Fuckable Fictional Characters: Mr. Darcy

Yesterday a friend read my post about The Goblin King and accused me of choosing that character because even if there were no Goblin King, I’d still be hot for David Bowie. True, but he also argued that since the Goblin King never appeared anywhere else before the film was made, that he didn’t really count as a fictional character. He said I just wanted to fuck “David Bowie with Tina Turner hair.” While David Bowie does in fact have Tina Turner hair in Labyrinth and I still think he’s totally fucakble in that role, Jareth the Goblin King is a fictional character. A character with David Bowie’s face, voice, moves, crotch and charisma, but last I checked, David Bowie was never reported to steal babies and turn them into goblins, nor was he a wizard, nor did he own a labyrinth. I can’t speak to his desires to hang out with Muppets or date teen-aged girls, but Labyrinth has a screenplay and Jareth is fictional.

But, this questioning of where Jareth begins and David Bowie ends sparked an interesting discussion. It has occurred to me several times while choosing fictional characters for these posts that the reason I love a particular character so much is because of the actor who is portraying him or her. In many cases, the characters we’ve grown to love in fiction, either from books, comic books, cartoons, etc., become almost impossible to separate from the actors who have brought those characters to life on screen. For many die-hard fiction readers it is often disappointing when the wrong actor is cast in the role of one of our favorite characters. The first two who spring to my mind are Tom Cruise and Brad Pitt as Lestat and Louis in Interview with the Vampire. I love Anne Rice, but I’ll never forgive her for allowing that to happen. Stuart Townsend was a better choice in Queen of the Damned, but still not right. In fact most of the casting choices for both of those films left me confused and irate.

So today I thought I’d tackle a character created by Jane Austen and published in her novel, Pride and Prejudice, in 1813. This particular character has become an archetype for romantic heroes, especially those who are either difficult to attain, or at first glance appear to be complete pricks, and he is widely accepted as a literary hottie. I’m choosing him not only because he first appeared in print, but because he is studied in classrooms, appears in many film and television adaptations of Austen’s novel, and most importantly, he has been portrayed by several different actors. Each actor lends an aspect of his own personality to the character. Unlike David Bowie as Jareth, we can think of him as completely fictional without attaching him to one particular actor.

February 19: Mr. Darcy

Fitzwilliam Darcy (there’s an old joke somewhere in that name) is most often referred to in the novel and elsewhere as Mr. Darcy, or Darcy. He is the primary love interest of the main character, Elizabeth Bennet. However, when they first encounter each other at a ball he is incredibly rude and refuses to dance with her. Elizabeth overhears him telling his friend, Mr. Bingley, “She is tolerable, but not handsome enough to tempt me.” For most readers and viewers the automatic reaction to his behavior is to think “what a prick.” And, depending on which actor is portraying him, you might be inclined to think “what a handsome prick he is.”

For the purposes of this post I have chosen three of the hottest Darcy’s to date: Colin Firth, Matthew Macfadyen, and Sam Riley. All three are completely fuckable versions of Mr. Darcy, and each for their own separate reasons. Colin Firth is an interesting Mr. Darcy, because not only did he portray Jane Austen’s character for the BBC in 1995, but also his portrayal inspired Helen Fielding to write Bridget Jones’s Diary and Bridget Jones: The Edge of Reason. Colin Firth was cast as Mark Darcy in both films. So, apparently to some viewers, he’s the Über Darcy. If you want to see Colin Firth at his sexiest (in my opinion), watch Kingsman: The Secret Service. He gives James Bond a run for his money.

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Colin Firth: Über Darcy

Colin Firth is a very sexy man, but he isn’t my favorite Darcy. Until last weekend, my favorite Darcy was Matthew Macfayden. The first time I encountered him was in the BBC television show Spooks, in which he played MI5 Intelligence Officer Tom Quinn. When I found out he’d be playing Darcy I nearly had a heart attack. And now, I love him as Detective Inspector Edmund Reid on Ripper Street. He’s so effing dreamy, and he has a knack for eliciting not only an emotional response from me, but his on-screen kisses are to die for. But, this past weekend, I encountered the Darcy of my darkest dreams.

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Matthew Macfayden: Dreamy Darcy

Sam Riley is by far the hottest Darcy I’ve ever seen. Young, fit, handsome, and don’t get me started about his voice. But here’s the thing. I think the main reason I love him so much is because of how he had to adapt Darcy to meet the satirical background of Seth Grahame-Smith’s parody novel, Pride and Prejudice and Zombies. Make no mistake, he is a genuine Darcy, but he’s also a kick-ass zombie hunter. In a long, black leather coat. In fact, he is dressed all in black, and I couldn’t help thinking he would make a wonderful vampire some day. Fingers crossed.

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Sam Riley: Darkest Darcy

He takes Darcy’s prickishness to a level I’ve never witnessed and it is glorious. One of the best scenes in the film (and book) is when he first proposes to Elizabeth. She not only turns him down, but they have a knockdown, drag-out martial arts-inspired fight that is one of the sexiest scenes ever. It reminded me of Buffy and Spike kicking each other’s asses right before they started boinking each other. H. O. T.

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Get naked already!

Since the story is primarily told through Elizabeth’s narration, she doesn’t always have all the details she needs (nor do we) to make a fair judgment of Mr. Darcy or the other characters connected to him. Elizabeth and Darcy remain in contact with each other throughout the novel due to circumstances and people who connect them. Elizabeth’s sister Jane has a romantic relationship with Mr. Bingley, but Darcy believes she is only interested in his money, and persuades Bingley not to pursue an engagement. While he unfairly judges Jane, he is looking out for his friend’s best interests, and proves himself to be a loyal friend.

Sam Riley;Douglas Booth

I love period costumes. They give you more time to imagine what’s going on under all that fabric. So many buttons!

Around the same time Elizabeth becomes aware of Mr. Darcy, she becomes acquainted with Mr. Wickham, a man who has known Darcy most of his life. He tells her a story filled with half-truths about how Darcy has mistreated him. Later, we discover that Wickham is a liar and he runs off with one of Elizabeth’s younger sisters, Lydia.

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Lie to me, Wickham!

Through her initial impression, knowledge of his influence in Bingley calling off his engagement to Jane, and the misinformation given by Mr. Wickham, Elizabeth develops a strong dislike of Mr. Darcy. Like us, she thinks he’s a prick.

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What a handsome prick.

To be fair, he does seem to think an awful lot of himself. He is very wealthy, with an income around £10,000 a year, and a large estate in Derbyshire. So, that alone makes him a good catch. But he’s also intelligent, likes to read, and even by Jane Austen’s accounts, he’s easy on the eyes. Aside from his rudeness when he first encounters Elizabeth, he’s actually a gentleman and adheres to the practices of polite society. We already know that he finds friendship important and we learn that he is very protective of his younger sister, Georgiana.

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He really hates sharing his feelings.

Throughout the novel, Darcy has many opportunities to witness Elizabeth’s accomplishments and gets insight into her character. The more he sees, the more he likes, and eventually falls in love with her. He struggles with this fact since he intellectually cannot ignore the difference in their backgrounds. Eventually he declares his love for Elizabeth, but his delivery, combined with Elizabeth’s perception of him doesn’t end well. Like an idiot, while proposing marriage to the woman he loves, he reminds her of the gap in their social status. Basically, he says she’s beneath him. And it comes as no surprise to the reader/viewer that she tells him off and declines his proposal. In fact, this surprises no one but Darcy. He is embarrassed and hurt, and goes away angry.

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You almost feel sorry for this Darcy. And, you desperately want to rip those wet clothes off.

Darcy is angered by Elizabeth’s animated refusal and harsh criticism of his character, but he is also shocked to discover how others perceive him, and he sets out to correct these misconceptions about himself.

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I have a few thoughts on how to make him less uptight.

First he writes a letter to Elizabeth explaining why he interfered with Bingley and Jane’s relationship, and defends his wounded honor, as well as setting her straight about Wickham. We learn that Wickham tried to elope with Darcy’s sister the previous summer, and when Darcy discovers Wickham has run off with Lydia, he insists on their marriage to save the Bennet family any further embarrassment.

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Leather-clad Darcy.

He turns out to be a pretty decent guy once the truth comes out, and he gives his blessing to Bingley to continue his courtship of Jane. When Elizabeth has the whole picture she realizes that she is also in love with Darcy. So, when he returns to Longbourn with Bingley and asks Elizabeth once again to marry him, she finally says yes.

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Marry this guy, already!

So, in general, Austen’s Mr. Darcy is a well-written character that has provided us with more than 200 years of entertainment. And each actor’s portrayal keeps him fresh and alive. I think that would make Jane happy to know that her creation has remained part of the literary and entertainment discussions for this long. I wonder who her favorite Darcy would be. There is some speculation that there was a real person she knew who inspired the character, and literary nerds have been trying to figure out who that person was for years. I don’t really care who inspired the character, but I do appreciate how the character has inspired actors to bring their A-Game to the screen.

Interview: Tim Waggoner, The Way of All Flesh

Tim-WaggonerAccording to Tim Waggoner’s online bio, he “wrote his first story at the age of five, when he created a comic book version of King Kong vs. Godzilla on a stenographer’s pad. It took him a few more years until he began selling professionally, though.”

Tim has published more than thirty novels for adults and young readers, including two tie-in novels with the Supernatural franchise and three short story collections. His articles on writing have appeared in Writer’s Digest and Writers’ Journal, and he teaches creative writing at Sinclair Community College and Seton Hill University’s MFA in Writing Popular Fiction program.

His future plans are to “continue writing and teaching until he keels over dead, after which he wants to be stuffed and mounted, and then placed in front of his computer terminal.”

Last week I reviewed Tim’s 2014 surreal existential horror novel, THE WAY OF ALL FLESH, which takes a very philosophical approach to the zombie genre. If you haven’t read it, you should. This week, I talk with him about the book and explore the idea that horror fiction is the fiction of social change.

ML: I couldn’t help noticing while I read the novel that there were lots of references to Jesus’s experiences before and after resurrection. Was I imagining that, or was that intentional? If it was intentional, why a zombie messiah?

TW: I honestly don’t remember putting in specific references to Jesus, but that doesn’t mean I didn’t. The idea of a zombie messiah was definitely a conscious one on my part, so perhaps allusions to Jesus crept in as I was writing, whether I was aware of them or not. (I should say that OF COURSE the Jesus stuff was deliberate; that way I’d sound smarter!) The zombie messiah seemed like such a natural idea to me, and it was out there in popular culture before I wrote my novel. I remember watching a bit from the comedian Sam Kinison on TV years ago. Kinison was talking about how normal people would view Christ’s resurrection, and he acted out a witness’ screaming reaction to seeing Christ leaving his tomb: “The dead walk! The dead walk!” And one of the characters on Futurama, Professor Farnsworth, once exclaimed “Sweet Zombie Jesus!” The idea of transcending death is of course appealing to mortal beings such as ourselves, but it’s also a terrifying notion, a deeply profound violation of the natural order.

ML: The book deals with a lot of uncomfortable social issues that most people don’t want to talk about. You address racism, sexism, homophobia, and gun control with an ease that makes me wonder if horror fiction might be a good vehicle for opening up discussion about these topics. Have you found this to be the case in other horror novels? Is horror fiction the fiction of social change?

TW: I think it can be. Horror fiction allows us to look at some of the darkest elements of life safely, the same way we look at an eclipse indirectly in order to view it without damaging our eyes. The nightmarish distortion of horror creates a buffer that allows readers to comfortably confront all sorts of unpleasant and even repellent ideas. This includes the darker aspects of human nature and society. And since horror fiction is also entertaining, people don’t feel like they’re being lectured at when social issues are part of the story. “The Night They Missed the Horror Show” by Joe Lansdale is a prime example of how effectively horror can deal with social issues.

ML: I loved the relationship that develops between Kate and Marie. Why did you choose to include a same-sex relationship in the novel? An interracial one at that. Were you hoping to appeal to a wider audience, or simply include characters that typically don’t appear in popular fiction?

TW: I don’t worry about appealing to a wider audience. If I did, I’d write something other than surreal existential horror! When I write, I try to reflect the world I live in. Women make up slightly over half the human race, so I tend to alternate the gender of my main characters from one project to the next. I’m 51, and I’ve witnessed decades of increasing diversity in America, and I want to reflect that richness as well.

ML: Horror fiction has a long history of being most closely related to literary fiction among all the genres, and seems to be going through a phase in which more thought-provoking works of fiction are being written by horror writers. When you sat down to write THE WAY OF ALL FLESH, what message did you have in mind?

TW: My first goal was simply to have fun riffing on the zombie apocalypse trope. I usually don’t have a message or theme in mind when I start writing, although eventually themes do start to emerge. I often write about duality, and zombies lend themselves to that nicely. The Dead vs. the Living, the world before and after the apocalypse, etc. I decided the defining characteristic of the modern-day zombie isn’t the fact that it’s dead. The “zombies” in 28 Days Later and its sequel aren’t dead; they’re living humans infected by an artificial virus that turns them into homicidal maniacs. The defining characteristic of zombies and zombie-like beings is hunger for human flesh, so I decided to use hunger – and desire – as a central metaphor for the story. In Buddhism, desire is the root of all evil, right? As for a specific message, I’d rather leave that for readers to find on their own. Explaining art is like explaining a joke. If you have to explain it, it didn’t work.

ML: I don’t want to give the ending away, because I’d really like for people to pick up a copy of the novel and read it. So, no spoilers, but I was pleasantly reminded of Gary Braunbeck’s short story, WE NOW PAUSE FOR STATION IDENTIFICATION. Has Braunbeck’s work influenced you? Which authors have inspired your fiction the most? Where else do you draw inspiration for your stories?

TW: Gary’s been a good friend of mine for years, and as much as his fiction has influenced me, he’s influenced me so much more as a human being. There are so many writers who’ve influenced my work: Shirley Jackson, Dennis Etchison, Ramsey Campbell, Charles L. Grant, Caitlyn R. Kiernan, Lawrence Block, Stephen King, Piers Anthony, Steve Gerber, Marv Wolfman, Chris Claremont, Kafka, Poe, Lovecraft . . . I could go on and on. I draw inspiration from being an imaginative person living in the real world. Anything I see, hear, or read can spark an idea in me that could become a story or novel. For example, a while ago I saw – within the space of several days – two different men walking backwards. One was walking backwards up a hill, and the other was walking backwards around a parking lot. I have no idea what these men were doing. Maybe it was some kind of exercise I’m not aware of. But those two backward-walking men struck me as so strange that I quickly jotted down the experience, and I’ll probably use it in my fiction someday. Writers – especially horror writers – need to develop their own special “weirdness filter” and view the world through it. That way, they’ll write the stories that only they can tell.

Book Review: The Way of All Flesh, by Tim Waggoner

WAY-OF-FLESH“Dear Christ, was the thought of eating children actually making him hungry, too? What kind of monster had he become?” (Waggoner 129)

What kind of monster indeed. Tim Waggoner’s apocalyptic horror novel, THE WAY OF ALL FLESH (2014), is a multiple POV tale that puts the reader inside the minds of some very disturbed and disturbing characters. One of which is a zombie. This is not the first novel featuring a zombie protagonist, but these stories are still few and far between, especially when you’re talking about a zombie in the midst of an existential crisis who may or may not be mankind’s next messiah.

Calling David Croft a zombie is a bit too simplistic. This complex monster has a lot more on his mind than consuming human flesh. He hungers for answers to what went wrong in his world to transform the familiar comforts of modern urban life into an unrecognizable dystopian nightmare. Demons hunt him, buildings are in ruin and have taken on the unmistakable appearance of human innards, and his fellow humans have developed a taste for flesh that rivals Hannibal Lecter’s.

David is on a quest to find his family and reestablish some normalcy in his world. Wait, isn’t that what zombie apocalypse survivors usually do? Waggoner subverts the genre and asks us to put ourselves in the place of the zombies. Technically, aren’t they survivors too? An altered humanity that had no say in what happened to them after being infected by Blacktide.

The novel opens with David waking up, or regaining consciousness without any solid memory of how he got there. He finds himself in a reality so distorted and terrifying that you might initially think he’s landed in an alien landscape far from Earth. Time, space, and perception are at odds with his fleeting memories of the recent past. We gain a keen sense of David’s confusion and repulsion as he sleepwalks through an Ohio city in the grips of urban decay synonymous with Hieronymus Bosch’s paintings of Hell. Waggoner’s full-sensory descriptions of life after near-human extinction inspire much facial cringing and utterances of “eww.”

Here’s a small taste of the horror buffet Waggoner paints with words:

Black liquid coated large chunks of something that David couldn’t identify. At first he thought they might be pieces of his body, that he had literally puked his guts out. And that black shit! What the hell was that? Some kind of poison? Maybe cancer? Is that what he’d done, thrown up a bunch of tumors? Was something like that even possible? (72)

David’s brain isn’t functioning properly. It could be a side effect of the disease that has made him undead, but we don’t really know. The brain does deteriorate as we approach death, with areas slowly shutting down and sometimes causing hallucinations. How would zombies see the world?

We don’t realize how badly David’s perception is altered until we meet some of the other characters in the novel. Kate, Nicolas, Marie and their fellow human survivors seem to have a better grasp of reality and provide at least a temporary sense of grounding for the reader since we can more easily identify with humans trying to survive a zombie apocalypse than we can with the undead. Right? If you survived a world-altering event that meant mass extinction for the human race, you’d probably be hell-bent on surviving by any means necessary. Killing zombies would be your raison d’etre if you managed to avoid being claimed by Blacktide. Isn’t that what we’ve come to expect from most zombie fiction? Humans vs. zombies.

But what if Blacktide doesn’t equal extinction for humans? What if it is transformation? Evolution? What if becoming a zombie is just the next logical phase for humans? An evolutionary inevitability.

Waggoner’s zombie tale calls into question our understanding of consciousness, perception, and reality in terms of who really survives or has the right to survival after the apocalypse. Should humanity take a backseat and allow the monsters to flourish and rule the world? Is there a way for zombies and humans to live harmoniously without the need for violence?

This novel doesn’t skimp on violence. There’s plenty of gun-toting, head-bashing, and vagina-munching good times. Gore, ichor, and a whole lot more. Make no mistake, THE WAY OF ALL FLESH is a horror novel. But it’s a horror novel that asks the reader to think a little deeper about the concepts that define humanity and life itself. Waggoner’s novel packs a philosophical punch and provides a read you can really sink your teeth into.

Interview: Craig DiLouie, Suffer the Children

Craig-DiLouieSome critics of horror fiction have speculated that the zombie sub-genre has reached its saturation point with an almost infestation-like abundance of zombie novels, movies, and TV shows paying homage to the flesh-eating undead. But, in a recent interview with George Romero for Quora.com, Bradley Voytek, Zombie neuroscience expert (it’s totally a thing) and Zombie Research Society advisor, examines data that suggests that the popularity of zombie fiction is actually on the rise. He attributes some of its success to the fact that the genre is “more or less a blank slate upon which a writer can cast any number of big, unfathomable societal and psychological fears or concerns.” This week I talk to apocalyptic horror writer Craig DiLouie about his 2014 Stoker-nominated novel SUFFER THE CHILDREN to find out why writing about zombies really matters.

ML: Many people consider Horror the redheaded stepchild of speculative fiction. Why do you write Horror fiction? Why not another genre?

CD: I came to horror through an interest in apocalyptic fiction. The end of the world has fascinated humanity throughout recorded history; in fact, some of the world’s oldest literature, from the tale of Gilgamesh to Genesis, contains apocalyptic elements.

As a young man, I found wish fulfillment in these stories. As an older man with a family, I face my worst fears and survive them.

There are so many storytelling possibilities with such scenarios, all involving ordinary people dealing with crisis. Some rise to the occasion, some fail, the ethical choices are often horrible, but the struggle to survive is heroic, particularly when people fight not only to live but to preserve what makes them human.

Several of my books deal with a zombie apocalypse and allowed me to explore these themes and more wrapped in an action-packed thriller. My first major foray into real horror was SUFFER THE CHILDREN, a story in which the world’s children become vampires who need blood to survive, the parents are compelled to feed them out of love, and once the blood supply starts to run out, the parents begin to prey on each other. Many parents will admit they’d put their arm in a shredder for their kids, but would they put somebody else’s arm in a shredder? Two people’s arms? Five? Would they kill an innocent person? Good horror holds up a fractured mirror to that which is dark in us, and it makes us uncomfortable. The question in SUFFER THE CHILDREN is, how far would you go?

ML: Why zombies? Why not other monsters? What broader meaning do they have for you as part of your creative process?

CD: I like zombies because they’re us, which multiplies the sense of tragedy. I’m not the kind of zombie author who says, These people are zombies, shoot them without conscience. The zombies may be monsters, but they wear the faces of people we love. I also like apocalyptic stories where the protagonists must work together against a common monster enemy. I think that makes the story more unpredictable, the struggle to survive more heroic, the stakes more dire. The trick is to make the reader believe that these monsters are real.

For me as an author, anyway. Zombie novels may be considered either akin to AMC’s THE WALKING DEAD or Syfy’s Z NATION. THE WALKING DEAD takes its subject matter seriously. Everything is fairly realistic and has consequences. The people suffer. The stakes are higher. This is really happening. It’s a visceral experience for the reader. Z NATION is more like a comic book. The characters are likeable people fighting their way through difficult situations involving zombies, there are no mind-bending ethics or people dying or wondering what they’re surviving for. It’s just plain fun, and it doesn’t pretend to strive for pathos.

My favorite zombie novels, and the ones I like to write, are of THE WALKING DEAD flavor, but they’re harder to pull off. They tend to be loved, but frankly, I think the Z NATION-type books have broader appeal.

ML: While I was reading SUFFER THE CHILDREN, I couldn’t help making parallels between your book and Richard Matheson’s I AM LEGEND. Like Matheson’s monsters, your undead aren’t clearly defined as being zombies or vampires. They’re somewhere in between. Did Matheson’s work inspire you? Who are your Horror heroes?

CD: I love I AM LEGEND. It’s one of my favorite apocalyptic stories. It didn’t directly inspire SUFFER THE CHILDREN, however. The story came from my worst fear, which is if something bad happened to my children. The question of how far a parent would go to protect his or her child. In that, I guess influences might include “The Monkey’s Paw” and PET SEMATARY. Whether doing the right thing based on the purest love in the world could end up being an instrument of evil.

The result is a different kind of vampire story, though the children are hardly vampires in the traditional sense. The children aren’t monsters. The real monsters in the book are the parents. They become monsters one little decision at a time, and they do it out of love. It’s a dark, horrible book—the most authentic and disturbing thing I’ve ever written.

Otherwise, I admire different horror authors for different things. Jeff Long for his imagination and original ideas. Stephen King for his empathy with ordinary people and slow builds. John Skipp for channeling the inner hilarity that is part of horror. Jack Ketchum for his lack of inhibition. Peter Clines for his easy voice. Joe McKinney and Jonathan Maberry for their productivity, with each book better than the last they wrote. David Moody for the realism he builds into characters in crisis. Stephanie Wytovich for being able to boil fear and loathing into a simple poem. The list goes on.

ML: H. P. Lovecraft has been quoted as saying, “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” By the end of your novel, we still don’t really know what caused the epidemic. You play on multiple fears for your readers. Which of your own fears did you delve into to create this sense of dread?

CD: I went through an emotional journey with each of the characters as they each dealt with the unending crisis differently. Nobody becomes a monster as a sudden thing. It happens as a matter of one little decision leading to the next. Some of the characters try to resist the madness, others are swept along, others embrace it and go all the way. I really came to love the characters over the course of the book, making the writing a harrowing experience. It was painful to watch them go through what they did.

ML: Talk a little bit about your writing process. When you sit down to write an apocalypse novel, zombie or otherwise, what inspires you? Where do your ideas come from? How do your keep your genre fresh (there’s a zombie joke in there somewhere)?

CD: Writing a novel is like climbing Everest. You look up and you say, No way am I doing that. But then you take a step, and then another, and then another, and you look back and you’re suddenly halfway up. That first step is the hardest. To take that step, you need inspiration. For me, it’s an idea that needs to be written. Something fresh and powerful.

I’m a commercial writer by trade; I write about an industry, and I write as work. A novel is different. If I were a commercial fiction writer, I’d take a familiar idea, add a little twist, and write it in accordance with the bestseller formula to have the broadest appeal to the greatest number of people. But I’m not a commercial fiction writer. I’d never take that first step in the climb because I really wouldn’t care about the idea or the story. So for me, the idea is everything. Something compelling that hasn’t been done before, or a familiar idea that in my view hasn’t been done right. Everything inspires me. I immerse myself in the genre and find tiny bits of inspiration in little things. The little things add up to big ideas.

ML: What advice would you give to new Horror fiction writers? What do you wish you had known as a beginning professional writer?

CD: It’s a great time to be a horror writer. Digital media has democratized publishing and created new paths to publication, each of which has its pros and cons. Whether somebody else publishes you or you publish yourself, be prepared to treat your writing as a business and take an entrepreneurial approach, particularly with marketing your work.

Typing is not writing. There are many approaches to writing a novel, but one I use is to think an idea through for a few months and then start typing after that. Writing isn’t just typing, it’s also thinking, taking notes, planning and researching. If you like this approach, keep a small notebook in your back pocket and a pen in your front pocket at all times. Think about your book in the still moments during the day and write down snatches of character, plot and dialog. When you reach a critical mass, start typing.

One approach is not better than another, though one will be better for you. Some writers like to crank out a horrible rough draft, get notes from beta readers, and then do a polished rewrite. Others like to write a close-to-finished draft from the get-go, editing the whole way. Do what feels good to you, while being open to innovation and new ideas.

It pays to know where you’re going. The idea should start with a killer point A (the hook) and point B (the climax and perhaps a denouement that leaves the reader thinking). After that, do a general outline of the plot so you continually ramp up tension (increasing stakes punctuated by critical change) without long empty stretches where you have no idea how to fill the page. A great book on plot structure is STORY ENGINEERING. I highly recommend it.

You’ve asked a big question where the answer could go on quite a while, so I’ll end it there. For more advice on how to write a horror novel, here are links to a series I wrote about that subject on my blog:

Fright for Your Write, Part 1: Why Do We Read/Write Horror

Fright for Your Write, Part 2: The Horror Element

Fright for Your Write, Part 3: Plot

Fright for Your Write, Part 4: Character

Thanks for inviting me to visit your blog, Michelle! I enjoyed it.