped and dragged to American shores, through the Jim Crow and the Civil Rights era, our history is filled with tales of horror. Our stories are often those of pain and trauma.

Richard Wright, in Black Boy, says, “This was the culture from which I sprang, this was the terror from which I fled.” Yet our stories are also those of incredible victories because we refused to submit, to give up. Instead, we pushed on. We blossomed, and we continue to blossom like a garden of black roses.

As a black woman, I am grappling with issues of those that came before me, and those that we face in present times. This may find its way onto my pages. But I write with optimism and hope. And I always strive give my readers an exciting tale they can sink their teeth into.

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?

VJ: I don’t feel obligated to include a deeper message in my stories, and some of my favorite authors write without doing so. I’ve certainly never started one with this intent. Sometimes a story is just a story, meant to entertain and nothing more. But I do find myself writing about flawed heroines and heroes, men and women who are fighting to save themselves and their worlds. Often the demons they’re fighting are personal ones; life is always in session. There are no perfect people, and so my characters are imperfect as well. Who you are, and what you’re battling, will always find its way onto the page, and this is where I find myself writing, too, about larger issues of race, gender and class.

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

VJ: My top five horror movies are: The Shining; Tales from the Hood; Get Out; Dr. Sleep, and When a Stranger Calls. I like horror movies with well-developed plots and characters, and layers of suspense that build to a nail biting crescendo. I also prefer horror flicks with a racially diverse cast of characters, which is a lot easier to come by nowadays.

My top favorite horror novels are: Wild Seed (Octavia Butler); Into the Dark (Brandon Massey); The Good House (Tananarive Due); It (Stephen King) and The Hundred Thousand Kingdoms (N.K. Jemison). I’d have to say Into the Dark scared me the most.

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?

VJ: There are some white authors who are very skillful at creating “flesh and blood” non-white characters. One writer in particular, who is also one of my favorites, is Tad Williams; his Otherland series is brilliant. What I mean by “flesh and blood,” are well rounded characters, who black and brown folks can identify with. In contrast, there are other white authors I’ve encountered, whose non-white characters are cardboard cutouts, overlaid with stereotypes.   My advice to these authors is: if you don’t have black and brown friends, real friends mind you, perhaps it’s best if you don’t write about people of color. This might sound harsh, but one of the first pieces of writing advice that I received was: “Write what you know.” Every character I’ve created is a compilation of diverse men and women I’ve met, studied, or both, and myself.

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?

VJ: I have experienced feelings of self-doubt and feelings that I don’t “measure up” as a writer. But when I’m at my lowest, my readers, and other writers, often help me get through it. I’ve received uplifting emails from folks who love my latest project, and sometimes even a post on my Facebook page. I think I speak for most authors when I say: we write for ourselves and for our readers. I cherish every one of them.

GMM: Tell me about Mona Livelong. What or who inspired this character? Without too many spoilers, can you give some insight into her backstory, and why she became a detective? Why a paranormal detective as opposed to a detective who solves basic human problems?

VJ: Mona Livelong sprang from the same inspiration as Karla, the main character of my Immortal series. Both characters are based upon Carla, a young woman who babysat me when I was living in Los Angeles. Carla’s mother, as well as her youngest brother, died and she was raising her two surviving siblings while attending college. I remember her as an intelligent, compassionate young woman, who was determined to achieve her goals.

Mona is cut from this same cloth. She’s strong, but also vulnerable, and she’s known tragedy. She was born a sorceress and decided to use her gifts to help her community, solving cases regular detectives can’t solve. As to why she’s a paranormal detective, when I create a character, he or she will almost always be supernatural. I love Speculative Fiction just that much.

GMM: Some writers work best in silence, and others prefer to listen to music when they write. How has music influenced your work? What kinds of music do like to listen to when you’re writing? How does it help with your process?

VJ: I can write in silence, but I prefer listening to music when I write, especially if I’m working on character or plot development. If I’m doing either one, I usually listen to jazz or R&B (for example, WAR and Barry White). If I’m writing an action scene, I’m definitely listening to Hip Hop or Classic Rock. I’ve actually acted out action scenes while listening to music; it helps me visualize what’s happening to my characters, and if the scene will “work.”

GMM: If you could go back in time, what advice would you give your younger self? How would you have approached becoming a writer? Would you have done anything differently, or would you have followed the same path?

VJ: If I could give young Valjeanne any advice I would tell her, “Keep writing Speculative Fiction, sweetheart, and don’t stop. No matter what anyone says.” I began writing poetry and stories as a young girl. My only regret is that I took a hiatus and didn’t dive back in until years later. This is the only thing I would change.

Mona Livelong: Paranormal Detective III: The Case of the Vanishing Child. (synopsis) The threads of a blood chilling mystery … A world torn in half. A young black man desperate to avenge his murdered brethren. A white supremacist with the terrifying power to alter reality. And a little girl trapped in the eye of the storm. Detective Mona Livelong takes on her most dangerous case yet, as she races to save the life of an innocent child, and countless others hanging in the balance. Cover art by Quinton Veal.

Mona Livelong: Paranormal Detective III: The Case of The Vanishing Child (excerpt)

Breath brings word
Nappy Dusky Longing Song
Song like my own
—Maya’s Kwansaba

A solitary cafe au lait-colored man with freckles, his thick hair tied back with cords, walked to the lot behind the Constabulary Station. Keeping his head down, Richard Starks moved silently through the rows of steam-autos parked there. He walked past them, looking carefully at the numbers painted on the auto doors. When he found the one he sought, he crouched on the other side of the steam-auto and waited.

He didn’t have to wait long. Minutes later, a burly white Constable exited the station and walked through the lot. He hunkered down before the auto and started turning the crank.

Richard drew a dagger from the folds of his shirt. Moving swiftly, he crept from the side of the car. As the Constable rose from his haunches, the black man sprang— stabbing him over and over. The Constable fell to his knees and then toppled over, twitching and bleeding at Richard’s feet. Moments later, he was dead.

Shaking and crying, Richard stood over him. At length, he calmed himself and slipped the dagger back

inside his shirt. He wiped his face with his arm and stepped over the dead Constable to the side of the auto. He drew a symbol on the steam-auto door with his bloody fingers and spoke the mantra, “Kuja kwangu mpendwa wangu kwa maana ni kisasi mimi kutafuta … Come to me my beloved, for it is vengeance I seek.”

Diaphanous shades smudged into view. In the next instant three figures towered over him, their faces shifting in the darkness … from black to red … green to blue … female to male … It made him dizzy trying to hone in on their features. He realized that perhaps he was not meant to see their faces. Perhaps it would drive him insane. He fixed his vision on a point beyond their huge shoulders.

The one on his left spoke, “You summoned us, little one?”

“Yes,” Richard whispered.

“You know what it is you seek?” said the second one asked.

“We cannot harm the innocent,” the third entity intoned.

For the first time anger crept into the young man’s voice. “They ain’t innocent. They’re murderers.

The spirits spoke in one basso profundo voice, “So be it.”

Rivulets of blood ran down the Constabulary building. The dead officer sat up. His wounds healed, and

his eyes glazed over with a white film. Then they turned blue once more. The blood vanished. The Constable got to his knees, crouching before the auto, and finished turning the crank. The motor sputtered to life. He stood and walked to the driver’s side, got into the auto and drove from the lot.

Constable Burt Phillips, a thick-set white officer, pulled his steam-auto up to the curb beside his flat. Burt put his auto in park, got out and turned the crank on his steam-auto, shutting the engine off. He was feeling good this evening—better than he’d felt in weeks. For awhile, he’d thought that Eddie Plumb, the unarmed black man he’d killed months ago, was haunting him.

He’d been drinking the night he killed Plumb and in a foul mood. I just wanted respect. That darkie needed to be put in his place.

Plumb had walked pass Burt that night, his eyes insolent, his back straight and proud. Something had snapped inside Burt. He’d shouted at Plumb over and over to stop walking, but the young man ignored him. So Burt shot him in the back. When questioned by Internal Affairs, he’d told a different story: Eddie was a robbery suspect, who’d fled when he ordered him to stop.

The DA cleared me. That’s that.

The week of his death, Eddie Plumb had appeared in Burt’s steam-auto and, for weeks afterwards, he’d rode beside Burt—mocking him, insulting him, calling him a murderer. Then just as suddenly he was gone. Burt had dismissed Eddie as a hallucination brought on by the stress of the hearing.

Certainly. he bore no guilt over killing Plumb. Darkies getting out of control. In my daddy’s time they knew their place. That’s one that won’t make trouble no more.

His daddy had been a hard man, and even harder to love. But love him Burt did, through all the beatings, through all the times he’d found his mother bloodied from his old man’s fists.

His father’s most essential rule, THE RULE, was that he should hate anyone who wasn’t white. “Keep ‘em under your boot son,” this was said with the utmost emphasis during the few times he’d shown Burt affection. “For a white man, ain’t nothing more important.” His daddy had hated black and brown folks, and Burt loved his daddy. So, he hated them too. He opened the door to his flat and stepped inside.

——

Richard sat in the darkness. The only illumination came from the moon and the streetlight outside his window. He shut his eyes.

When he opened them, his room had been transformed. Thick grass grew under his feet. He stared into a gold, orange and blue sunset, a half-smile of wonderment on his face. To his right, the walls and door of his flat remained. Straight ahead, camel thorn trees spouted in the brush. In the distance, he could hear the steady rhythm of drums and a faint whisper. Richard cocked his head to the right. Listening.

He nodded and shut his eyes once more. His spirit rose from the chair. He looked back at his body then walked out into the night. Those he passed on the street could not see him … But they felt him as a breeze.

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.

Women in Horror Month Fiction Fragments: Violette Meier

Last week I had two amazing conversations with Sumiko Saulson and Tonia Ransom. If you missed either of those interviews and fragments, go check them out.

This week, Girl Meets Monster welcomes the prolific speculative fiction writer, Violette Meier.

Violette Meier is a happily married mother, writer, folk artist, poet, and native of Atlanta, Georgia, who earned her B.A. in English at Clark Atlanta University and a Masters of Divinity at Interdenominational Theological Center. The great-granddaughter of a dream interpreter, Violette is a lover of all things supernatural and loves to write paranormal, fantasy, and horror. She is always working on something new. Her latest work in progress, called Oracles, should be released by winter 2021.Her published books include: The First Chronicle of Zayashariya: Out of Night, Angel Crush, Son of the Rock, Archfiend, Ruah the Immortal, Tales of a Numinous Nature: A Short Story Collection, Hags, Haints, and Hoodoo: A Supernatural Short Story Collection, Loving and Living Life, Violette Ardor: A Volume of Poetry, This Sickness We Call Love: Poems of Love, Lust, and Lamentation, and two children’s books: I Would Love You and Would You Love Me?

Ten Questions

GMM: Welcome to Girl Meets Monster and thank you for being part of my first Women in Horror Month series, Violette.  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?

VM: Thanks for having me! Right now, I’m not working on a novel called, Oracles. It’s a supernatural reflection of an old woman’s life on her 101st birthday. Horror is one of my genres. I also write paranormal thrillers, urban fantasy, and science fantasy. Maybe to some, it’s all horror. I’m not sure because nothing ever scares me. What may seem slightly eerie to me may be scary to someone else.

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?

VM: I knew I was a horror writer when I was a teen because I was so fascinated with ghost stories and all things of a numinous nature. Every time I wrote something, it always went to the left.

I grew up with a great grandmother who told so many ghost stories, that as a child I was always on the lookout for a haint. I was comfortable with fear and uncertainty. Honestly, I don’t know if I’m capable of writing something normal. Dean Koontz and Stephen King were my favorite horror writers when I was younger. Now I’m influenced by a host of independent black writers.

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?

VM: “Black history is horror” is based on the diabolical black experience through the institution of slavery, racism, Jim Crow, police brutality, red lining, separate and unequal education, the penal system, economic disparity, war on drugs, gang violence, church hurt, the destruction of the black family, self-hate and conformity, etc.

These things show up in my work sparingly. It’s there but it’s never the focus. I focus more on black excellence, love, intelligence, simply the normalcy of black life that the world doesn’t focus on. Black folks have enough trauma porn.

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?

VM: I do not feel obligated to do anything but write the story that’s in my head. Writers of color can write whatever we wish. There are no limitations to our talent and imagination. The only boxes that we have are the ones we create.

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

VM: That’s a hard question. I have so many. There are so many different kinds of horror. If I’m forced to choose, I would pick: Fright Night (the one from the 80s), Blacula, Bram Stoker’s Dracula, Jeepers Creepers, and Tales from the Hood.

Honestly, I don’t read a lot of horror. I try not to read a lot of books in the genre in which I write. I don’t want to inadvertently absorb someone else’s ideas. But, when I was in college, I loved everything written by Anne Rice. The book that scared me the most was The Exorcist.

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?

VM: That’s a double-edged sword. On one hand, I believe in artistic freedom. On the other hand, knowing the history of white people being culture vultures, and the stories of BIPOC being suppressed or being told through a belittling lens, it’s important that BIPOC tell our own stories.

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?

VM: Like you said, all writers feel that they may not be great at their craft, especially when books aren’t selling as much as you think they should.

I manage it by telling myself that my stories are unique and that they are mine to tell. No one can tell my story but me. Some people will love what I do. Some will hate it. Both are okay.

GMM: Tell me a bit about your great grandmother, the dream interpreter. Did you know her when you were growing up? Did she pass on any of her knowledge? How important are dreams to you as a writer? How has that ancestral legacy had an impact on what you write?

VM: I grew up with my great grandmother until the age of nine. She was the greatest storyteller. Sitting at her feet listening to what she claimed as real-life supernatural stories, put a love of the paranormal in my heart. She’s my biggest influence as a writer. She’s the reason why I write. Dreams are important to me as a writer and as a person. Dreams can be warnings, revelations, fantasies, or just the purging of the subconscious. In my Angel Crush series, there are a lot of prophetic dreams.

GMM: How often do people you know, either people you have close relationships with, or strangers you encounter randomly, end up as characters or the inspiration for characters in your fiction? Are some of them easily recognizable? Are there characters you’ve written based on people you know that you wouldn’t want them to know you wrote about them? Have people ever accused you of misrepresenting them in a story?

VM: All the time. Real life always influences fiction. I am careful to mix characteristics of people I know personally so that no one can pinpoint themselves. Therefore, no one has ever accused me of misrepresenting them. Also, I write supernatural fiction. Most people don’t see themselves in the situations I create, but people love that I name my characters after them.

GMM: What is the most positive feedback you’ve ever received for something you’ve written? Would you consider that one of your proudest moments? What is some of the most negative feedback you’ve received? How did it push you to become a better writer?

VM: The most positive is when a reader told me that I was their favorite writer. It made me feel so good. Of course, that was one of my proudest moments. Nothing feels better than someone loving my stories as much as I love them. It makes me feel like they get me. Like they had a glimpse through intimate parts of my mind.

The most negative is when someone compared one of my books to the Left Behind series. I had no idea how they could have possibly come to that conclusion. It was like comparing Sula to Fifty Shades of Grey. I was lost on that feedback.  My push to become a better writer is a personal push. I always want a current story to be better than the last. Although I love effective criticism, I rarely allow the opinions of others to override my vision for my stories.

Excerpt from Oracles by Violette Meier

1

It’s February 12th again and I’ve made my one hundred and first circle around the sun. I was hoping when I opened my eyes this morning to be in the bosom of Abraham or trying to possess the body of a newborn baby, or at least sunbathing in a flowery field in another dimension; but I’m still here on earth celebrating another birthday. Don’t get me wrong, I’m grateful. I am able-bodied and in my right mind. I can still dance when I hear a song that takes me back to times when the winding of my hips could hypnotize any onlooker into a helpless trance. Now the winding of my hips sounds like a twentieth-century watch being wound. My lined face is but a shadow of the woman I used to be. The mirror lies; showing me crow’s feet and laugh lines as deep as canyons; muddy eyes and a turkey neck. When I close my eyes, I see taut skin, gypsy eyes, voluptuous lips, and a neck like a swan’s. I am still that woman inside.

My health is good. Well, most of the time anyway. My blood pressure gets a bit high when I eat too many potato chips or take a week off from walking. My knee gets a little stiff at times and occasional low energy levels force my bedtime to start with the evening news.

I could do the average old lady thing and offer a list of my ailments, but I won’t because for the most part, I’m healthy and happy.  I’m surrounded by my family, who loves me, in a cozy home that I share with my eldest granddaughter, Sage, and her family. Sage and her husband Kevin have been good to me.  Life is pleasant. Sadness creeps up on me from time to time because my heart still yearns for my husband. It has been ten years since Josiah transitioned. According to him, he’s probably in a new body trying to learn the lessons he missed his last lifetime. I never believed much in reincarnation, but he did, and I am sure that he lives on somewhere in the world. Josiah had a knack for being right or so he claimed. My luck, he’s right about reincarnation and I’ll have to come back to this godforsaken planet. Not that I do not love living, but I have been on this earth a long time and I am ready to be gathered to my people. The ancestors are calling me. Their beckoning plays in my ears like a song stuck on repeat, fluttering in the distance. I can hear them calling my name; a melodic whisper that never stops humming day or night.

“Ma Lily!” my ten-year-old great grandchild yells from the other side of the door.

Violet is a loud one. Her voice is deep and full sounding like a chorus harmonizing every note. It would be perfect for the voice of God in a movie.

“Ma Lily, can I come in?” she asks as she taps the door like her finger is vibrating. I see the shadow of her toes dancing underneath the door.

I tell her to come in and Violet pushes open the door like she is trying to test her strength; causing it to fly open like a tornado is spinning in the hallway. Every time I see her, which is every single day, it makes me laugh inside. She looks the most like me out of all of my great grandchildren. Light brown with freckles, a cloud of thick black hair sits on the top her head like a beach ball held in place by a giant purple ribbon tied into a perfect bow with its ends framing the sides of her face, and the most intoxicating smile on this side of the world. She is radical, nonconforming, fearless and ostentatious like a ten-year-old should be. 

“Whatcha doin’?” Violet asks plopping down in my rocking chair as I push myself up into a sitting position. I pull the covers off my legs and toss my legs off the side of the bed. I look down at my ashy feet as my toenails scrape the floor. My toenails look like talons. Maybe I was turning into a wild thing like a creature in one of Violet’s story books. I voice activate the lamp and instruct her to open the curtains. Sunlight changes the entire energy of the room. It instantly renews every cell in my body. All of a sudden, a new birthday didn’t seem so annoying.

“Just waking up,” I answer looking at the digital holographic clock hovering over my nightstand. It was 7:59 am. “Why are you up so early?” I ask her as she rocks back and forth swinging her legs like she is on a playground swing. The chair groans like an old man. “It’s Wednesday. Why aren’t you in school?”

“Because it’s your birthday!” Violet exclaims. “Mama says that turning one hundred and one is a big deal and we’re gonna party like it’s 1999,” she replies scratching her head confused about what that meant. That song is nearly a century old. I was surprised her mother knew the lyrics, but then again, Prince is and will always be my favorite musical artist of all time. My children grew up on his music and when my grandchildren and great grandchildren visited me, they too became familiar with Prince’s ear piercing falsetto and his sacrosanct sexuality. I love everything about that little musical mastermind. I love that man! If I had any musical ability, Prince is who I would channel. For a moment, I consider placing my music microchip into my ear and playing Prince’s greatest hits, but I’m sure Violet will not let me listen in peace. Per her request, I would have to blast it loud through the ceiling speakers and frankly, it was way too early for that kind of noise.

“What does your mama have planned?” I ask, a little anxious about Sage’s plans.

Sage always went over and beyond what was humanly necessary to do anything. She is a perfectionist in the worst way and habitually slunk away from gratification like it was the plague. Watching her frown and fret over every single detail was torture. Sage could make a person feel guilty about having a birthday because of all the trouble that celebrating it will cause her. I’m glad I won’t be around to see what she plans for my funeral.

When I turned one hundred, she made a movie about my life consisting of old videos and photographs. It was a nice sentiment until she rented out a local theater to show it and invited everyone in town. I had to wait in line for thirty minutes to see my own movie and she stressed herself out over cold popcorn and incorrect digital tickets until she fainted and had to be fanned back to consciousness.

“I can’t tell you,” Violet says as she hops off the rocking chair onto my bed. The bounce nearly catapults me across the room. I grip the mattress to balance myself and exhale.

“Can I do your hair?” she asks as she twists my silver dreadlocks into loops and pin them to the top of my head. I lift myself so she can pull the ones free that I was sitting on, and I sit back on the bed.

“Looks like you’re already doing it,” I retort while yawning. I sit as still as I can as my great granddaughter styles my hair. My dreadlocks are floor length. It amazes me how she effortlessly gathers my big blue-gray ropes of hair and turns them into flower petals. She pulls the last bobby pin from her pocket and places it in my hair.

“Done!” she exclaims and bolts back over to the rocking chair.

I stand up and walk over to the cherry wood vanity that sits in the corner of my room, pull the emerald cushioned seat out and sit down. I look in the mirror and smile. Violet does exquisite hair just like her grandmother, my daughter, Chloe.

“Thank you, baby,” I reply as I put on a thin coat of pink lip gloss and give myself an air kiss in the mirror. I swear the lip gloss and hairstyle takes twenty years off my face. I don’t look a day over eighty.

“You’re welcome Ma Lily,” Violet replies as she rocks like a mad woman in the chair.

“Bring me my owls,” I instruct while admiring my hair in the mirror.

Violet hops off the chair and crosses the room and opens the top drawer of my jewelry armoire. She pulls out two sterling silver necklaces, both with large owls hanging from them, and a matching pair of earrings. After she hands them to me, I put on both necklaces, one owl hanging lower than the other and put on the dangling earrings.

I look at myself once again in the mirror and smile, extremely pleased with Violet’s handy work. I feel beautiful.

A shadow moves on the opposite side of the room, its dark reflection appearing like a man made of smoke. My chest constricts as I gasp aloud. I spin around.  Nothing is there.

The room falls silent. The screeching rocker squeals no more. Violet sits in the rocking chair as if time has stopped; her small face flushes red and her back is as stiff as a board.

“You okay baby?” I ask her as a shiny tear made its way down her cheek.

“Did you see it?” she whimpers.

“I saw it,” I confess. I want to deny it, but it is no use. Violet and I both were born with a veil; born with two crowns on our heads like the elders used to say. It was one of the things that helped us forge such an intimate relationship. Her mother cannot see, but her grandmother Chloe can and so can Violet’s older brother Uriah.

“It’s coming to get you Ma Lily. I saw it,” Violet whines. “I don’t want you to go.”

I stand up and walk over to my great grandchild. I instruct her to stand up so I can sit down. My knee is hurting a little. Rain must be coming. Violet sits on my good knee. She feels heavier than she did yesterday. “There is a season for everything under heaven,” I reply. “A time to laugh and a time to cry. A time to live and a time to die.”

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.

Women in Horror Month Fiction Fragments: Sumiko Saulson

This past Friday, I chatted with Nicole Givens Kurtz, one of the first recipients of the Horror Writers Association’s Diversity Grants. Today, Girl Meets Monster welcomes another Diversity Grant recipient, Sumiko Saulson. Sumiko provided me with multiple versions of hir bio and there is so much interesting information in each one that I felt like using only one would somehow rob you of knowing all the cool shit ze has done and is doing. As a woman of color who writes speculative fiction that often crosses the lines of genre and gives my readers a glimpse into my various parts that make up the whole, I can completely respect and wish to honor all aspects and intersectionalities of a fellow woman of color who writes horror.

So…here are all the bios Sumiko sent me. Bask in the glory of hir muliplicities.

50 Words
Sumiko Saulson is a cartoonist; horror, sci-fi and dark fantasy writer/blogger; editor of Black Magic Women and 100 Black Women in Horror. Author of Solitude, Warmth, Moon Cried Blood, and Happiness and Other Diseases. Author/Illustrator of Mauskaveli, Dooky, Dreamworlds and Agrippa, writes for Search Magazine and the San Francisco Bayview Newspaper.

100 Words
Sumiko Saulson is a cartoonist, science-fiction, fantasy and horror writer, editor of Black Magic Women, Scry of Lust 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 comics Mauskaveli, Dooky andgraphic novels Dreamworlds and Agrippa. She writes for the SEARCH Magazine and the San Francisco Bayview column Writing While Black.  The child of African American and Russian-Jewish parents, a native Californian and an Oakland resident who’s spent most of her adult life in the San Francisco Bay Area. She is pansexual, polyamorous and genderqueer (nonbinary).

100 Words (but different)
Sumiko Saulson is an award-winning author of Afrosurrealist and multicultural sci-fi and horror. Ze is the editor of the anthologies and collections Black Magic WomenScry of LustBlack Celebration, and Wickedly Abled. Ze is the winner of the 2016 HWA StokerCon “Scholarship from Hell”, 2017 BCC Voice “Reframing the Other” contest, and 2018 AWW “Afrosurrealist Writer Award.”

Ze has an AA in English from Berkeley City College, and writes a column called “Writing While Black” for a national Black Newspaper, the San Francisco BayView. Ze is the host of the SOMA Leather and LGBT Cultural District’s “Erotic Storytelling Hour.”

150 Words
Sumiko Saulson is a science-fiction, fantasy and horror writer and graphic novelist. She was the 2016 recipient of the Horror Writer Association’s Scholarship from Hell, and 2018 winner of the Afrosurrealist Writers Workshop Short Story Award. Sumiko Saulson is a cartoonist, science-fiction, fantasy and horror writer, editor of Black Magic Women, Scry of Lust 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 comics Mauskaveli, Dooky andgraphic novels Dreamworlds and Agrippa. She writes for the SEARCH Magazine and the San Francisco Bayview column Writing While Black.  The child of African American and Russian-Jewish parents, a native Californian and an Oakland resident who’s spent most of her adult life in the San Francisco Bay Area. She is pansexual, polyamorous and genderqueer (nonbinary).

Ten Questions

GMM: Welcome to Girl Meets Monster and thank you for being part of my first Women in Horror Month series, Sumiko.  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?

SS: I have three works in progress. The one I am currently focused on is Akmani, which is the fourth book in my paranormal romance / horror erotica series Somnalia, which begins with Happiness and Other Diseases. I promised Mocha Memoirs Press, publisher of my anthology Black Magic Women (and another anthology I am in, SLAY: Tales of the Vampire Noire) the first option on it when it is completed. It’s about 85% there at this point. I also have a manuscript for Disillusionment, the sequel to my first novel, a sci-fi horror story called Solitude, about 75% complete, but that one is tabled for now. And finally, I have a file I put all of my poetry in (I write quite a lot of it, on my blog and social media) which is called “Emotional Side Chicks.”

Horror is definitively my primary genre, but I do a lot of crossover into other genres that are combined with horror. Sci-fi horror, monster porn, paranormal romance and horror erotica are some of those, and my Afrosurrealism and Afrofuturism tends to be dark and essentially horror. I have a significant amount of erotica in my short story portfolio now, and some of it isn’t horror, but is fantasy, or sci-fi erotica. Poetry is the only genre I work in which isn’t usually horror flavored, as I am a beat or spoken word poet. However, I do have a poem in the current Horror Writers Association Poetry Showcase.

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?

SS: I started out as a poet and a journalist, and hadn’t completed any short stories or novels. I was a published poet as a teenager, and showcased as an upcoming beat poet in the San Francisco Chronicle at the age of twenty. So, the first short story I submitted anywhere was to Phantasmagoria when I was eighteen. They sent it back and said we would love to see more work from you, but this is suspense, not horror. I had sent it to four magazines but only they wrote back. I was easily discouraged and didn’t try again for a long time. I had a half written sci-fi horror novel that I never finished when I was twenty-five called The Chain. I think I tried writing things that weren’t horror, and it just didn’t work.

On my first novel I just gave up on the idea of writing anything other than horror, or trying to not sound derivative because I had consumed so much Stephen King that his voice was ingrained in my mind. So I finished Solitude and was bummed out when Under the Dome (the book, not the television show) came out and I saw that the time bubbles in my book were similar sounding to his dome. They were written at the same time, so it was almost like I had gotten so influenced by him that I was mind reading. Well… after the first book I got really good at having a distinct voice, and you gotta start somewhere.

The more I felt that my voice as an African American was important, the more that I felt my voice as a disabled author was important, the more I had a distinctive voice.

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?

SS: I think that Victorian era horror, Gothic horror, which is at the root of modern horror, is filled with white voices othering people of color, and then expressing fear that the people they oppressed would come back to destroy them. Consequently, American Gothic horror was filled with slaves cursing white people, Native Americans cursing white people, etc. British Gothic horror was filled with curses by Egyptians, East Indians, and people from Romania who had been oppressed by the Empire or the Church. Black horror switches the focus to us, so instead of it being about how we want revenge for all of the horrible things done to us… it is about how horrible things done to us were. Even in Toni Morrison’s “Beloved,” where the house is haunted by the child Sethe killed, the visceral horror of the institution of slavery is cloying, overwhelming, and more horrific than the ghost. Sethe’s terrible deed was done to save her child from slavery.

The institution of slavery itself was the stuff of nightmares, I believe, is what Tananarive Due is saying. The horror of our ancestors being stolen from Africa, the heinous deaths aboard the overcrowded slave ships where we were treated like chattel, and the abuse at the hands of the slave owners and slave hunters.  Then, the abuse continued during the Reconstruction, during segregation, through Jim Crow laws, and voter suppression, the birth to prison pipelines, racial profiling, and police brutality.

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?

SS: My horror stories almost universally have broader messages about identity, class, racism, disability, and/or queerness. I don’t think that I personally can easily divorce myself from that narrative when I set out to write a story, but I do think that, in general, writers of color have the ability to write outside of those parameters. I was in a horror writing contest that HorrorAddicts put on, called “The Next Great Horror Writer” contest back in 2017. The runner up, Naching T. Kassa, was able to turn in several excellent horror stories that HorrorAddicts loved. They do not like political horror. That’s a fact. I got sixth place, but the more political my horror has become, the more rejection letters they send me. They probably have more people applying, but the rejection letters express their distaste for political horror. However, some of the most powerful work by authors of color addresses these issues. Toni Morrison refused to stop writing for Black audiences, and frankly, so do I. I have had to find markets that want political horror. Let someone else write for the ones who don’t.

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

SS: Candyman is my favorite horror movie. I am so jazzed for the new Jordan Peele one. Bram Stoker’s Dracula, Bones (yes, that Snoop Dog movie), Dawn of the Dead, and Queen of the Damned (even though I know Anne Rice hates it, so hopefully she won’t read this interview). Novels – gosh, so basic. Toni Morrison’s The Bluest Eye, Steven King’s The Stand, again Anne Rice’s Queen of the Damned, Toni Morrison’s Sula, and Mark Helprin’s A Winter’s Tale. Please don’t tell me you don’t think all of those are horror novels, because I am not trying to hear that. The movie that scared me the most was a sci-fi movie, The Planet of the Apes, the original one. I had terrible nightmares about it as a child. Apocalyptic themes frighten me the most, so naturally, The Stand was the scariest of those books, although, The Bluest Eye was also terrifying.

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?

SS: I think that own-voices are really important, but I know that I am not the only Black horror fan who swooned the minute Akasha showed up in Anne Rice’s Queen of the Damned. My love affair with Akasha still has not ended. Even though I love Akasha, it was many years later before Black vampires who weren’t villains showed up in the Vampire Chronicles.  Also, it took years for her to write dark skinned characters who weren’t supernaturally faded by vampirism.

Stephen King’s treatment of African American characters in The Stand was horrific. He martyred two different major Black characters in a book about the near-end of humanity, and didn’t even bother to show any Black children being born. It creates a creepy inference that all of the Black folks have died off. After many letters from concerned fans, Stephen King started writing stories where the martyring of Black folks came to an end, but there were other issues. Don’t even get me started with Bag of Bones… the black characters in that book are totally objectified, go through horrendous things, and yet are vilified, othered, and made into a backdrop for a story about a four year old white Last Girl.

My advice to white writers telling BIPOC stories is to try to avoid tokenizing. If there is only one Black person, and only one Latina, then if one or both end up dead, or as a villain, then you have no heroic person or even neutral person in that role. A diversity of different kinds of characters of any given race makes it more likely that you will have at least one sympathetic character in that demographic.

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?

SS: Oh gosh, I am having it right now. I have been putting out tons of short stories, but haven’t managed to finish a new novel since 2015. The more political my short story writing has become, the more I worry about potentially problematic things in my novels, which are mostly multicultural and take place in urban settings. I just wrote when I first started, and didn’t second guess myself as much. Now I am like, “Oh wait, I am writing about people who are different than me – did I do it right?”

My experience with impostor syndrome is that the fastest way to get past it is to set aside perfectionism. Sometimes I pick up a book I was told is terrible that got published, and read it and tell myself that I suck less than that. Then I tell myself that all of an author’s books aren’t masterpieces, and it is okay to write a book that isn’t Toni Morrison’s Song of Solomon. In fact, if none of my books are ever as good as Toni Morrison, that will be okay. I am a horror writer. Then I pick up a really crappy Stephen King book like The Tommyknockers and remind myself of how many mediocre books he has put out. And yet, I am a fan.

GMM: Do you write about characters who share as many intersectionalities as you do? Did it take you a while to develop the confidence needed to tell their stories, or did you simply write the stories you needed to tell without worrying about what other people might think? Have you experienced any backlash for the stories you write?

SS: I am half Black and half Ashkenazi Jewish, am a non-binary femme who is woman-identified, am mentally ill and pansexual. Some of my characters have as many intersectionalities, but not all of them. The protagonist in “The Moon Cried Blood” is a thirteen year old biracial Black/Mexican girl, and the protagonist in “Happiness and Other Diseases” and “Somnalia” is a biracial Chinese/Hawaiian man. There are tons of queer characters in the Somnalia universe, which is based on Greco-Roman mythology. The Roman pantheon was queer as all get out.

I have a few trans and gender noncomforming characters, and X’ashia, the alien in Solitude and Disillusionment is a major one. He is composed of multiple subatomic creatures, and although he is biologically agender (because he procreates through cellular division), he shapeshifts a bunch and eventually acquires a gender identity, as male. There is a transman in“Insatiable but he is not a major character. Flynn Keahi, the main character in “Somnalia,” shapeshifts into a leopard who is female.  Angelo and Shiela are two people who share a body in a three-story arc in the “Scierogenous” anthology – both of them African American. They are a technologically created system. A chip was implanted in Shiela’s brain, which created a new person, Angelo, for a companion. Although they are sexually involved with each other, both are primarily attracted to men.

People in the African American community of writers and in the Horror community have both been very supportive, so not a lot of backlash there. Early in my career, I had a handful of cisgender white men I knew from my twenties get drunk and come at me for trying to write. Trust me they all think they are liberal. One of them drunkenly rage-posted about how women can’t write horror until I blocked him on Facebook. Another bought one of my early self-pubs and then drunkenly rage-posted about there being typos. I have also had to deal with micro aggressive behavior at conventions.

GMM: Tell me about the “Erotic Storytelling Hour.” What’s the backstory of how it began and how have you had a hand in making it a reality?

SS: The Erotic Storytelling Hour is run by the San Francisco Leather and LGBT Cultural District. Our Cultural District is in the South of Market neighborhood in San Francisco, California. We are the world’s first LEATHER & LGBTQ Cultural District. The Cultural District was created by a resolution unanimously passed by the San Francisco Board of Supervisors on May 1, 2018 and signed by the Mayor on May 9, 2018. We will have a Cultural Center there in the future, so this is literally bigger than me.

I have been very active in the local leather community since 2015, but did not become involved with the SF Leather District organization until after the pandemic last year.  The original host, Bicoastal Beth, moved to the East Coast. I was a regular participant there, both as an attendee and as a reader. I had no idea they were considering me until they offered me the position. My boss, Cal Callaghan, actually took over Bicoastal Beth’s position as the District Manager. He said he wasn’t an entertainment type, and asked them to hire a separate person to host it. 

Now, Cal and a very active board member, David Hyman, co-host the Erotic Storytelling Hour (ESTH) with me. Cal and David are behind the scenes running technical aspects of the Zoom call, and David makes announcements for the SF Leather Cultural District. The purpose of the ESTH is to support the members of the Cultural District, so every week we have four community readers and one feature. The feature is usually a name in the Leather community, such as a Leather titleholder, someone who runs community spaces or meetups, or someone who runs safe spaces for marginalized groups within our community. Sometimes the feature is an erotica author. People who attend virtually are a part of our community, as well as people who live here, and people who visit the Cultural District when they are in town. The event also serves to broaden awareness of our historical Cultural District as a tourist destination for people in the Leather community worldwide.

Part of my role and responsibilities is to help ensure that we have a diversity of readers. Because San Francisco’s Leather Heritage District was initially established by predominately white cisgender gay men, this includes making sure that ethnically diverse kinksters, and other members of the LGBTQ Leather District community such as trans, nonbinary, lesbian, bisexual… pretty much any queer person who isn’t a white cisgender gay man… get to read. Straight kinky people are also a part of the leather community.

GMM: What advice would you give to new writers who occupy more than one identity and embody the intersectionalities of race, class, ethnicity, disability, gender, sexuality, etc.? If you could go back in time, would it be the same advice you would give yourself as a novice writer?

SS: If I could go back in time, I think that, as a novice writer, I would have done some things differently. I didn’t find out about Nisi Shawl and Cynthia Ward’s “Writing the Other” until after I was well into my novel writing career. I have since become more aware of the fact that a person, while being a minority at many intersectionalities, can still be writing the other. I had some inkling, because I talked to my cousin, Heather, who is a quarter Hawaiian (a really big deal, since Europeans brought diseases to Hawaii that wiped out a lot of the native population) about a lot of things that went into the Somnalia series. Especially Book Three, Insatiable, which takes place in Hawaii, where I lived for seven years. Flynn Keahi, the protagonist of the series, is Hawaiian and Chinese and was raised by a Hawaiian single mother. Asking people to give you perspective on the characters that are unlike you is a good idea, even if you have no one available to do a sensitivity read.

Things I did actually do as a new writer that I would suggest, include getting involved in writers’ groups. I was in school at Berkeley City College, where I got a lot of advice from teachers and critiques from student peers that were useful. I started a Black Women’s Writing Group with a fellow student, and joined another Women Writer’s Group that was not exclusively, but predominantly, Black. As a disabled author, I got a lot of support from the disabled student’s services, and I also joined WryCrips, a disabled women’s writing and theater group. I was not out as a nonbinary person at that time. I started a Writing Group for kinksters after I came out as nonbinary. There were a lot of transpeople and queer folks of every ilk in it. It is good to have both mainstream (such as educational) and community writing spaces, in my opinion. 

I am a firm believer in completing your first draft before getting perfectionist and hyper self-critical. It is a difficult lesson for a lot of first-time writers. You need to complete a first draft in a timely manner to avoid having a metric shit-ton of consistency and chronology errors. While you are sitting there, re-writing the same sentence fifty times, you are losing momentum on your plot points. Rewrites can occur during editing, and the flow is sometimes more critical than the perfect turn of phrase. 

Get other eyes on it after you finish your rough draft. Other eyes during the writing of the first draft, that I choose, are much less critical than the ones I choose to allow to help me after the first draft is done. Hypercritical people during the writing of the first draft give me pretender’s syndrome and writer’s block.

“The Calico Cat” by Sumiko Saulson

“Don’t bring that thing in the house!” his mother shouted, as Joe slipped in the door after three p.m., a raggedy patchwork shadow at his feet. The cat, which couldn’t have weighed more than five pounds, had been following him since he walked off his school playground four blocks back.

“Aw, mommy, why?” he cried. “I was hoping to keep her. Can I keep her?” The cat was too thin. Her patchy fur was infested with angry fleas that bit his ankles when she rubbed up against them, begging for a pet. She wasn’t very pretty, but she was so sweet. She… he knew it was a she because calicoes are almost always female… already acted like he was her human.

“Out, you damned flea-bitten mangy mongrel!” Mom screamed. Could the cat understand English? She hissed at his mother, orange eyes blazed like campfire blazing.

“Come on, Mom!” Joe begged, but to no avail. Mom came running for the door, straw broomstick in hand.  He jumped out of the way so she wouldn’t hit him with it on her way to the cat. She swatted madly at the calico, who responded by hissing, back arched like a Halloween decoration. Her claws dug into the pine stick, but to no avail. His mother struck the cat firmly in the hindquarters, and it skittered out into the yard.

“Mom’s right…” his older brother Stan whispered with a haunted look in his eyes. “We don’t want a cat in here, not that cat, anyhow.”

Joe wondered what was bothering Stan, but his older brother wouldn’t tell.

The next night, the calico showed up in his back window at dinnertime, meowing and begging to be let in or fed.

“Don’t feed it!” his father warned. The boy ignored him, and snuck table scraps to the calico at the back door. The calico licked her slender, black lips in anticipation as he offered her a strip of bacon. She must have been starving. She leapt up and nipped his wrist with her tiny fangs so hard that it bled. 

“Told you so!” his dad said, shaking his head. “Those things are dangerous.” The boy yelled at the cat, and she skittered over the back fence, disappearing.

 “Why are you afraid of cats?” Joe asked his father.

“Doesn’t she look familiar?” Dad asked him.

“She does,” Joe admitted. “But all cats kind of look alike, don’t they?”

“That’s one of your grandmother’s cats,” Dad told him. “She had about four of them, all but this one black. Last year, she died of a heart attack. We were shocked when we got home and found all four cats eating her corpse.”

“My goodness!” Joe shrieked. “Eating her?”

“Eating her face right off,” Dad nodded. “That one right there is named Amanda. She was eating your grandmother’s eyeball like she thought it was a mouse. And the smell… just awful.”

“Smell? How long was grandmother dead?” Joe asked. “Maybe they were just hungry.”

“Like hell!” Mom yelled. “Those cats are evil. Vile, plotting little things, they are, wicked! And she had the audacity to leave this house to them in her will.”

“She left everything to them,” Dad laughed. “Her lawyers probably think those cats still are living here and we’re giving them all the money. Fat chance of that!”

His brother Stan looked spooked. “Why don’t you tell Joe the truth?” Stan demanded. “Grandma was a witch. She left the house to those cats because they’re her familiars. That’s why they hate mom and dad. And they’ve been trying to get into the house ever since!”

“That’s crazy,” Joe said. But he wasn’t so sure. He’d been away at summer camp when Grandma died. When he came back, they’d moved into this nice house. They used to live in a trailer before that. No one explained where the house came from until now.

“The calico was their leader,” Stan insisted. “You’ll find out.”

Joe had terrible nightmares that night. Amanda had gotten into the house, along with three other cats, all of them black. She chased him to the bedroom, but he pushed her out and locked the door. He climbed into the bed, and hid under the sheets, but he couldn’t sleep. There were terrible screams coming out of the other rooms in the house.

The next morning, he got up and went down to breakfast, but no one was there.

“Mom?”  he called out. Joe walked through the house looking for her, but didn’t find her. When he went to his parent’s bedroom, and opened the door, they weren’t inside. Instead, there were two black cats, sleeping in their bed.

He walked down to his brother’s room, and opened the door. There was a black kitten sitting on his bed.

Thinking he missed them, he walked back down to the kitchen. There, he saw a strange woman. Her black, orange, and white hair was up in a bouffant hairdo. It reminded him of the cat’s fur.

“Hello, Joe…” she purred. “My name is Amanda. I’ve come to take back what is mine.”

“But you’re a cat,” Joe said, his jaw dropping as he took a seat so he wouldn’t fall down.

“I am a witch,” she informed him. “I am your grandmother’s sister. You know, all of our family members can turn into cats. Too bad your no-good parents didn’t know that before they tried to steal my inheritance.”

Joe looked down and saw a bowl of cereal sitting on the table in front of him. In a state of shock, he began to eat it without thinking. He tried not to imagine his grandmother’s sister eating her eyeball while he was doing it.

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.

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.

Do the Writers of DC’s Legends of Tomorrow Think We’re Stupid?

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Last night I watched an episode from season one of DC’s Legends of Tomorrow that defied all logic. I’m not talking about the fact that the main story arc focuses on a band of lesser-known “heroes” on a mission to defeat an immortal villain with the help of a spaceship that functions as a time machine. No. I’m talking about the fact that the writers of episode 8, “Night of the Hawk,” expected us to suspend our disbelief enough to accept that the characters were completely uninformed about the history of gender, racial, and sexual orientation politics, and therefore, woefully unprepared for the sexism, racism and homophobia lurking in 1958 small town America.

Really DC?

Here’s Netflix’s synopsis of the episode:

In 1950s Oregon, Professor Stein and Sara go undercover at a hospital where Savage is working, suspecting that he’s behind a recent string of murders.

As you might guess, the synopsis does little to prepare anyone for what ACTUALLY happens in the episode. So, here’s my synopsis. And, um, as usual, spoilers, Sweetie.

Michelle’s more realistic synopsis of the episode:

True, Professor Stein and Sara do go undercover at a hospital to track down Vandal Savage. What the synopsis fails to mention is that Sara is shocked and openly annoyed by the fact that a doctor in 1950s Oregon makes sexual advances toward her while dressed as a nurse. Has she never seen an episode of Mad Men?

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Later, Sara flirts with another nurse who magically turns out to be a closeted lesbian. Sara tries to convince her to come out of the closet and again is shocked that the other woman has reservations about being out.

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Do you expect us to believe that a young, attractive white woman, regardless of the fact that she’s a former member of Ra’s al Ghul’s League of Assassins, has never had unwanted sexual advances from men? She’s never been discriminated against for being a lesbian? She has no knowledge of the Stonewall Riots that are celebrating their 50th anniversary this year? She’s never encountered a discussion of Queer Politics, gender identity, or the history of the LGBTQ+ movement?

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While Sara is attempting to seduce Nurse Betty, Professor Stein, who was in college in the 1970s, somehow fails to realize that bringing Firestorm along to investigate the disappearances/murders of locals in the small mainly white town in Oregon might cause some problems.

But, what really confused me was the fact that Firestorm takes it upon himself to sit at the counter of a white-owned restaurant and begin a conversation with a white girl he’s never met before. Equally confusing, is her almost immediate acceptance of the situation as if strange young Negroes talk to her every day.

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Do you really expect us to believe that a young black man living in 2016 America has never encountered racism? Never? And, that as a person of color living in the United States, he’s never heard of the history of oppression and racism that stems from slavery, Jim Crow Laws, and the deaths of people seeking freedom during the Civil Rights Movement? He’s never heard or seen people’s disapproval of black men talking to white women in social situations? Horseshit. It is dangerous to be a person of color in America and not be tuned in to your history. I find it highly improbable that his mother, a widowed single parent, never had The Talk with him.

While we’re on the subject of segregation (which was omitted from the episode), let’s take a look at the burgeoning romance between Atom and Hawkgirl. In 2016 interracial relationships are common. But, in 1958 they were illegal. So, when this gorgeous couple shows up to purchase a house together as husband and wife, you can imagine the realtor’s confusion. At least, you should understand it if you have a clue about America’s history of segregation and Jim Crow Laws.

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Not only was interracial marriage banned in all 50 states (Anti-Miscegenation Laws), but people of color were not encouraged (that’s an understatement by the way) to move into white neighborhoods. Oddly enough, this didn’t occur to either character. Now, to be fair, this may be Atom’s first interracial relationship. Still, he’s supposed to be an incredibly smart dude. He’s never read a book or seen a film about 1950s America with black characters? I mean, it’s possible, but unlikely.

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And, while we’re one the subject, DC also wants us to believe that a woman of color who I assume has dated, or at the very least found herself attracted to other white males, has never experienced racism because of her choice in lovers. DC also wants us to believe she isn’t aware of the fact that interracial marriage was illegal until 1967 when the Supreme Court struck down all state laws banning interracial marriage as violations of the Equal Protection and Due Process Clauses of the Fourteenth Amendment in the landmark case Loving v. Virginia.

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Seriously?

While this episode drove me nearly insane, I’m going to keep watching this ridiculous series. Why would I continue to watch a series that negates the realities of people living (and dead) in the United States who deal with racism, sexism, and homophobia? That’s a great question. And here’s my ridiculous answer.

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I absolutely adore John Constantine, and was heartbroken when NBC canceled the series starring Matt Ryan. So, when I discovered that one of my favorite DC Comic heroes (portrayed by an actor who is perfect for the role) returned to TV as a recurring character in this series, I signed on to watch.

Is it irresponsible of me to continue watching this absurd series given the unbridled whitewashing and heteronormalizing of the characters? Most likely. Am I going to stop watching the show because it is personally offensive and insults my intelligence? Probably not.

Honestly, if I stopped watching shows for those reasons, I’d have to stop watching A LOT of TV shows. I am almost ashamed to say that I will continue to watch this train wreck simply because John Constantine is back. Will I continue to examine the narratives and be completely aware of how flawed they are in recognizing the struggles of people of color, women, and members of the LGBTQ+ communities? Well, of course I will.

As a woman of color who has had a life-long love affair with speculative fiction, this isn’t the first time I’ve been offended by the absence or misrepresentation of specific identities, including my own. And to be perfectly honest, I doubt that experience will end anytime soon. Occupying certain identities while loving a particular genre can be complicated at times. Writers like the ones creating the narrative of DC’s Legends of Tomorrow aren’t the only voices telling tales about superheroes and other speculative fiction characters. Even if you continue to enjoy the stories that don’t include your lived experience, you can also seek out stories that do.