WIHM Interview: Hailey Piper

Hailey Piper
Hailey Piper

As Women in Horror Month enters its final week (sniff), here is the final interview in my WIHM interview series. Today, I’m chatting with author Hailey Piper. Read on to get to know this awesome writer!


Sonora: How long have you been writing?

Hailey: I’ve been writing since I was little, telling stories about werewolf weddings and Bigfoot. I don’t think I could ever get away from it, and I wouldn’t want to.

Sonora: Tell us about your novella, The Possession of Natalie Glasgow. What inspired the story?

Hailey: The setup isn’t all that different from The Exorcist in that we have a single mother whose daughter is acting strangely and the doctors seem useless, so she reaches out for spiritual help. The novella starts at that point, where the narrator swerves from the usual, so as not to retread well-explored territory. I wanted to tell a possession story outside the organized religion worldview, where witchcraft isn’t the devil and the evil lies in human hands.

Sonora: Since its initial release, Natalie Glasgow has had a title change and also became available in paperback. Tell us more about the experience of making these updates after the novella was out. What motivated you to do it? Did you notice positive changes afterward? Is there anything you would do differently?

Hailey: I had never planned it to be more than an ebook, and I hadn’t expected anyone to pay much attention to it. I had considered The Exorcism of Natalie Glasgow; Possession hadn’t occurred to me until Steve Stred suggested the title change. Months later, I decided to just do it, at which point Eddie Generous offered new cover art, and then a few cool people (including you, Sonora!) won me over on creating a paperback. Since then, the novella has seen entirely unexpected success, with an explosion of Goodreads ratings/reviews, a featured group review from the Night Worms bloggers, and people sending friendly messages to say they enjoyed it. I think this proves the value of a strong title and cover art, and while I’m happy with the path Natalie Glasgow has taken, I’d definitely try to come out of the gate stronger if I ever self-publish again.

Sonora: Your latest release, Benny Rose: The Cannibal King, is part of Unnerving’s Rewind or Die series. What was it like writing a novella for such a series? Did the idea come to you when you read the call for submissions, or had Benny Rose already introduced himself to you?

Hailey: Benny Rose as a concept has a complicated history. He was a lot of things for me at different times through 2018 as I tried to make his and Desiree’s story work in notes. I had characters, backstory, but there was something wrong.  When the call went out for Rewind or Die, everything clicked—the 1980s was the perfect time. I had to cut some elements, but that only made the novella stronger. All the stuff I really cared about stayed.

Sonora: Tell us about Benny Rose. How is it like your previous works? How is it different?

Hailey: Blackwood, Vermont is a small town, its only claim to fame being local folklore ghoul Benny Rose, allegedly based on a serial killer active in the 1950s. On Halloween night, Desiree St. Fleur and her friends decide to play a Benny Rose-themed prank on town newcomer Gabrielle Walker, unaware that they’ll stumble upon the truth behind the legend. As Natalie Glasgow twisted possession tropes, Benny Rose is my stab at slasher tropes, but where Natalie Glasgow focused on family and pride, I hope readers find Benny Rose a harrowing gauntlet of friendship, tragedy, and sacrifice.

Sonora: What have been your experiences in horror as a queer author? As a woman author?

Hailey: Rewarding, if daunting. I had stopped writing for the longest time, and when I bounced back into it, I was unapologetic about letting myself out in the open. I wanted to write queer stories. And I definitely wanted to write feminist stories. I drew back a little at first—I don’t think anyone realized Natalie Glasgow’s protagonist Margaret Willow is gay because I cut almost every reference to that—but I’ve come back from that with a vengeance. I’ve been tremendously fortunate to have the support of publishers and readers alike.

Sonora: Horror is often analyzed as inherently queer. Even stories that don’t explicitly have LGBTQIA+ characters are viewed as queer narratives. What are your thoughts on horror as queer?

Hailey: I think horror is the genre most-suited to telling queer narratives, even without queer characters, but that could be my own queer perspective talking. We’re innocently existing and then someone horrible intrudes. Or, the world doesn’t want us, so we’re monsters to be destroyed.

Sonora: Similarly, horror, like other genres, is often seen as a safe way to present queer narratives to mass audiences, since it’s “disguised” under classic genre tropes. Do you agree with this? Do you think this is still the case, or is explicitly queer horror coming more to the forefront than coded horror stories?

Hailey: I think there’s room for both queer-coded themes and narratives in horror and for queer characters at the forefront to co-exist. A winning story in Pseudopod’s 2019 flash fiction contest that will appear in a future episode presented what felt like a transgender narrative through a speculative lens, and it was brilliant. In the same year, Sarah Fannon’s short story “Consumed” told its horror through a gay woman’s point of view as she searched for companionship, and it was also brilliant. I want both kinds, and lots of them.

Hailey: How can the horror genre be better in its treatment of LGBTQIA+ characters and stories? How can the industry be better? 

Hailey: We need more queer creators and decision makers. While there are excellent stories told by allies, there’s only so much that can be understood without firsthand experience. Different perspectives mean different voices which lead to different stories. It’s not enough for allies to tell their stories but with queer characters, wonderful as some of those stories have been. We need to tell them too, share our unique worldview, both lovely and terrifying.

Sonora: Who are some of your favorite authors? What are some of your favorite books?

Hailey: It’s hard to list favorite books when I’m reading so much excellent short fiction that I want to shove in everyone’s faces, but some favorite authors would be Gwendolyn Kiste, Ramsey Campbell, Neil Gaiman, Sara Tantlinger, Caitlin Kiernan, Christa Carmen, and Ray Cluley.

Sonora: What are you working on right now?

Hailey: The dreaded question that outs me as a workaholic! I’m a third into writing a new novella, halfway through a novelette, planning a new novel, revising another, and editing short stories. There’s a lot going on.


 

About Hailey Piper:

Hailey Piper is the author of horror novellas The Possession of Natalie Glasgow and Benny Rose, the Cannibal King, and her debut dark fantasy/epic horror novel, The Verses of Aeg, will be published by Bronzeville Books in Q4 2020. An active member of the HWA, she enjoys consuming horror, writing it, and sometimes haunting her wife through their apartment. Find her on Twitter via @HaileyPiperSays or at her website www.haileypiper.com.


Check out previous WIHM interviews:

 

WIHM Interview: Sara Tantlinger

Sara Tantlinger.
Sara Tantlinger.

My Women in Horror Month interview series continues today with an interview with award-winning author Sara Tantlinger! Read on to learn more about this amazing writer and poet.


Sonora: How long have you been writing poetry? Has your poetry always been infused with horror? When did your verses start to gain a sinister or macabre twist?

Sara: I started writing some very angst-filled poetry back in middle school. It was definitely a way for me to cope with the grief I was feeling at that time to try and deal with the sudden loss of my dad. I am not one to talk about my feelings and inner turmoil a lot, so turning to notebooks and writing became my therapy. I think over the years, poetry has become the most organic way for me to deal with extreme emotions like that. It’s a pure and unfiltered way to write whether the poetry is real or fictional, rage-filled or blooming with love.

Like many others, I started reading Poe in school, which of course inspired me to look more into dark poetry. I began writing horror during college when I was an undergraduate. I took an independent study in horror poetry specifically, and my first few poems were published in my university’s literary magazine. From there, the poems have only grown in their darkness!

The Devil's Dreamland
The Devil’s Dreamland

Sonora: Tell us about your Stoker-award winning collection, The Devil’s Dreamland. What inspired you to write H.H. Holmes’ story as a series of poems?

Sara: Happily! If anyone reading is not familiar, The Devil’s Dreamland is a collection of poetry that uses a narrative arc format to tell the story of serial killer H.H. Holmes. The poems are often from his point of view but are also told through the viewpoints of his wives, his victims, the city of Chicago, the 1893 World’s Fair, and more. While the book is heavily based off the research I did, it is of course embedded with my fictionalized version of how I imagined things to transpire.

I never imagined that collection would go on to do everything it has, so I am completely honored and thankful to every single person who has read and supported the book. It continues to mean the world. When I started researching Holmes, I came across a lot of books (historical and fictional) about Holmes or inspired by him, and I knew I wanted to try and do something different. I did not find any poetry about him except an odd one here or there, and I also did not see many women writing about him, so it seemed like a great chance to craft a story in the form of poetry. My hope was that it would attract people who normally do not read a ton of poetry, and from the feedback I have received, that seems to have worked for a few folks! Being able to slightly open the gateway to show others how amazing horror poetry can be has honestly been the greatest reward of writing The Devil’s Dreamland.

Sonora: Do you have a favorite poem in The Devil’s Dreamland? I know it’s like asking to pick your favorite child, but if you had to choose …

Sara: Ha! Oh wow, that is tough. Okay, if I had to choose…there is one toward the end titled “Three Wives Dressed in Black.” The reason it stands out to me is because while I was researching and writing this collection, I tried to remain very cognizant of the fact that real humans suffered at the hands of this man. Women lost their lives. While Holmes did not, however, kill any of his three “wives” (quotations because he was only legally married to one of the women) — this poem was a small chance to kind of give the women a strong voice toward the end of the book. There are other pieces where I wrote from the women’s viewpoints because I wanted them to feel tangible to readers, and “Three Wives Dressed in Black” shows the women uniting to curse Holmes and all he has done. Here’s an excerpt from the poem:

“how he tried to keep wives
hidden from one another
like butterflies inside of jars,
but they’ve broken out
shattered the glass
painted themselves in death’s
blood, black veils across
each face, praying
for the mistresses and others
massacred by this madman.

Mourn not for us,
they whisper again
casting the face of each victim
deeper into his mind as the worms
roll loose, melding with his brain
matter, eating through clusters
of nerves, extracting the closest,
botched thing to guilt
they can find”

Sonora: You also write prose fiction. Do you prefer one or the other between poetry and prose? What inspires you to turn an idea into one or the other?

Sara: I really love both, but it takes me a lot longer to plan, draft, organize, and revise a prose project than it does with poetry, but I am aiming to get better at that! Sometimes a poem will inspire a short story, or when I need help getting deeper into a character’s head, I’ll write poetry through their point of view.

To Be Devoured.
To Be Devoured.

Sonora: Your novella, To Be Devoured, follows a woman whose disgusting obsession comes out of her in a multitude of shocking ways. It’s written from her perspective. What was it like putting yourself into such a mindset for the duration of writing it?

Sara: To Be Devoured was my main project that followed The Devil’s Dreamland, so maybe that mindset transpired between projects. By “mindset” I mean locking myself down into a psychopath’s possible thoughts, goals, and desires as closely as I could. For To Be Devoured, specifically, it was one of those glorious moments where a story and a character completely invade your waking hours and demand to be written.

It was certainly interesting to ask myself what Andi, the protagonist, would do in the situations she is in … I really tried to brainstorm what would be logical for someone thinking like she did (obsessed with carrion and understanding the secrets the vultures must be hiding), and while some scenes may have seemed extreme to readers, it was what made sense for Andi’s character and I didn’t want to censor any of that back, no matter how horrifying it was to write.

Sonora: Poetry can sometimes be daunting to people who otherwise love to read. What would you say to someone who wants to read and appreciate more poetry, but isn’t sure where to start? What would you say to that same person if they wanted to write more poetry?

Sara: I believe there is poetry out there for everyone, even the skeptics. Poetry is amazing because you can find poems on almost any topic. For anyone who struggles reading poetry, I might advise to start with some spoken word poetry or watch slam poetry readings — this is a great way to find new voices in poetry, and if you like listening to these types of readings, then you might enjoy reading more from those writers.

For anyone who wants to write poetry but is not sure where to start, I think my advice would be the same to any new writer out there: read. Read as much as you can. Read the classics and read contemporary. Read the poems aloud to yourself and get to know how your words interact on the page. You do not have to study formal poetry to be a strong poet, but I do think having a working knowledge of the basics is a great stepping stone to finding out what works for you as a creator.

Sonora: What have been your experiences in horror as a woman author? In poetry as a woman poet?

Sara: I feel lucky that 98% of the time I have had positive experiences within the horror community. I am very aware that is not the case for every woman or minority in the genre. I try really hard to surround myself with encouraging, honest, and supportive people so that makes a huge difference, but sometimes you never know what someone’s motive could be. I am humbled and lucky by the positivity I have experienced, so I do my best to continually pay that forward however I can.

Sonora: How can the literary fields you’ve worked in and read stories in be better about their treatment of women?

Sara: When posting guidelines and open calls, take an extra minute to write something like “minorities encouraged to submit” — it’s a small line that does not exclude anyone from submitting, but also shows writers that diversity is welcome here. We need diverse voices in all forms of literature and genre work.

I’d also encourage anyone writing in a different voice than their own, to use beta readers and sensitivity readers with those experiences. For example, I have no problem with a male author writing from the perspective of a woman character, but ask women to read your work and get honest feedback.

Not All Monsters
Not All Monsters

Sonora: Who are some of your favorite poets? What are some of your favorite poems? What are some of your favorite poetry collections?

Sara: In regard to classic favorites, I draw a lot of inspiration from Edgar Allan Poe, William Blake, and Sylvia Plath. Some of my favorites in contemporary poetry are Linda Addison, Sierra DeMulder, Richard Siken, Claire C. Holland, Donna Lynch, David Cowen, Christina Sng, and so many more! There are really a lot of amazing poets out there right now.

One of my favorite collections I read recently was The Demeter Diaries by Marge Simon and Bryan Dietrich. What a stunning piece of work.

Two of my all-time favorite poems are Dylan Thomas’s “Do not go gentle into that good night” and T.S. Eliot’s “The Love Song of J. Alfred Prufrock” — I have lines from both poems tattooed on me!

Sonora: Who are some of your favorite authors? What are some of your favorite books?

Sara: Some of my favorite contemporary writers are Catherynne Valente, Clive Barker, Gillian Flynn, Caroline Kepnes, Gwendolyn Kiste, Sarah Read, Nicholas Day, Christa Carmen, Thomas Harris, Mike Arnzen, Hailey Piper, Brooke Warra, and Paul Tremblay, and about a million more folks I’m sorry I didn’t shout out here (I could go on forever).

Some of my all-time favorite books are Valente’s Deathless, [Bram] Stoker’s Dracula, and [Stephen] King’s Misery.

Sonora: What are you working on right now?

Sara: Currently I am working on Cradleland of Parasites, my next poetry collection that will be out later this year from Strangehouse Books. It draws a lot of inspiration from the Black Death, but I’ve been researching other plagues, viruses, and diseases as well. My internet search history kind of looks like I’m trying to create a virus to wipe out humanity at the moment. But I really love historical horror, and this project has been a huge learning experience about how the Black Death irrevocably affected society, culture, art, literature, and more after it brought down such great tragedy.

I have a few other projects in the oven, including a novella I am co-writing with Matt Corley, which will become a part of his Whispers in the Dark series of investigative RPG horror. It’s such a different kind of project for me to be involved in, and I am thrilled about its potential.

And of course I have to promote that my first edited anthology, Not All Monsters, will be out in the fall from Strangehouse Books and features stories by 21 incredible women in horror!


About Sara Tantlinger:

Sara Tantlinger is the Bram Stoker Award-winning author of The Devil’s Dreamland: Poetry Inspired by H.H. Holmes. She is a poetry editor for the Oddville Press, a graduate of Seton Hill’s MFA program, a member of the SFPA, and an active member of the HWA. Her other books include Love for Slaughter and To Be Devoured. Her poetry, flash fiction, and short stories can be found in several magazines and anthologies, including The Twisted Book of Shadows, Sunlight Press, Unnerving, and Abyss & Apex. She embraces all things strange and can be found lurking in graveyards or on Twitter @SaraJane524 and at saratantlinger.com


Check out previous WIHM 2020 interviews:

Ask the Author: A Q&A with Melanie Cossey

melanie cossey
“I believe that generally, people are good and want to do good, but our dark natures can lead us into some regrettable situations. I like to imagine that people do the wrong things for the right reasons, and these are what I base my characters on.”

I’ve greatly enjoyed speaking with so many talented authors in Quoth the Raven. This week, I spoke with Melanie Cossey. Her debut novel, A Peculiar Curiosity, is now available; and she has several other interesting projects in the works. Read on for how she finds inspiration from the Victorian era, what she thinks about Canadian versus American readers, and more.

Bio: As a child, Melanie Cossey delighted in reading stories that left her feeling disturbed, like Shirley Jackson’s “The Lottery,” and Poe’s “The Telltale Heart.” Her love of the Victorian period combined with her penchant for impactful, unsettling stories nurtured her desire to create troubling tales of gothic horror.

Melanie’s short, “The Nymphalidae,” won Honorable Mention in the Storm Crow Tavern’s 2015 Tales from Beermat Microfiction Contest. Her short fiction pieces have been shortlisted in numerous contests. Melanie’s gothic horror, A Peculiar Curiosity, was released on October 26, 2018 by Fitzroy Books. She is a member of the Horror Writer’s Association.


Sonora: How long have you been writing?

Melanie: I’ve been writing as long as I can remember. My first memory of writing was when I was about five years old and inspired by a Richard Scary children’s book. I thought, Wow, writing looks easy. That night I copied word-for-word all the text from the book into a little exercise book from school. When my dad came to read me a bedtime story, I proudly showed him the book I “wrote.” He looked it over and said with dismay, “No, no, this isn’t right. You have to make up you own stories.” That was an “ah ha” moment for me. I thought about that for a split second and said, “Okay, I can do that!” And my career as a writer was born. I began by writing poems and stories that my dad could read to my younger brother at night, and as I grew, progressed to writing stories for or with friends and even essays to read out at church.

I think what helped inspire me was that my dad was a huge lover of poetry, and as a teen had memorized a fair amount of long poems, which he used to recite to us kids. Added to that were the weekly trips to the library, the nightly story readings, and even trips to see plays and operas. I just grew up totally enmeshed in the literary world. The choice to be a writer was really 100% organic.

Sonora: Tell us more about your novel, A Peculiar Curiosity. What inspired the story? What was your favorite part about writing it?

Melanie: Believe it or not, the story was born from a stick bug incident. In 2011, my fourteen-year-old son and his then girlfriend decided they were going to make money by buying 100 stick bugs from a woman on craigslist and then selling them to turn a profit.

Once my son had the bugs home and set up in a habitat, we began researching them and found out is illegal to sell them. We also found out they are an invasive species and can’t be released into the environment, oh, and they breed like crazy. So here we had these rather scary looking insects that we couldn’t legally, morally, or ethically get rid of, and who, might take over the world as they bred out of control. That left us with a very sick feeling in the pit of our stomachs—a what have we done!? feeling. Of course the writer in me went, “hmmm that might be a great concept for a story. What about a guy who has acquired a “horrible creature” that he can’t ethically or morally dispose of? What would he do?” And thus, the premise for A Peculiar Curiosity was born.

My favourite part about writing it was researching and inserting all the creepy Victorian curiosities into the narrative. The Victorians would collect the most grotesque, unpalatable things. Why? Simply because they were curious and interested in the life around them and in all the reasons why things could go wrong. The Victorians were an interesting bunch. They lived in some of the most deplorable conditions in history, and yet they were always seeking to understand science and the human body and disease, and they had some pretty macabre ways of going about that, as you’ll discover when you read the book.

Sonora: Is A Peculiar Curiosity your first published book? What was your experience like finding, and then working with, a publisher?

Melanie: Yes, A Peculiar Curiosity is my debut novel. I’d taken stabs at writing novels in the past, but APC was the first one I’d gone the distance with (and I have Nanowrimo 2011 to thank for that).

I wrote APC in a few months but then spent the next four years doing the research and trying to make the research and the novel fit together. It took a lot of jiggling but finally I had a good yarn that fit into a factual backdrop. When my manuscript was as polished as I could get it, I began to query agents and pitch my book at writer’s conferences. It met with a lot of interest but it also collected a lot of rejections. Finally, I decided to bypass agents and try knocking directly on the doors of publishers. Not long after that, APC was readily scooped up by Jaynie Royal at Regal House Publishing.

I must say, Jaynie has been an absolute dream to work with. She truly believed in APC from the moment she read it, and has worked tirelessly with me on getting it to market. I don’t want to gush too much, but her insight and attention to APC has been beyond compare. She’s a fabulous content editor and marketer and seems to have non-stop energy. I don’t know how she does it all. After working on APC alone for five years, it was truly amazing to work with a publishing house and get that support. As a publisher, her marketing reach is above and beyond anything I could do myself. I’ve been extremely lucky to have been picked up by this house. Their support for authors, I think, is unmatched in the industry.

Sonora: Your short story for Quoth the Raven, “The Blackwood Article,” was inspired by meeting a very tight deadline for the anthology. Can you tell us more about what went into writing this piece?

Melanie: Laughs. Quoth the Raven had a very tight deadline and although I saw the call for submissions rather early on, I’m afraid I didn’t find the time to write anything. Two days before the submission due date I saw the call again and thought “You know, as a gothic writer, I really shouldn’t let that one go by.”

Although I was crazy busy with final proofreading of APC so it could meet the release date of Oct. 26, I decided I would work like a mad woman to submit for Quoth. On day one of two before the deadline, I read through Poe’s works to try to find a story to base my entry on. By the evening I had decided on “How To Write a Blackwood Article” and it’s companion piece, “The Predicament.”

For those unfamiliar with the two pieces, the first is about a Mr. Blackwood, who invented a formula for writing an article (or short story) that has several criteria, but the most prominent being that the writer must themselves experience a horrific, deathly incident so they may accurately describe the sensations. In “The Predicament,” the character Signora Psyche Zenobia, is decapitated by a clock and describes her own death.

In a flash my story came to me. I would write, really, about myself trying to write a Blackwood article as the submission clock winded down. I literally wrote this story about me trying to write a horror article while following the tenets set out by Mr. Blackwood, in the final hours, nay, minutes of deadline. Much of it pokes fun at how in our “bubble wrapped” world, it is a lot harder to do away with ourselves than it was in Poe’s day, if you wanted to follow some of the same methods as Zenobia did in Poe’s story. As it was, I hit the submit button on this article twelve minutes after midnight, but the lovely Lyn Worthen didn’t disqualify me for being a few minutes past deadline … whew!

Sonora: You live in British Columbia. Do you find that Canadian readers and American readers have different responses to horror? Different tastes?

Melanie: Good question. I had to give this one some thought. Nine times out of ten, when I mention to a stranger that my book is a gothic horror, their eyes light up and they say “Oooo, I LOVE gothic horror!” It’s quite odd. I honestly never expected this response. And this is true whether I’m talking to an American or a Canadian. Gothic horror is more about creepy old mansions and things lurking about in the darkness, sort of your old Vincent Price movies, rather than your “slice-em-up” stories. And this is certainly true with APC.

That said, I have never really noticed a difference between the American and Canadian reader (or viewer) of gothic or general horror. I think because, culturally speaking, there is little difference between American and Canadian entertainment. Pretty much something that is popular in the US will be aired or read in Canada and something that is popular in Canada will make it to American audiences shortly thereafter.

I have noticed a difference in Canadian vs. American humour, but not in horror. I think you’d see more of a difference in say, the North American vs. the Japanese tastes in horror. But Canadian vs. American is too close to notice any separation, in my opinion.

Sonora: What non-literary things inspire your work?

Melanie: Oh, I love old buildings. This is the number one reason why I love gothic horror. You take a house that is one hundred, even two or three hundred years old and boy, you can just imagine all the things that have gone on inside. The joy, the heartbreak, the growth, the illness, the death, the birth, the family triumph and the tragedy. Maybe it’s silly, but I tend to imagine a house absorbing all that energy and holding it, and then later it speaks of it, in whispers. I just recently bought an 80-year-old house and I love it. I know the history of the house and imagine many stories about the people who lived here. Many times my imagination spins off into the dark and macabre, which is the subject of my next story …

I’m also inspired by history, by the forgotten customs of the Victorians, and things they did out of sentimentality that we today would think distasteful and creepy, like making wreaths from the hair of loved ones, and taking photos of our beloved deceased. But deeper than these, history has had some dark chapters. These fascinate me, because I believe that generally, people are good and want to do good, but our dark natures can lead us into some regrettable situations. I like to imagine that people do the wrong things for the right reasons, and these are what I base my characters on. I like to create moralistic characters who take wrong paths because of trying to make good choices, choices that will either save them, or those they love. To me, these are the most interesting sorts of characters, and predicaments.

Sonora: Who are some of your favorite authors? What are some of your favorite books?

Melanie: I love literary writers: the American greats like John Updike, John Irving, and some foreign writers like Vladimir Nabokov, and Isabelle Allende. Of course, I love Poe and my favourite horror writer is Robert Macammon.

I read a fair amount of the Victorian writers, and love Mary Shelley’s Frankenstein. There are so many good books out there, I can’t possibly choose a favourite but there are some books I’ve read more than once. I’ve read Updike’s “Rabbit” series at least three times. To me, the characters are so alive and multilayered and the writing is just beautiful. I’ve also read some Nabokov books upwards of three times for the same reason. These writers know how to tell a story with the precise words so that the whole thing just bursts alive in your mind.

Oh, and how can I forget she whom I consider the goddess of the gothic voice, Shirley Jackson. Her works … magnificent! We Have Always Lived in the Castle is a favourite of mine and a strong inspiration.

Sonora: Do you have any upcoming projects that you’d like to tell us about?

Melanie: I have a selection of novels that need editing and honestly, I’m not sure which one I will choose to work on next. One is about a woman in the 1800s whose sexuality lands her in an asylum. It’s actually the story of betrayed friendships. Then there’s a magical realism story I wrote for a 3-day-novel contest, about a young woman who enters into a relationship with an abusive narcissist. I’m also writing another gothic horror that takes place in Chicago during The Great Depression. It’s about a man who joins the mob to provide for his family and, the force that tries to stop him. I’m also attempting to do Nanowrimo. This year my story is about a demon dog. It’s based on this house I moved into. Innocent things, but I’ve mentioned how my mind turns things dark. Mwahaha.


 

Check out Melanie’s book, A Peculiar Curiosity; and Quoth the Raven. (U.S. link to A Peculiar Curiosity here)

Follow Melanie on Facebook.

Check out Melanie’s interview with me on her blog!