Fiction Fragments: David Day

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Before I even begin talking about my fellow Seton Hill University Alum, David Day, I’m going to brag about the fact that we both have stories in this political horror anthology due out later this month from Scary Dairy Press, so pick up a copy.

Last week, Kenya Wright stopped by and talked about the responsibility female writers of color have to include deeper issues like racism, classism, and sexism in their writing, even if they are writing about vampires with double penises. This week, David Day joins Girl Meets Monster to share his thoughts on genre and how it should be considered an analytical tool rather than a creative one. His thoughts on horror fiction and the connections he perceives between horror and romance raised some serious emotions for me. I’m not crying! You’re crying!

headshotDavid Day believes the future is a paradox, simultaneously representing beautiful hope and terrible possibility, and that we are on an ever-constant journey to resolve that paradox into the now. David received his MA in Writing Popular Fiction from Seton Hill University in June 2011. He is the author of one novel, Tearstone, as well as several short stories. Find out more about him at his snazzy but woefully neglected website: http://www.davidlday.com.

Three Questions

GMM: Your fragment has a lot going on. Initially, I felt like I was reading a fairy tale, but then I got the sense that we’re in a post-apocalyptic world or, at the very least the story isn’t set in the here and now. There are clear references to a past (or recent present) that are familiar to contemporary culture, so maybe not too far in the future, but the habit of Cassiopeia to fade out of reality tells me this is an alternate reality at the least. How would you categorize this piece? What genre or genres do you typically write in? When you sit down to write, do you have a genre in mind, or do you simply set out to tell a story?

DD: I’d place this one as science fantasy. There are, of course, some dark elements to it, but nothing I’d qualify as horror specifically. It’s meant to have a fairy tale quality to it, and you’re right about the post-apocalyptic setting. The main characters are among the last surviving humans who are either being culled or killed, depending on a few key qualities of their personality that come out much later in the story.

I write among the subgenres of speculative fiction, typically horror, science fiction, supernatural fiction, and dystopian. My inclination is toward horror and the supernatural, and those elements usually surface in every piece, but I have been known to write a story or two that don’t have any horror in them.

Every new story is a unique endeavor for me, and I don’t try to pin it to a specific genre at the outset. My goal in writing a short story is to try and elicit some nugget of human experience. The inclination toward horror and darkness comes from a belief that we are often most human in the darkest of places. Sometimes that darkness draws out the good in us, sometimes the bad. And sometimes the story just falls flat and I move on to the next one. Novels, however, I do try to pin to a genre up front. I’m okay if it changes when working on the first draft, but novels are such an investment in time and energy, and selling them is such a market-oriented activity, that to write a novel without knowing the target readership ahead of time feels a bit backward.

GMM: I know that you write horror fiction, because your work has been published in horror anthologies, but how do you define horror? There was quite a bit of discussion in the writing program at Seton Hill about whether or not we should adhere to the strict, traditional definitions of specific genres, or simply write stories that contain elements of multiple genres, which often feels more natural. Which side of this debate do you fall on? Do you consider yourself a horror writer? Why or why not?

DD: Delineating genres is difficult, in my opinion. Horror can be especially tricky to pin down, due in part to the rash of slasher films in the 80s. Last weekend I sat on a panel on horror at the Imaginarium Convention in Louisville, KY, and one of the attendees asked if there were critical or essential elements that need to be present in a horror story. After a few seconds of silence as the panelists thought, a few spoke on how horror isn’t about this or that specific element, but about the characters. And then the conversation took off.

Horror is about emotions, not tangible things, and for those emotions to surface in writing, the story must be oriented toward the characters. Broadly speaking, horror is all the flavors of fear: helpless, frightened, overwhelmed, worried, inadequate, inferior, worthless, insignificant, excluded, persecuted, nervous, exposed, threatened, weak, rejected, insecure, anxious, etc., etc. Horror uses circumstances to bring these feelings out in the reader, and the best way to get a reader to feel something is through a character’s emotions. For me, horror is not only about those emotions, but the conquering of those emotions, and I believe the most satisfying horror stories are survival stories, where the characters involved are able to push through those emotions. Horror is about dwelling in the darkest of places and reemerging again transformed into something more resilient.

As for adhering strictly to genre, I call bullshit. When it comes to art, there are two kinds of tools: creative and analytical. Creative tools help the artist make something meaningful. Analytical tools help categorize and describe a work after it’s been created. Genre is an analytical tool that helps readers find works they may be interested in reading. Every story should be about some aspect of humanity, and to portray humanity properly requires showing a spectrum of emotions. Every story is a love story, a horror story, a mystery, a fantasy. Imagine going to a concert only to have the musician play a single note over and over. I’ll be generous – imagine them playing a single refrain repeatedly. How long before you get up and leave? I give you ten minutes, tops, unless you’re at a Phillip Glass concert, in which case maybe twenty. Stories that hammer on a single note tend to feel flat. Stories that show the complexity of human emotions necessarily draw from multiple genres. Genre labels help sell fiction, and can help a creator understand what the market potential is for their work, but genre is not very useful during the creative act.

Am I a horror writer? I grew up an avid reader of horror, science fiction, and poetry. I’m largely influenced by the works of Stephen King, Arthur C. Clark, H.P. Lovecraft, Kurt Vonnegut, Edgar Allen Poe, William Blake, Isaac Asimov, and e.e. cummings. If that makes me a horror writer, cool. But if my works appear on a shelf under Contemporary Fairy Tales or Dystopian Victorian Techno-Romance Spy Thrillers, and those labels help the readers who might like my stories find them, then extra cool.

GMM: There are hints at romance, or at least, unrequited love in your fragment. Do you often include romantic relationships in your stories? What inspired the relationship between the narrator and Cassiopeia?

DD: When I was at Seton Hill, I developed an appreciation for some similarities between romance and horror in terms of the focus on character and emotion. I’ve come to believe the opposite of love is not hate. The opposite of love is fear, and isolation as an intense precursor to or flavor of fear is a highly effective trope in horror as is demonstrated in this awesome montage of “No Signal” clips.

Notice how most of the movies cited are horror movies. I don’t necessarily try to include romantic relationships in stories, but I do try to use love relationships such as family bonds or even intensely tight friendships as a foil to isolation. As a writer, I believe having characters move across the love-fear spectrum gives a more complete view and increases the effect on the reader.

As for what inspired the relationship, I’m not sure I can point to any particular experience. Both the narrator and Cassiopeia suffered through a lot prior to their world going to hell. Sometimes we find strength when someone else’s well-being is at stake, and sometimes just having a hand to hold can make the most difficult of times more bearable and give one the will to persist.

Untitled Fragment, by David Day

Cassiopeia stumbled on a red pine’s thick root, her pink locks fluttering across my face like a kaleidoscope of butterflies. I tried to catch her, but she slipped from my grimy, sweaty hand and fell to the forest floor in a boneless heap. She lay still and silent, as if sleeping, her breath shallow and faint.

Her fugues grew worse with each day.

Something large shuffled through the woods, too far away for me to get a good fix on it, yet too close for our safety. I stretched out on the ground, spooned up against Cassiopeia, and placed a hand over her mouth to guard against any sudden outburst. Sweat covered her bone-cold skin, the faint smell of old heroine oozing from her like thick, cloying perfume.

“I think I hear one,” I whispered, more for my sanity than for her benefit. “Keep quiet.”
She moved her head slightly, the semblance of a nod, no doubt a tremor, but I wanted to believe otherwise. I stared up through the trees at a sky darkened for months to a confusion of shadow and light, never night or day, but always somewhere between, as if the earth had become stuck between dreaming and waking. Smudges of light riddled the fabric of the sky, stars barely discernible from the slightly darker background of space. I gave up on trying to see them, closed my eyes, and listened.

The steps echoed regular and heavy, the clip-clop of a trotting horse, their staccato rhythm heading our way.

Cassiopeia struggled a little, probably frightened even in her current state. She squirmed against me, groggy and weak, hopefully coming back around, but if we moved, if it found us…

I clamped down a little harder, enough to quiet her without hurting her.

I shifted and by some ill turn of fate caught a glimpse of the juggernaut through the trees as it paused, a great pillar of mahogany skin stretched over thick muscles, massive rubbery wings folded against its back, a thin barbed tail curled in a smooth s-shape, knees on the wrong side of its legs. It bent slightly backward and pressed its thick, clawed hands into the small of its back.

I managed a breath, then the creature took off again, galloping with surprising speed and agility. I waited, frozen, gulping thick breaths, then, listening as the last of the hoof-beats faded from earshot, slipped my hand from Cassiopeia’s mouth.

She rolled over to face me, awareness in her eyes for the first time in hours, pink strands of damp hair plastered to her forehead.

“I want to go with them.”

I brushed the threads aside, heart thumping a little harder as I fought the urge to draw her closer, envelop her entirely. Instead, I laid a palm across her cheek then rose and pulled a bottle of water from my tattered pack. I offered her a hand, which she accepted with a blatant scowl that sunk my heart further. I sipped from the bottle to mask my hurt, savored the lukewarm liquid before swallowing, and passed the water to her.

“Welcome back.”

She accepted the bottle, shrugged, and as she sipped she flickered like some grainy art-house film. The bottle fell through her hand and landed on a bed of decaying white oak leaves, water spilling like blood. She solidified, whimpered, then retrieved the bottle before it could bleed out.

I could relate to her spells of delirium, having floundered through withdrawal myself, but this flickering of hers, the slipping out of reality like some half-forgotten dream, unnerved me almost as much as the devil in the woods.

She handed the bottle back, nearly empty. “This the last one?”

I nodded, rubbed her shoulder, reassuring her of our safety, reassuring myself of her existence.

“We’ll find more soon. I can smell the saltwater on the air. We’ll head north when we hit the ocean, and we should come across a town before long. Felt like we passed through one every ten minutes driving to my grandmother’s cabin as a kid.”

I told a half-truth, unsure if I smelled the ocean, but Cassiopeia looked comforted. We walked in silence until our bodies could take no more, hours it seemed, and while the smell of the Atlantic was stronger with each step, we did not reach it.

Even if she didn’t talk to me, I was thankful Cassiopeia stayed with me. Though her episodes were more frequent, she appeared more sentient than she had in days. Maybe her system was finally expelling the last remnant of her backslide from before.

We stopped at a small pond to bathe and, once clean, we settled down to sleep, each of us bone-weary and spent. We curled up between two worn comforters stolen from a child’s abandoned bedroom in Skowhegan, back-to-back. I listened to the slow, steady rhythm of her light snoring, wishing for more intimacy, knowing she would never feel the same, hanging on each beat of her breath like a totem of sanity.

It took more than an hour for sleep to find me.

Next week, David X. Wiggin joins Girl Meets Monster. Do you have a piece of fiction hidden under your mattress that might benefit from a second look? Send it my way at chellane@gmail.com.

Fiction Fragments: Kenya Wright

Last week, Girl Meets Monster had a visitor from across the pond, Frazer Lee. This week, Kenya Wright stopped by to talk about whether or not women of color have a responsibility to include deeper messages about racism, sexism and other social justice issues in their fiction even when they are writing romances about vampires with double penises. That’s right, I said vampires with double penises.

author picKenya Wright wrote her first novel during her third year at UM Law school. She dropped out a month after the release and never looked back.

Words are power, and Kenya wants to be the greatest wizard that ever lived.

It’s an audacity to inspire and teach the healing of love through arousal.

It’s this crazy idea that love can not only help a reader escape, but the story can also teach the person about being human, while making them laugh, cry, and hot for more sex.

Three Questions

GMM: The opening of your story feels like a thriller with a promise of some horrific scenes, but is this story a romance? Is it part of a series? Without giving too much away, which characters form the main love interest? Is there a triangle, or does it get more complicated like one of Laurell K. Hamilton’s novels with too many lovers to keep track off throughout the series?

KW: This is a second chance romance, but on a softer note than what I usually write. A large focus is the mystery. However, there’s tons of steamy sex sprinkled in. There’s several twists, but i would say Shadow and Lyric have a strong possibility of a fun romance.

There is a love triangle forming. I’m writing the second book in the series. For the Masque of Red Death, I’m doing revisions. So, I do see a love triangle happening, although I do try to avoid those. I can never figure out who the heroine should be with in the end.

I love LKH, but there is a harem quality to her story, and I’m not really into harem romances. I should check a few out though. I wouldn’t mind an actual harem in real life.

GMM: As a woman of color writing erotica and speculative fiction with steamy romance, do you feel obligated to have a deeper message in your stories? You mention that race and police brutality are elements of this story, but do you ever simply write a romance or speculative fiction story that examines the relationships between people without a broader message? Can writers of color write books without broader messages about race and class and racism? Is it possible to divorce yourself from that ongoing narrative within our culture when you set out to write a story?

I’m hoping to change someone, when they read my stories. I’m trying to get a person to think of something differently as they’re aroused and scared at the same time.

 

KW: I definitely feel obligated to have a deeper message in my stories, but then that’s how I am in life. So, even when I’m trying to write a straight romance, somehow themes of gentrification, colorism, and rape culture seep into the story. I also think my readers expect stronger messages from me with each novel as well as show of growth. I make it a point to learn something new with each story–whether a new mechanism with storytelling or different pov.

I honestly can’t think of an erotica or romance of mine where I didn’t share some message. Even my first erotica trilogy of vampire romances explored the idea of slavery and dictatorship. Being that there were a whole lot of vampire kings in the story with double penises, no one seemed to mind the speculation on enslavement.

Basically, I always like a story with a deep exploration of humanity, sprinkled in between some hot orgasms and colorful dark characters. I think with broken heroes and mind-battered heroines, it’s hard to not dissect what is wrong with that character as I’m writing the story. It’s hard to not further wonder. . .how society might have been the cause for this character’s background. And then this message begins to spill onto the pages.

Writers of colors can totally create stories without broader messages of race and class. I think every creator has a special reason for why they are on this planet. Even if this particular black guy likes to write books on hats–just hats and nothing more. Who knows what that can spark in the person’s mind that reads it?

Books are awesome because they can inspire. They have this ability to ripple. Poe is a great example of this.

I can divorce myself from certain narratives, but it’s pretty difficult. I prefer to be an artist that has something to say, whether anybody wants to hear it or not. I think that the most important thing in this world is how the internet creates a marketplace for ideas. If you can shift one’s thoughts, you could change their life. I’m hoping to change someone, when they read my stories. I’m trying to get a person to think of something differently as they’re aroused and scared at the same time.

GMM: In some of our conversations, we discussed my love of monsters and touched on the idea of the eroticism of evil. What, in your opinion, makes monsters sexy? Why write about them in the romance/erotica genres? Are any of your romantic leads monsters? Why did you choose them?

KW: A monster is an element of horror. And, horror is very therapeutic. When a person reads a story about a woman getting tortured and killed, they finish the story with a new sense of relief that they’re not that woman. They have a brighter pep in their step. They look at the world a little bit better. But then there is some fear that comes to them too. And fear is good too. It protects. It teaches. It makes you choose your behavior differently, so that you don’t become that poor woman that was tortured in the book.

So, here we have monsters. And they’re these dangerous promises of death. And we’re so scared by them, but then. . .if it’s my story. . .we’re also aroused by them. Because even though that monster is killing everyone else in the book, for some reason the monster loves this heroine. And the reader is the heroine. So she or he is loved by a monster. And for some sick ass reason, that shit feels great! It’s a high. Addicting. Like a flame to a crack pipe. You want more monsters to love you! You want more to kill and protect for you.

So, the majority of my heroes are contemporary monsters in many ways. I love Quentin Tarantino and Guy Ritchie films. Most of my heroes are on the bad side of the law. The majority of my heroines have been broken in some way, but are strong survivors. I’ve found that this combination of man and woman is addictive for me to write. Thank God, people like to buy these books too, because I don’t believe I could stop writing dark horror romance.

The Masque of Red Death, by Kenya Wright is a second chance romance that unites the exploration of race and police brutality from THE HATE U GIVE with the twisted Poe-inspired serial killer plot line of THE FOLLOWING.

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Chapter 1: Lyric

5:00 p.m.

I sat on the ledge of Eureka’s justice building and watched the city burn below my feet.

That Saturday evening, the riots had continued. The sun was setting, yet everyone on the street was just beginning their day.

When will it stop?

Black smoke rose in the air. Even high up, it was hard to breathe. Glass shattered. Tires screeched. Mothers cried. The police stormed the streets, threatening to tear gas citizens, but their words drowned in the screams and the drops of blood being splattered on concrete.

Tears streamed down my face.

I almost didn’t notice Shadow’s signature scent as it filled the air.

“How can you sit up here and watch all the rioting?” Shadow asked.

“How can you not? This is your city as much as it’s mine.” Wiping away my tears, I looked at him. Designer from head to toe, he wore a purple blazer over a white buttoned shirt and charcoal gray slacks. Not many could pull the look off, but he did.

I glanced over my shoulder and past him. Four of his goons stood by the roof’s entrance. Shadow liked them colorfully uniformed as if he was a character out of a comic book—black suits, white hats, and red ties. He thought he was a hero.

He’s the villain in the story. Never forget that.

Shadow stepped closer to the ledge. “I need your help, Lyric.”

“You always do, but I’m done helping heartless people.”

“I’m many things, Lyric, but I do have a heart.”

“Shadows don’t have hearts. They’re just cold, shapeless, dark things that black out all the light.”

People called him Shadow because he moved like one—sneaking around unnoticed and blending in and out of the darkness. They should’ve called him killer or thief, but his money and looks kept him out of trouble. He towered over most, wielded power like the devil, and held the city in his hands.

The real danger lay in his words. They flowed smooth like a saxophone, trapping the average soul and squeezing until the essence bled out. He had a knack for getting people to do fucked up things, especially me.

With no sign of fear, Shadow stepped closer to the ledge. “Someone sent me a box. Two things were inside. A mask made out of human skin and a letter written in blood. ”

“Sounds like Wednesday.” I closed my eyes and returned to humming, but I could no longer catch the melody. Shadow had seeped into my pores and disturbed my peace.

He continued, “The person signed the message with three big bloody letters. He called himself Poe.”

“Interesting.”

“This isn’t a joke. I need your help.”

“I don’t care.”

“I’m not playing about the box. It was all black with a red velvet bow and a tiny clock dangling from the center. Whoever sent it is a sick motherfucker.” Shadow frowned. “The letter talked about a game that I had to play or more people would die. And the whole thing was written in blood. This person is threatening to kill me.”

Next week, David Day stops by to talk about writing short horror fiction and to share a fragment. Do you have a fragment collecting dust that needs to see the light of day? Send it my way to chellane@gmail.com.

Fiction Fragments: Frazer Lee

Last week, Atlanta lawyer and speculative fiction writer, Alicia Wright, joined us and talked about why she loves writing science fiction and fantasy for a YA audience. This week, creative writing professor, novelist and horror filmmaker, Frazer Lee, was kind enough to share a fragment and talk to Girl Meets Monster about what really scares him.

Frazer-Lee-stokerawdsFrazer Lee’s first novel, The Lamplighters, was a Bram Stoker Award® Finalist for “superior achievement in a first novel”.

One of Frazer’s early short stories received a Geoffrey Ashe Prize from the Library of Avalon, Glastonbury. His short fiction has since appeared in numerous anthologies including the acclaimed Read By Dawn series.

Also a screenwriter and filmmaker, Frazer’s movie credits include the award-winning short horror films On Edge, Red Lines, Simone, The Stay, and the critically acclaimed horror/thriller feature (and movie novelization) Panic Button.

Frazer is Head of Creative Writing at Brunel University London and resides with his family in leafy Buckinghamshire, England, just across the cemetery from the real-life Hammer House of Horror.

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Three Questions

GMM: At first glance, Emily Vane seems like a typical rich girl with behavioral problems until we reach the last line of your fragment and we realize there is definitely something odd about Emily. What inspired this fragment? Is this a horror story? What do Emily’s pills do?

FL: Emily popped into my head one day and quickly became the lead character in a horror story about a mysterious institution for wayward girls. I hate this first draft opening because it’s so expository and clunky. It zooms in and out too much, one sentence we’re learning about how bored her parents are, and a few sentences later we’re inside her veins. Your question identifies the main problem here, I think: The question of what her pills do is the most interesting aspect at play. It took me a couple of years to answer that question fully, and by the time I did, this story had become what it really wanted to be all along—a horror screenplay. I had to get to the heart of the character and what her deal was, before I could allow the story to flow from her. Now I think it does, and I hope to see that movie someday. If it goes into production, I’ll also finish writing the book for sure!

GMM: What initially drew you to horror? Who did you read or watch that made you decide to become a horror writer and filmmaker?

FL: Late nights alone at my father’s place on weekends left me unattended with a TV set. Very dangerous. I quickly gravitated towards horror because that was all that was on offer. Lucky me! I devoured every Hammer Horror and Universal Monsters double bill going, and actors like Christopher Lee, Peter Cushing, Boris Karloff, Hazel Court, Ingrid Pitt, Vincent Price… they became like surrogate family to me. Playmates I loved staying up with. Even though horror movies sometimes frightened me, they were also like a cosy blanket to curl up with on Friday and Saturday nights. From there, I found writers like Dennis Wheatley, EA Poe, HP Lovecraft, Nigel Kneale, and a bit later on they in turn led me to Angela Carter, Anne Rice, Clive Barker and Poppy Z. Brite. Mary Wollstonecraft Shelley, the Queen of them all. Directors like Carpenter and Cronenberg were huge influences, as were Bava and Argento. I just had to try and express myself in this genre, there was no point fighting it—nor did I ever want to.

GMM: What scares you? Do you suffer from any phobias?

FL: People scare me. Take for example the man who says he’s not going to cut the trees down, then chops them down when you’re not looking. Him. That one. They are bloody everywhere, men like him. My stories often develop from a phobia of people. But I love people too, so sometimes there’s a happy ending.

Fiction Fragment, by Frazer Lee

Emily Vane sat on the back seat listening to the juggernaut rhythm of her favourite machine-like music. It pumped through her ear buds at a volume that would give her parents cause to worry about her hearing. Not that her parents were in the car, of course – they had seen fit to have her ditched at the latest in a long line of correctional institutions by Bob, their driver.

Bob wasn’t a bad sort; he didn’t look at her in the same lecherous way that his predecessor had, for one thing. Add to that his frivolous nature with cigarettes and Emily had him pinned as an ally. She had badgered him to let her smoke in the car for almost the entire first leg of their long drive from the ornate gates of her parental home but, fearing that her parents would smell the smoke in the car, Bob had pulled over and allowed her to take a smoke break at the service station. She had been tempted to cut and run while Bob took a piss break, but had given up on the idea. Partly out of duty to her driver, who would lose his job if his quarry upped and disappeared, and partly because she had lost count the number of times she’d ran now – it was, in short, beginning to bore her as much as it bored her dear old Mother and Father. So, she sat in the back of the car, ear-shredding music pounding out a tattoo as she watched the countryside pass by in a blur of greens and browns. She felt herself drifting into the whirl of colours, the music pumping in time with the surge of blood through her veins – tributaries that kept her tethered to her body. She felt her veins go numb and she slipped free of them, drifting out of her body and away, over the fields and hills. The sensation trod the fine line between pleasure trip and abject nausea. Emily snapped back into her body and reached into her backpack for her pills.

I don’t know if you noticed, but I like a little romance with my horror. So, next week, romance writer Kenya Wright joins Girl Meets Monster and things will get steamy around here. Stay tuned, and send me your fragments at chellane@gmail.com.