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.
If anyone’s working on their first book and wondering if each subsequent book gets easier to write, I’m here to tell you now that this is not true.
I almost couldn’t stop writing my first book, Please Give. I slowed down on Without Condition. Now, I’m on Book #3 — tentatively called Seeing Things — and I’m typing more slowly than molasses moving uphill on a cold day. Some days are faster. For instance, I wrote over 1200 words the other day (woot!). But other days, I’m lucky to write a paragraph; and I’ll only do it after I’ve exhausted my social media loop of Facebook, Instagram, Twitter.
But, it’s being written; which is better than the alternative. The words are coming a little faster now that I’m getting closer to the meat of the plot. I’ll be taking a break from it once I get Little Paranoias back from Evelyn with her edits, but when that happens, it’ll be good to have a nice foundation to return to and give my undivided attention.
Speaking of Little Paranoias, it’s out for edits, as I mentioned above. I’ve been working on other parts of the book, namely the back cover description. I write my own descriptions (which Evelyn reviews as well. Cardinal rule of self-publishing: always have someone else review something you’re putting together yourself, even things like the back cover description), and let me tell you, they’re hard! You don’t want to give too much away, but you also don’t want it to be too vague. Short story collections can be especially tough, since you need to pick and choose which elements you want to highlight.
I’ve been working on a few short stories as well, though I’m trying to keep my focus on Seeing Things. I submitted a poem and a short story to two different journals for consideration, and entered my Pi Day tale, “Crust,” in a contest (read it here). I also discovered a call for submission for a Penny Dreadful issue of a horror journal. Each story has to be 19 words exactly. That was a fun challenge to partake in, and I hope at least one of the five stories I submitted is accepted.
I will keep all of you posted on these pieces as they come together (heh). Have a great week!
I first met author Steve Stred last year, when we followed each other after liking each other’s replies on a friend’s Twitter thread. He offered me an advance copy of of his early 2019 short story collection, The Girl Who Hid in the Trees, in exchange for an honest review. I was immediately struck by how visceral his storytelling was, and how much it scared me. I don’t scare easily in print form, so when I read a story that truly creeped me out, I knew I’d read something special.
I felt the same way when I read an advance copy of The Stranger, Stred’s upcoming release (out June 1, but available for pre-order now). I asked Stred if he’d like to have a virtual chat with me about his writing, and he was kind enough to do so. Read on for why forests are a draw for dark tales, what separates Canadian horror from American horror, and thoughts on triggers and sensitivity in the genre.
Sonora: When did you first start writing? Tell us about your early work versus your more recent pieces. Have there been any major changes? What’s stayed the same?
Steve: I started out writing some short fiction and poetry in high school — so about 20 years ago. Back then it was more of a passing thing. I loved it but I had no real direction and it was more about me following a desire to write.
Fast forward and in 2010 I really got the bug and started to develop my first novel Invisible. I had the basic premise and the ending really locked in place but through a series of events it kept getting delayed and delayed. I kept working on it and really finished it up in 2016.
At that time I found a passion to write and release stuff. So I worked on my first short story “For Balder Walks,” then developed a few more — “The Fence,” “Time Out Noose” and “Edge of the Woods.” Then as life progressed I wrote “Jim and Mr. Tross.” I got to the point where I submitted and contacted different folks and got some great advice.
Now the biggest change, I think at least when I look back is the ability to edit myself, but also have the story flow easily. Working with David Sodergren so much has helped me beyond anything, really. He is ruthless with line/copy editing, so I figure if I can give him less work on his end, I’m being more efficient and a more effective writer.
Sonora: Do you gravitate more towards long or short fiction? Do you know when you sit down to write how long a piece will be?
Steve: It’s an interesting question — because I’ve come to a cross roads with my work. I think it’s more of an enlightenment, truthfully. I’ve had one long read (Invisible) and my second comes out June 1st (The Stranger). I have one more novel planned this year (Piece of Me) which is completely written but I need to go through it one more time, then send off to Sodergren and fix what he finds wrong. But going forward everything will be novella length or collections. It’s just how my writing mind works. I can’t describe it other than thinking about writing a novella makes me happy, whereas trying to force a full length does not.
Sonora: You also wrote a collection of poetry, having been inspired by Erin Al-Mehairi’s Breathe. Breathe. Tell us about that. What was it like writing poetry versus prose?
Steve: Yes! God, I was a pretentious snob before reading that, haha! Erin has been so helpful and always supportive and I really, really like to support those who support me. In this case though, I believe she sent me a copy as a birthday gift! When I read it I was blown away. She just has this gift of absolutely decimating your mind with the way her words jump off the page. I would read a poem and I felt like I’d read a novel. The imagery she created was incredible.
I don’t think I can ever match what she did, not by a long shot, but it kicked me in the butt and made me step back and look at my previous history with writing poetry as well as the joy and impact it’d had on my life. So I gave it a shot!
It was a weird process to go back to writing poetry. I don’t think I have a very large vocabulary so I really had to push myself to not sound like a 75 year old, white male rapper who used the same word to rhyme over and over again, haha! I also worked hard to tell a story without telling a story but implying a story and it was tough. Erin’s collection is a must read.
I wrote Dim the Sun with the goal to also help raise some funds for my buddy Rob Derman, who is an amateur athlete. Right now, while writing this, I’m not sure what his future holds as the sport of Skeleton in Canada is going through a shakeup, with the closing of one of the training tracks.
Sonora: Your latest release, The Stranger, is a summer vacation tale with several haunting twists. Tell us what went into writing it.
Steve: Well, surprise twist — I like to write stories set in the woods! I think a big part of my constant theme with Mother Nature, more specifically the woods, is from where I grew up and how much time I spent in the forest and in the mountains. I love the mountains, but I’m also scared to death of them. Too many things lurk that you can’t see. When I go there, I’m in their home. They have the advantage and that scares me.
I wrote it after being inspired on a camping trip and spotted a unique looking smudge mark or burn mark on the cement bin around the camp fire. Coupled with the sights from far above on some plane flights and I just let my imagination go where it wanted!
Sonora: A major theme in The Stranger is the monstrosity of racism. What was it like writing this story? How was it inspired by the current political climate? How was it inspired by your own experiences?
Steve: Oh lord, haha! You write something and then you don’t want to talk about it! For those unaware, I grew up in Canada, in a very small town in BC, which is the farthest west province in our country. My father was from northern BC, my mother from the town I grew up in. There’s a generational thing that casual racism seems to occur and I found that it would pop up time and time again. I don’t believe some of my relatives are straight forward racists but these little comments you’d hear at family gatherings, whether in jokes or whatever just kept getting too me. Even when I was young. In the afterword I mention how I overheard a joke that was very poor and crude and repeated in front of my mom. She was livid.
I just felt I needed to write this book but also early on, by having a Native American creation type tale involved, which I don’t think is a spoiler at all to say that, I needed to tell a bit of the other side of it. The privileged aspect I guess. I really struggled with writing it. I also typically don’t swear a lot in my writing. I did in The Girl Who Hid in the Trees and it just felt odd haha! So I worked really hard to show disdain for a specific group of people but not go the Tarantino route of expletive after expletive.
Our political climate is usually very different from the US stuff, but funnily enough, we had a guy come onboard to run for Premiere of our province who follows a very similar path as the current sitting President down south. Unfortunately he won our election so now we kind of have to hold our breath and wait and see the damage he wants to bring in.
Sonora: In writing about racism as a white, straight, cis-man, you talk about the how and why of what you wanted to accomplish in both the foreword and afterword. This isn’t something I see a lot from other authors, and it was nice to see in your piece. Do you think more authors, especially authors from privileged demographics, should talk about this when they write similar stories?
Steve: I had to write the foreword and afterword. I wanted it there as a warning for readers. In the afterword I did say that with the story coming from me (from my perspective at least) people may just take it with a grain of salt. I hope they don’t, but they might. I myself have no triggers, but that’s me. I usually write dark horror and I didn’t want to surprise anyone who snagged this and who maybe loved Wagon Buddy or YURI and then started reading and had to stop because they weren’t expecting the subject matter. So I wanted to write the foreword to let folks know that there was some difficult themes ahead. I have a whole environmental/human footprint narrative in the story as well, but at the end of the day if someone writes me a 1 star review and says “this guy sucks he wanted me to think about how much garbage I create or I need to recycle,” I’ll smile, because I don’t think you’ll see that. But the racism/bigotry stuff is a tough, tough area and I wanted to make sure I was upfront with it and to make sure people wouldn’t go into the story oblivious to what was about to happen.
The afterword I also felt I needed to do. I just wanted to lay things out there so people knew how I felt and it may sound a bit cowardly, but I wanted to protect myself and let people know I’m no Malcolm (main character in The Stranger). I mention it in the afterword but Kealan Patrick Burke gave me some great advice and I took it to heart. I knew this was a story I needed to write but I knew it was a story that I might have to defend myself about writing a bit and that’s fine, but I wanted to make sure people knew my intentions were genuine and my hope for what readers took from it was purposeful.
As for others doing it — I think it would be fantastic to see it when the subject matter suggests we should. If it’s a creature feature that’s just gore and death, well, I think we know it was written with some fun behind the scenes!
As I side note — I wish more authors would write an afterword. I absolutely love reading about where they got the inspiration for the story. Even if it’s something as mundane as ‘I was playing with my son in his sandbox’ (which was where I got the inspiration for one of my upcoming 2020 releases FYI), I want to read about it!
Sonora: You also hired a sensitivity reader for The Stranger. I’ve seen a lot of arguments for and against sensitivity readers from many different voices. Have you worked with a sensitivity reader before? Do you think hiring sensitivity readers should be common practice?
Steve: Oh man, the sensitive reader thing shows just how out of touch with a lot of things I am! I honestly didn’t know that was a thing, haha! I had written most of the story and messaged KPB. He mentioned I should get a sensitive reader and make sure what I had written was in line and not offside. So I put out a call on Facebook, Instagram and Twitter. I had two people contact me and I was just not sure. I received a message from J.H. Moncrieff who’s been super helpful as well with my writing and she said that I’d need a sensitive reader and that typically they can be very tough. Then I was contacted by Cassandra [Chaput] and we hit it off. I told her upfront — if I’ve done things wrong, tell me. Please don’t be worried about my feelings and if I’ve done it poorly I’d scrap a bunch of it and start again. And she was fantastic. She gave great feedback and really made all of the negatives she’d found as positives and constructive. Couldn’t have asked for a better beta-reader, let alone a sensitive reader. So my first experience was a good one!
As for others using it — I think it’d be an ideal practice if the story needed it. As an example (purely made up here) but if a story had a significant story line involving sexual assault, I’d think it’d be prudent to maybe find a sensitive reader who works in the care side of that world to help make sure things are written correctly but also in a manner that doesn’t detract from the story.
Sonora: Some readers and writers argue that sensitivity readers (and, related, trigger warnings) are especially unnecessary for horror, as the idea of horror is to disturb you. What is your response to those individuals? And, as someone who wrote a horror story (and in my opinion, a damn good one) and hired a sensitivity reader, what would you share about that experience in terms of how it affected your writing?
Steve: Thank you! That’s a tough question. I think trigger warnings are a good thing, but I personally don’t need them. I hope that doesn’t sound insensitive! Everyone reads things differently and everyone comes from very different backgrounds and what may affect one person may not another. For me, I think if the story contained a lot of animal abuse/deaths and/or infant/toddler abuse/deaths, I’d want to know going in. If it was a specific part of the story and was a key aspect, I’d be fine with it, even though I’d cringe a bunch, but if anything is written specifically for gratuitous reasons or shock value, I’m not on board. I also understand the argument — horror is written to horrify us, to make us pull up our feet and turn on the lights. There’s a difference between being scared and being personally affected and I think that’s a big differentiator for me.
Sonora: The Stranger features scary things happening to a vacationing family at the hands of a vengeful wood spirit. Your last release, The Girl Who Hid in the Trees, also features violent monsters in the woods. What draws you to the forest as a setting for horror?
Steve: As I mentioned earlier, the thing that’s always drawn me into the woods has been the idea that I’m in its territory, its world. Where I grew up the forest came pretty close up to the back of our house. We cleared it out a number of years ago, but having a forest to play in and a mountain as a back drop was always really amazing but also scared me too no end. We had Grizzly bears, brown bears, black bears, cougars, coyotes and a variety of random animals that would trek through the back of our place. We had chickens and fruit trees so there was always something that drew them down from higher up in the mountain.
In the middle of the forest in our back yard was a massive slab of a rock, so that was always our base of operations, our meeting point.
My grandparents lived just down the street from us and my grandpa used to have a trap line and when he was younger he used to go on horseback up the mountains with some of the native population to go hunting. So the mountains and the forest have always been a place I grew up in but also a place that creeped me the hell out!
Additionally I’ve always loved movies set in the woods with creepy characters. I mean two of my favourite movies ever are Predator and Harry and the Henderson’s. While both are at different ends of the spectrum — both are based on creatures in the woods. So it’s always been a big draw for me.
Sonora: What is the creepiest forest you’ve ever visited?
Steve: Easily, the forest behind our house. I’ve never travelled to any of the exotic forests around the world like J.H. Moncrieff has and she’s got some fantastic blog posts regarding her travels, but the forest behind our house where I grew up was both the single greatest place where my imagination went wild, but also the scariest place I visited. The second creepiest would be the stretch of forest between the end of our road through past the garbage dump.
That forest has inspired so many of my stories — “Edge of the Woods,” “The Call,” “Eaten,” and even “The Girl Who Hid in the Trees.” One of my 2020 releases is also inspired by the forest behind our house as well. The number of times we would play in the woods and we’d pretend to be chased by a giant beast of whatever, I mean those moments directly impacted me and it comes out in my writing. Hell, Invisible is 50% a beast chasing a man as he drives on a winding road through a forest!
Sonora: Do you notice any differences between Canadian horror and American horror? Canadian and American audiences?
Steve: I actually do notice one specific difference, but it just may be me looking for it! I find American horror always has a defined place where the story happens. It’ll be “Boston,” or “New York” or a small town somewhere, whereas I find most of the horror writers I read who are Canadian seem to be a bit more elusive as to the exact location things play out. I personally never try to have an exact place. I do it for two reasons — I want it to be more relatable for the individual reading it — they can picture a place near them easier if I don’t specifically say the location, but also so I don’t have to worry about screwing up a specific detail hahaha! I won’t have someone saying “WAIT A MINUTE — THAT STREET DOESN’T EXIST!” Ideally you read that all caps section in Jim Gaffigan’s voice!
Sonora: What inspires your work?
Steve: The people who believe in me. The horror community is a fantastic community. It’s amazing and I’m so blessed to have met so many folks who want to help and support and promote. My family has been so amazing. And of course, my son. I write stories and release them, so that one day (I hope at least) he’ll see our book shelf with my books and be inspired himself.
I had a blog post before where I said I’ll probably never be a best seller and that’s fine. I still stand by that statement, but my sentiment was more about the fact that I’m not writing with the sole purpose of seeing a shiny gold star by my release on Amazon. Don’t get me wrong, that would be amazing — but not getting one isn’t going to stop me from writing and releasing the stories I want to tell.
Sonora: Who are some of your favorite authors? What are some of your favorite books?
Steve: Is there really someone on this planet who doesn’t know who my favourite author is? Haha!
For those who have somehow missed it — my favourite author is Andrew Pyper. He’s written some truly stunning works, he’s Canadian and he’s been so amazing whenever I’ve messaged him. I’m currently celebrating all things Pyper with PYPER-MAY-NIA and using the hashtag #pypermaynia
I’m also a massive Stephen King fan. Huge Joe Hill, Ania Ahlborn and J.H. Moncrieff fan. As for my other must read authors: David Sodergren, Justin M. Woodward, Andrew Cull, Joseph Sale, Joe Zito, Mason McDonald, Jonathan Janz and Hunter Shea would really round that list out. There’s just so many amazing authors right now!
As for some of my favourite books, well Andrew Pyper really dominates that haha! The Homecoming, The Wildfire Season, The Only Child, The Demonologist, The Damned, and The Lost Girls all are stunning. I’m currently reading The Trade Mission and still have a few more of his on the TBR. Loved Tamer Animals from Woodward, Now Comes the Darkness from Zito, The Forgotten Island and Night Shoot from Sodergren, Bones and Remains from Cull, The Art of Racing in the Rain from Garth Stein, The Bear Who Wouldn’t Leave by Moncrieff, Brother and The Devil Crept In by Ahlborn. So much goodness.
Sonora: What are you working on right now?
Steve: Good lord what a question. If you’ve followed along with me at all, you’ll have come across me discussing this. I like to get everything prepped and prepared well in advance.
So currently on the go;
Ritual — Novella, release date Oct 2019. Stage — 60% through final read through, then off to Sodergren for edits.
Piece of Me — Novel, release date Dec 2019. Stage — I need to read through one more time completely, then off to Sodergren. This tale is set in the same world as my short stories “For Balder Walks” and “Poppa?”
Untitled — Novella, release date Feb-ish 2020. Stage — need to read through one more time and tweak the ending, then off for edits.
The One That Knows No Fear — Novella, release date June-ish 2020. Stage — need to read through one more time and adjust a few spots. Then off for edits.
456 Blatchford Drive — Novella/Possible Anthology. Release date Oct 2020. Stage — I need to get my butt in gear and contact a few more folks and see what I can do to get this off the ground or if I’m doing it alone.
Then I’m also prepping a short story collection for 2020/2021 release tentatively still titled The Night Crawls In and a poetry collection hopefully for 2020/2021 release as well.
I am always on the go and always blocking out when and where things will fall, so some of 2020 may change depending on a few things!
Steve Stred is an up-and-coming Dark, Bleak Horror author.
Steve is the author of the novel Invisible, the novellas Wagon Buddy, Yuri and Jane: the 816 Chronicles and two collections of short stories; Frostbitten: 12 Hymns of Misery and Left Hand Path: 13 More Tales of Black Magick, the dark poetry collection Dim the Sun and his most recent release was the coming-of-age, urban legend tale The Girl Who Hid in the Trees.
On June 1st, 2019 his second full length novel, The Stranger will be welcomed to the world.
Steve is also a voracious reader, reviewing everything he reads and submitting the majority of his reviews to be featured on Kendall Reviews.
Steve Stred is based in Edmonton, AB, Canada and lives with his wife, his son and their dog OJ.
One thing I don’t want this blog to ever become is a string of posts promising to write more. I figure, if there’s a prolonged period where I don’t have much to add, I’ll let the blog sit and hope that people see me tweeting or Instagramming to see what I’m up to. Of course, on Twitter and Instagram, I’m usually talking about hockey or terrifying beauty rituals if I’m not talking about writing.
That said, I realize it’s been a minute since I’ve posted; and I wanted to check in, especially since I already recapped a prolonged absence following the release of Without Condition. This time, my absence hasn’t been because of writing. I have some exciting things going on in my personal life, which I’ll talk about more once those pieces are in place; but I can assure you that they’re all good!
I’m also letting Little Paranoias sit before giving it one full read-through. I plan to send it to Evelyn for editing in June, and in the meantime, I’ve started working with Doug on what the cover will look like.
“Little Paranoias” is also unique in that I came up with the title long before I knew which stories I wanted to write and collect for the book. I didn’t even have a story called “Little Paranoias.” The title came to me and wouldn’t go away. It ended up becoming a small, four-line poem that will open the collection.
The collection will feature a mix of both new, never-before-published stories; and pieces previously published in ezines and anthologies — including my work that has appeared in The Sirens Call, and “Hearts are Just ‘Likes,'” my short story featured in Camden Park Press’ “Quoth the Raven.”
2019 has started with me working in pieces. A flash piece here, a submission there, a proofread right here, and bits of stories in between. At the moment, I’m working on an epistolary piece for a themed submission. Epistolary pieces are usually told through letters. I decided to take a different approach and tell a story through an ongoing thread on a fictional Reddit forum devoted to nightmares. The title may change, but right now, it’s “r/uawake.”
Writing it has been a challenge, mostly because with the setting of a forum and for the plot itself, time stamps are important. As such, I have to write time stamps for each post, which has made my eyes cross more than once. Balancing it out, though, are the names of the users. I’ve had fun coming up with punny usernames. My current favorite is Constant Craven (if you take it and/or it already exists, then, insert disclaimer about how all characters in this story are from the author’s imagination).
I’m also in the final stages of preparing Without Condition for publication on February 12 (mark your calendars). I received my ebook and paperback proofs from Doug, and just finished reading through my paperback to make any final corrections. I’m also sending it out to reviewers. If you’re interested in providing an honest review in exchange for a free ARC, let me know in the comments; or feel free to contact me at sonorataylor (at) gmail (dot) com. Please include a link to your site or your social media pages (Goodreads, Instagram, etc.) where you’ll post the review.
2018’s winding down, and so are my writing projects for the year. Looking back, I got a lot done. I finished a novel, finished 14 short stores, and have 4 other short stories in progress.
It’s been a little hard to sit down and write since doing my final read-through of Without Condition, my next novel. But looking back at those numbers, I’m starting to think my muse is simply telling me to take a break for the holidays.
I’m still writing a bit, though. I got some more ideas for my next book, and I’m writing little pieces here and there. I’m also putting my focus on one work-in-progress that I’d like to finish before the year is over.
Winter is typically the time of year I write novels. The weather and early darkness make it much easier to pause, ponder, and write a longer story. This usually happens in January (my least favorite month) and February, though. I think the dazzle of Christmas — as well as everything there is to do — makes it a little harder to sit down and write a book.
Even when I’m not writing as much, though, I’m thinking about my stories and thinking about what to write next. I used to panic when I wasn’t writing, but over the past year, I’ve gotten better about taking on my projects one at a time and when they feel right; and trusting that things will get done when they’re supposed to.
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.
Halloween, along with Christmas, is my favorite holiday. I love how everything takes on an extra spooky feel, even beyond decorations and costumes. The trees are a little more crooked, the wind is a little bit more like a sigh, and the silence in the darkness is a little more thick.
While Halloween is the pinnacle of all things scary, I celebrate it all year long. A frequent exchange in my house is me suggesting a horror movie, and my husband saying, “It’s not October.” Yes, and?
My books follow the same pattern. My next novel, Without Condition, is scheduled for February 12, 2019. I’ve scheduled its release around another holiday: Valentine’s Day. It is a romance, after all — just my version of one.
I also have two short story collections that are great for any time of year, but extra good when read during late autumn’s chill. Check out The Crow’s Gift and Wither if you’re looking for some quick, scary reads today.
Film is one of my favorite storytelling media. I minored in film studies, have written many papers on film (including an analysis of WALL-E based on postmodernism), and frequently go to the movies.
I was thus very excited when I saw that one of the contributors to Quoth the Raven was also a filmmaker. Susan McCauley, author of “The Cask,” has an extensive background in film. Read on for her thoughts on the overlap between film and literature, as well as what inspires her writing.
Bio: Susan received a B.A. in Radio-Television with a minor in Theater from the University of Houston, an M.F.A. in Professional Writing from the University of Southern California, and an M.A. in Text & Performance from the Royal Academy of Dramatic Art and King’s College in London. Susan also studied acting at Playhouse West with Robert Carnegie and Jeff Goldblum (Jurassic Park, Independence Day) in Los Angeles.
While living in Los Angeles, Susan wrote the story for and produced a short film, which won awards at the Houston International Film Festival and the Seabrook Film Festival. In London, her stage adaptation of Nikolai Gogol’s “The Nose” was performed at the George Bernard Shaw Theatre; and, scenes from her play The Prisoner: Princess Elizabeth were performed at HMS Tower of London. After returning to the United States, she was a producer on the Emmy Award nominated Civil War short film Now & Forever Yours: Letters to an Old Soldier. In 2016, she wrote and produced the award winning short film, “The Cask.” In addition to the publication of short stories, she is currently writing her fifth novel and has two feature film projects in development.
Sonora: You are a screenwriter, producer, and actress, as well as a writer. What overlaps do you see between filmmaking and writing? Do you find that one influences the other for you?
Susan: I don’t act much anymore, but I still enjoy doing it from time to time if the right part presents itself. I see myself first and foremost as a writer. I just happen to write fiction and write for film. I’m quite visual, which is probably why I started as a screenwriter and later moved into fiction. I see a lot of overlaps for screenwriting and fiction in terms of “show don’t tell,” using dialogue, and story structure. The major differences in film and fiction are the formatting, how much detail you can give, and the fact you can really dive into the head of a character in fiction, which you can’t do in screenwriting. For film, you can give clues to character emotions, but the main focus must be on sound, light, and movement. In screenwriting, you have to get images across succinctly in very vivid, condensed descriptions so the director and cinematographer can translate those to the screen. In fiction, you have more time to explore what things look like, feel like, and smell like with words. You can even share a characters thoughts in fiction, which you can’t in film, unless you’re using a voice over to capture what a character is thinking.
In terms of being a producer, I am working to produce things I’ve written or have co-written. I have to be passionate about the story I want to tell if I’m going to put all my energy into seeing a project produced.
Sonora: What are some lessons you’ve learned from filmmaking that can be applied to writing?
Susan: Film, in general, is a quicker paced medium than fiction. You have to keep the viewer’s attention or they’ll change the channel or turn the television off. In fiction, they can certainly close the book — but once a reader has bought it, chances are they’ll pick it up and keep reading at some point. They are also mentally prepared for a slower pace.
Of course film is a visual medium. I recently watched the horror film A Quiet Place. The opening shot of that film establishes so much of the world we’re entering in a few seconds: a broken, desolate, post-apocalyptic world. In fiction, it might take the author a paragraph or a page to describe it all. So it comes down to showing with words over showing with visuals.
I find that I’m a bit more sparse with description in my fiction than most fiction writers and, personally, I like the pace and think (hope) my readers will like it, too. My use of more condensed description in fiction probably comes directly from my background in screenwriting.
Other than strong plot, dialogue, and screenwriting techniques that focus on keeping the story visual and active, I can’t think of anything else I apply to fiction writing — at least not consciously. Filmmaking itself is a totally different animal than writing a book. Filmmaking is a monumental team effort. With a book you work with editors and the publisher, but people tend to do their work individually, and then regroup. With a movie, you can have five or ten or fifty or more people all working together at the same time to make the script come to life. Books are more personal in how they’re written and consumed; films are more of a group experience in their execution and consumption.
Sonora: Film and literature have an intimate relationship. What are your thoughts on film as a storytelling medium versus books? What’s been your experience creating both?
Susan: Obviously books and the written word are much older than film; but, historically, storytellers would act-out or dramatize some of their stories, and film is a modern extension of that. So they definitely go hand-in-hand. I think books and films impact the human brain differently. Books are slower; we can read and use our own imaginations to visualize what the author wants us to see and imagine how the characters feel. In film, we see what the director wants us to see and move at the pace the director (along with the editor) have set for us, which is usually much faster than sitting down to read a book. Modern film in the western world is typically fast paced with stimulating visuals and quick cuts. Most of us have probably heard doctors warn of too much screen-time because of the impact it’s having on our brains. I do think there is something to that. But I think there is a place for both books and screens. I enjoy watching television shows/films as much as anyone, but I know I can’t watch them right up until I go to sleep. My brain is too stimulated. So, at least an hour before bed, I turn off the TV and read. I definitely sleep better when I do that.
As for my experience creating both, I have to have a different mindset when I sit down to work on fiction versus when I sit down to write a screenplay. And when I switch into producer mode, that’s yet a different mindset: calls and emails with directors, other producers, attorneys, accountants, guilds and unions, etc. I’m definitely more at home writing, but there are aspects I like about producing. I haven’t directed theater or film in years, but I’m planning to get back into it in the next couple of years. As a film writer, I want to be able to control the full vision of some of my works by directing.
Sonora: People often say “The book is better” when a film adaptation comes out. Is there a movie you think is better than the book? What makes it better?
Susan: Not that I can think of. However, when a film or television show is done first and then a book comes out based on the show, I’m not usually a fan of those books. The few I’ve read of those don’t seem to have the depth or fluidity of original novels. I do think that The Lord of the Rings adaptations were extremely well-done. I like The Lord of the Rings adaptations because they were fairly true to the books, and the world-building and characters created by Tolkien in the books were beautifully captured on screen.
Sonora: Your short story for Quoth the Raven, “The Cask,” was inspired by Edgar Allan Poe’s “The Cask of Amontillado.” What made you choose this story to adapt?
Susan: I’d taught “The Cask of Amontillado” to English composition classes when I lived in Northern Virginia, and something about that story captured my imagination. I’d heard true stories of people being bricked into walls alive on history tours in England and Europe, and those always bothered me. The horror of imagining what those people thought and felt knowing they were never going to get out struck a chord of terror in my heart. I still have a visceral response in my chest when I think about it. I suppose the true stories I heard made Poe’s even more impactful for me. And, when I lived in London, a disgusting, rotten smell started coming out of the wall of my flat … Eventually the smell faded away. (I think a rat died and decomposed in my bedroom wall). But I thought of that, too, when I read “The Cask of Amontillado.” I was also bothered that I never knew why Montresor killed Fortunato in such a horrific way, and I wanted an opportunity to explore Montresor’s motivation. So, when I saw a call for adaptations of Poe stories, I knew I had to adapt “The Cask of Amontillado.”
Sonora: “The Cask” is also a short film, which you wrote and produced. Can you tell us more about it?
Susan: I was teaching an online course for Margie Lawson’s Writer’s Academy about adapting fiction for film and, as I was pulling together material for the course, I adapted my short story, “The Cask,” into a short screenplay to use as an example. When I finished the script, I thought, “This would make a good short film.” So, with my background in film, I started reaching out to some friends in L.A. to help me make it happen. At the time, nothing came out of Los Angeles, but I was led to some filmmakers in Houston, where I live, who really loved the script and wanted to help me make it. In hindsight, I wish I would have directed “The Cask” since Hollywood really wants to see more women directors and it’s something I’m getting more interested in — but at the time, I was solely focused on getting the script produced. Long story short, I was the executive producer on the project. There isn’t money in short films so it wasn’t something I could go and seek out investors for. So, about half of the budget was my money, and the rest came from an Indiegogo campaign. I wish we’d had a bit more money since a couple pages were cut from my script … but we did the best we could with what we had (which is typical of filmmaking — especially indie filmmaking).
For those who are interested, here is The Cask on YouTube. (It did win an award for best film adaptation and played at several festivals around the United States.)
Sonora: Which short story of Poe’s would you like to adapt next?
Susan: I haven’t even considered adapting another Poe story. So many of them have been adapted, and adapted well. But, if I were to do another, I would likely do “The Tell-Tale Heart.”
Sonora: What is your favorite film adaptation of a Poe piece?
Susan: I honestly haven’t seen any others than my own! I probably should, but I purposely didn’t watch any when I was adapting “The Cask” because I didn’t want my work to be colored (or attributed) to someone else’s.
Sonora: How long have you been writing fiction? What drew you to horror?
Susan: Armed with my dad’s video camera, I started making movies for fun when I was eight years old … but I didn’t get into screenwriting until I was in my early 20s. I dabbled a bit with fiction in graduate school, but I didn’t fully swing my focus to it until about 8 years ago.
I blame my interest in horror and the supernatural on my parents. LOL. They took me on the Haunted Mansion ride at Disney World when I was three. That’s the first time I knew I had any interest in horror. I hid by my parents ankles on the ride, but then begged them to take me again. I think I write horror because it’s a fun and engaging way to experience things I wouldn’t want to experience or do in life. I think it’s fascinating to explore what makes people do certain things, and what makes us afraid. To an extent, I think reading and watching horror fulfills a basic need we have as humans to feel fear. For hundreds of thousands of years (or more), our ancestors had to hunt and fight to survive. They experienced adrenaline on a regular basis. We’re much safer in modern times. And because of that, I think we still have a primal need to feel that fear — even if it’s in the safety of our local coffee shop with a book, or in a cinema watching a film.
Sonora: What are some non-literary influences on your writing?
Susan: Life. There is always something from my life in what I write. It could be a story I heard, history, a place, a person, an animal. But there are always grains of truth from life in my work. I think that’s probably true for most writers.
Sonora: Who are some of your favorite authors? What are some of your favorite books?
Susan: As a child, I loved Madeleine L’Engle’s A Wrinkle in Time and C.S. Lewis’s The Lion, the Witch, and the Wardrobe series. Laura Ingles Wilder’s accounts of life on the prairie also fascinated me. As an adult, some of my major influences have been William Shakespeare, Shirley Jackson, Johnathan Stroud, and Mary Downing Hahn. Some recent favorite books have been Took by Mary Downing Hanh and the Lockwood & Co. series by Johnathan Stroud.
Sonora: Who are some of your favorite directors? What are some of your favorite films?
Susan: Guillermo del Toro does some beautiful work. And Steven Spielberg is, of course, an icon. His films are extremely commercial, but he’s a master at storytelling.
I’ll admit, I don’t make it to the theater nearly as much as I used to because I have a nine-year-old son, but I watch what I can on Netflix and Amazon. As for favorite films, I won’t even try to explain why … but these have been some of my favorites over the years: The Color Purple, Star Wars, Alien, Ghostbusters, The Others, Quills, Raiders of the Lost Ark, Goodfellas, and Silence of the Lambs.
Sonora: Do you have any projects in the works that you’d like to tell us about?
Susan: I have a novel I recently “finished,” and is back in revision. It’s a young adult story called The Devil’s Tree, which is actually an expanded version of my short story of the same name on WattPad. It’s a ghost story about a teenager overcoming her life-situation and learning to accept herself.
I also have two feature films in development, for which I’m a writer and producer. One is a psychological horror, The Murdering Kind, which is being directed by my amazing, long-time friend, Academy Award winner Barney Burman. The other is The Lost Children of York, which is an adaptation of the play I wrote when I lived in London. The lovely and talented Edmund Kingsley is working with me on The Lost Children of York as a co-producer and lead actor.