Archive for Writing Horror
Gray Matter – The New Writer’s Rejection: Zero Purchases
Posted by: | Commentsby Robert Gray
Self-publishing ebooks is the future, right? I mean we’re reading J.A. Konrath’s blog and seeing his phenomenal sales figures, we’re hearing about Amanda Hocking, the “99-Cent Kindle Millionaire,” and what about the latest news? Barry Eisler turning down a $500,000 contract and going the self-publishing route?
The numbers are enticing, too. Authors choosing, say, Amazon’s ebook publishing model get to keep thirty-five to seventy percent of their royalties (depending on how you price your ebook – more on that later) as opposed to the standard 35 percent of net sales (around 17.5 percent of the sale price) offered by traditional publishers. Oh, and if you have yourself one of them fancy New York agents, don’t forget about their cut, too. To sweeten the pot further, with ebooks there is no waiting a year or more for your book to hit the shelves. Instant gratification. Isn’t it wonderful?
And perhaps the biggest attraction, especially for young writers, you get to bypass the line and go straight to the front. In other words, you don’t have to go through that long and painful rejection processes. Hell, you don’t even have to deal with the publishing industry at all. You, my friend, are a self-employed entrepreneur, and you have total control of your book.
There is an allure to this new frontier, no doubt about it. Especially, I believe, with horror. The horror community is a rather small one, and there are only so many outlets we have. Once you’ve exhausted those outlets – game over. But being a small community also has one major advantage: it’s easy to find your fan base. And they are hardcore. Just check Brian Keene’s latest blog post about boycotting Dorchester and try to prove me wrong.
If you’re considering going the digital route, there are steadily becoming less and less reasons to say no, but there is a flip side to this new-age California gold rush, a reality that isn’t getting the spotlight it deserves. For every J.A. Konrath there are thousands of self-published ebooks that sell fewer than ten copies a month. There’s a number of reasons for this (including luck and its every-wicked choosing system) but I’ll just focus on the most important one: Quality. I don’t care if you’re Stephen King or the Great Unknown, you need someone who will help make your book shine. Most self-pubbed books out there are littered with plot holes, bad dialogue, laughable metaphors and even basic grammar mistakes. Hell, many of them aren’t beyond first drafts. You could argue that plenty of published novels have the same problem, but with published novels, at least you have the security of knowing more than one person read the damn thing before sending it off into the wild.
To put yourself ahead of the garbage you’re gonna have to spend some money. This is the unfortunate side effect of doing everything yourself. At minimum you’ll need a professional editor to look at style, plot, narrative voice, character development and so on. Then you’ll need a copyeditor to handle line edits. There are plenty of freelance services out there, and they can be costly. I’ve spoken to editors that charge more than ten grand for their services, though I’ve also found others that charge well under a thousand, too. How much or how little you spend is up to you, but keep in mind your goal is to make your novel the best it can be. You’re also gonna need someone to do your cover art. Good news on that front. This will be one of your least expensive purchases. There are a ton of brilliant artists out there that will do your cover for a hundred dollars or less.
Now here’s the big question: you’ve just invested, say, $1500 dollars to get your ebook ready for prime time. How much of that investment do you think you’ll get back? If we use the Amazon model, and you sell your book for $2.99, you’ll get 70 percent of the royalties, which amounts to about $2 per book sold. At that rate, you’d have to sell 750 ebooks just to break even. Drop your price below $2.99 and you get only 35 percent. At 99 cents, for instance, you’d have to sell over 4,000 ebooks to break even. That’s a lot to ask of a new writer, so don’t be surprised if you take a big hit on that first novel.
Which takes us to the next phase of your ebook: Marketing. Today’s writers have the luxury of the Internet. We have Twitter, Facebook, YouTube, Goodreads, Shelfari and everyone and their grandmother has a blog. These are all free tools to help spread the word that your book has arrived in the world. Hooray! It’s a girl! Problem is everyone else is doing the same thing. There’s a lot of noise out there and getting your message through the static is near impossible these days. Take a look at your own accounts. How many authors send you messages through Facebook alone? How so and so has a new novel and they’d just love for you to review it on Amazon? They’ll even throw you into a drawing to win a new Kindle. How well does this marketing strategy work on you?
As I mentioned before, in the horror community it’s easy to find a fan base, but that doesn’t mean they are going to purchase your novel. You’re still an unknown, and readers are going to proceed with extreme caution. Pepper them with spam, and you’ve just written your own epitaph. The best you can do is put together the highest quality product possible and hope it builds momentum. That’s one model that will never change. But what you do have on your side is that readers will be more willing to take a chance on a new writer for 99 cents or even $2.99. If they like it, and you can build their trust with some more novels, maybe they’ll spend some serious cash on that beautiful limited edition down the road.
So if you think you’ve got the next ebook bestseller, give it a shot, but don’t be surprised when the cash doesn’t start rolling in. We might be heading into the next generation of publishing, but for many it’s just old-fashioned rejection with a higher price tag.
Gray Matter – Before You Begin
Posted by: | Commentsby Robert Gray
You’re ready to write your first novel. You’ve got a great story that has been building in your head, one that speaks to the human condition, one that allows you to release all of those fears and loves and grievances. And then you start to write, but what appears on the screen isn’t what you imagined. Your sentences are weak, and the characters move like mindless zombies from page to page. You’re only in a few thousand words, but you can already feel your momentum dying. You can’t figure out why everything’s going wrong. Hell, your three-year-old in the next room is coming up with better stories with a pocket dictionary turned upside-down. Why can’t you, a grown adult who knows a thing or two about writing, barely form a coherent sentence?
Because this shit ain’t easy, that’s why. Writing is a lifelong investment, one that is never truly mastered. So when you start writing the next great novel, you should be mentally prepared for a tough road ahead. And like any trip, you need to make some preparations first.
Get On A Schedule
Just because you decided to sit in front of your computer and write a novel doesn’t mean you’re serious about the craft. You need to put in the hours, and, more importantly, you need to get into a routine. Put some time aside – everyday if possible – preferably when you’re at your most creative. Some texts recommend you write for a certain number of hours, some say stick to a word count. I say do what makes you comfortable. The point of a schedule is not only to help improve your ability, it’s also to prep your brain, to let it know it’s time to get into writing mode.
Avoid Distractions … Or At Least Try To
Stephen King suggests that your writing room have only one thing: a door. “The closed door is your way of telling the world and yourself that you mean business; you have made a serious commitment to write and intend to walk the walk as well as talk the talk.”
Sure, it’s hard to tell the people in your life, Hey, I’m trying to write right now, so please leave me alone. I know. When I try I usually get blank stares. But too many distractions, and you’re never gonna get into the right frame of mind.
And what about those self-inflicted distractions? I’m talking Facebook, Twitter and e-mail. I’m talking television and video games. I think young writers break from their stories often because they have this romantic notion of The Writer as one who stares out the window upon a snow-covered lake, not writing, but pondering about life. Only when the muse has been appeased, and the writer sits down to the page, a fury of golden words will spill out. There is a small bit of truth to this. During writing, there are always moments of reflection, but they should be brief and charged with internal discovery. What they should not be is a Twitter update that says, Check me out. I’m writing my novel right now.
Don’t Sweat The Small Stuff
When you sit down to write, the best you can do is to put one word in front of another. There is, to my knowledge, no other way to finish a novel. Sure, you’ll be rewriting scenes, taking in and pulling out characters, tightening your prose. You’ll have days that go smooth and others where you want to bash your computer with a baseball bat. That’s normal. You should have a deep emotional investment in your story, both good and bad. Just keep at it. Find the next word, and then the word after that. And keep it going until you reach the words THE END.
Write Your Story
Every story is, in part, a biography. It’s your world and how you see it. And it is the reason when an author tries to write outside of themselves, usually in an attempt to sell more books, the effort is often stale at best.
If you find you’re having a hard time writing, then maybe you are trying to write someone else’s story. Joyce Carol Oates suggests to her students that they write about their true subject. “How will they know when they are writing of their true subjects? By the ease at which they write. By their reluctance to stop writing. By the headachy, even guilty, joyous sensation of having done something that must be done, having confessed emotions thought unconfessable, having said what had seemed should remain unsaid.”
Write your novel. Don’t be afraid to explore all that you are. I guarantee you’ll find more material than you ever thought possible.
Gray Matter – Write What You Know
Posted by: | Commentsby Robert Gray
One of the first pieces of advice new writers often receive is to write what you know. Easy enough if you’re writing a memoir, but what about horror fiction? How does this advice apply when, say, trying to enter the mind of a psychotic killer, assuming of course, you haven’t indulged in murder yourself? How can you accurately describe a zombie, vampire or demonic toy apocalypse without having survived through one? In other words, does writing what you know even apply to horror?
The answer is it applies double.
Why? Because if you want your readers to experience fear, the first thing you need to do is make an agreement with them; one that says, I am going to scare you, and I’m gonna do this by showing you the truth within the lie. Part of that truth comes from your emotions. Your fears. It’s what keeps you awake at night. It’s what you know. And it’s what you want others to know, too.
To break this down a little further, let’s look at my example: how to write from a killer’s perspective. First, think about the act of murder. You know that taking a life is no small task. You also know it happens every day and in every way, sometimes justified, but more often not. Use that information to shape your character’s personality. Then, start going deeper into yourself. Maybe you experienced the death of someone close to you – a tragic accident, a family member’s life cut short. There’s a lot of emotion there, and, thinking like a writer, there’s a lot to explore there, too. Why not use it to your advantage? Maybe your killer’s motivations will touch on these emotions, either to go against them or to amplify them.
Once you have the shape of your character, it’s time to start adding the flesh and bone. To do that, you’re gonna need to go to those dark places, where you keep the secrets no one else knows. Have you ever thought about taking someone else’s life? Not that you’d ever go through with it, but deep down, if you could get away with it…? What does that feel like? What does anger feel like? Pain? Revenge? What is your breaking point, and what would happen if a situation went that far? What you’re doing here is empathizing with your character. You’re acting.
See how this works? And really, it applies to every aspect of your story, from scene description to fear itself. Write about you’re experiences, you’re perceptions of how people act and react. Put yourself in the scene and think about what you would do under those circumstances. Create characters and situations that are pieces of you. Then pump ‘em up with steroids.
Let it out. Tell the truth. Be brutally honest. Write what you know, no matter how much it may hurt. Because that, folks, is what horror is all about.
Gray Matter – Write Everyday … The Right Way
Posted by: | Commentsby Robert Gray
If you want to be a fiction writer you need to write every day. Go to a bookstore and open up any book on writing and you’ll find that piece of advice. Hell, do a search for the term “Write Every Day” in Google and you’ll get a cool 475, 000 results. There are plenty of reasons why this is good advice, but perhaps the most widely agreed upon is that it keeps your writing muscles strong. Because writing fiction isn’t like riding a bike. If you stop doing it, you’re gonna forget the intricacies of the craft.
But if you’re repeatedly making the same mistakes, then writing every day isn’t going to help you much. Need I remind you of the Jack Torrance bestseller ALL WORK AND NO PLAY MAKES JACK A DULL BOY?
Quick story: When I was a kid I wanted to learn to play the guitar. I saved my coins until I was able to get a cheap Gibson Epiphone and a small amp. Reading music or even learning the notes didn’t interest me. I wanted to play Heavy Metal. That stuff was edgy. It took chances. At the time I was sure all my favorite guitarists were self-taught, because they were doing all sorts of amazing things with a guitar that couldn’t be learned in a classroom. I picked up some tablature books (back then we had no internets) and taught myself how to play my favorite songs. And I practiced a lot. Hours per day. Until my fingers literally bled. A few years later I decided to take a lesson, just to gauge how truly gifted I was. Within ten minutes my ego had deflated to the size of a raisin. Not only was my finger placement all screwed up, but I was even holding the pick wrong. Sure, you can argue that a note is a note no matter how you hit it, but once I adapted to the correct way of playing, I improved much faster.
The point is while writing every day is important, if you’re doing it wrong, then you’re wasting time. With writing there is a lot you can – and should – learn on your own, but there comes a point when you need constructive criticism to let you know what you’re doing wrong. In other words, you might be hitting the notes, but chances are you’re holding the pick the wrong way.
While I’m not suggesting you run out and apply for an overpriced MFA, I would suggest you consider attending a workshop that will analyze your writing and help you pinpoint areas where you might need some guidance. The key here is to find a workshop that helps you improve, because many of them are useless. Believe me, I’ve been to plenty, especially in college. You know the ones: where the rest of the students are just trying to get their three credits and your poet professor thinks that writing in the horror genre is the equivalent to acting in the porn genre.
If possible, try to find a workshop that is taught by a writer you know and respect. Many professional writers are out there teaching courses to supplement their incomes, so take advantage of their knowledge. These guys and gals don’t eat if they don’t sell stories. Keep that in mind. They take writing seriously, and they know what they’re talking about.
If you can’t attend one of these workshops, either because of cost or location (though many are offered online these days), try to attach yourself to a group of like-minded writers that are better than you, or at least equal. Sure, critiquing young writers is helpful because it reaffirms your own knowledge, but it doesn’t benefit you if everyone in your group is praising your work, because it is beyond their ability to properly analyze it. If you find yourself in that situation, then it’s time to move on to a different group, one where you can get some real advice.
You can’t teach someone how to write well. If anyone tries to tell you otherwise, they’re trying to profit from your insecurities as a writer. Each writer needs to develop a unique style, a fingerprint, and that only comes with lots of practice. But what a workshop can do is make sure you’re staying in the boundaries of good writing. It’s also a safe zone where you can let your creativity fly, because you know there’s a net below to catch you. And most important, it gets you writing every day. The right way.
For a list of workshops, check out: Predators & Editors
Also, I highly recommend: The Cult Writers Workshop
Ty-ing Up the Genre – Genre and Gender
Posted by: | CommentsHosted by Ty Schwamberger
Written by Kelli Owen
Men are pigs.
Men are lazy.
Men love sports, fast cars and loose women.
Now, while some men may fall under the previous assumptions, not all do. And not all women who write horror want to be asked what it’s like “to be a woman writing horror.” Nor do they want it pointed out they’re a woman in the first place. Why do I bring this up? Assignment. But also because it’s a topic I know a little about, and have ranted about on convention panels and online blogs over the years.
There are rumors claiming some people actually care what’s between a writer’s legs when deciding whether or not to read their fiction. Really? Does it matter how tan they are? Whether or not they’re vegetarian? If they go to church, how often, or which one? Whether they shower in the morning or evening? The answer is simple. No, it doesn’t. None of that matters. It also doesn’t matter if the writer has a degree in English or Accounting, a full-time job, a pet, two-point-five kids, or a haunting memory of teenage acne. What matters is the work. The words. The story and characters.
The ending of every story is far more important than the bio of any author.
Stop, read that sentence again.
Do you watch movies because they look good or because a guy directed them? Sure there are cases where you love the director (or writer) and will watch (read) just because it’s them, often without seeing a preview or reading the back cover copy. But if you see a preview (cover) and it looks interesting, do you choose not to watch it (read it) because a girl was involved? Really? Doubtful. Actually, I’ll go out on a limb here and say, “No.” I don’t believe the majority of you would. You’re going to base your decision on whether or not it looks interesting and whether or not you have any previous encounters with the creator and/or their work.
It is not based on their genitalia.
It was at this point that the article started to meander and I realized I had to reel it in. I could go on fourteen different tangents on the topic, and did on the green couch rant-fest with Bob while formulating my article and argument. But let’s concentrate on one of those tangents. Let’s look at the root of this issue: the supposed belief that women write differently than men.
Somewhere in the middle of my couch rant, I said something that stuck with me. As I came back inside, it rolled around the edges of every sentence I attempted to write. So let’s go there. Let’s examine the idea that (some) people supposedly believe women can’t write horror. Why do they think that? Well, remember that thought that got stuck in my head? I have a theory…
When you were younger and you were reading a novel or a magazine, 99% of the boys out there never heard, “You’re reading horror? Why?” If society, parents, teachers, whomever thinks little girls shouldn’t read scary things, why in the hell should they grow up and write them? See, by nature, that odd little “you’re a princess and should like horses and romance novels” bizarro-land thought process of gender biased beliefs and pink versus blue codes for raising children follows us into adulthood. As adults, most female horror writers hear “You write horror? Oh my god, why?” And only a few men will hear a version of it, which often includes silly inquiries into what tragic childhood incident could have caused such an outcome.
Yet, in the adult world of fiction, there are more men writing romance (under pseudonyms) than women, and oddly enough, women do better (under their own names) in thrillers than men do. I’ve heard this, been told it, and with a little research online and a quick stop to the local store to check the bestseller rack at the checkout, I see this. So if we can cross those boundaries without question, and can share fantasy and historical fiction, why can we not share horror?
I can honestly say that I have never included “and I have boobs” in a submission letter. It doesn’t matter. Again, it’s the words that matter. The reality isn’t that it’s a boys’ club, or harder for women to succeed – it’s not. Period. You are only inhibited by your own fears. If you want to be published then learn to write, say something interesting and get yourself published. If you think it’s a boys’ club and avoid the playing field because you don’t belong, you’re only hurting yourself.
There is no secret handshake. There is no glass ceiling. The truth is, by pure industry ratios, there are just less women than men openly writing horror. Most likely, as we go back to the theory, because we write what we enjoy – we grow up to write what we read as children. I didn’t read about princesses in castles. I read about serial killers and the Old Ones. I wouldn’t have the first clue how to write a romance. But I can tell you what has and hasn’t worked for me as a reader of thrillers and horror.
To follow the idea of this lopsided ratio further, let’s compare it to other things. For example, the percentage of women in the horror genre as equated to tomboys versus girly girls, and/or tomboys versus boys. I was the lone tomboy in my gang. That made me one out of six boys, one out of four girls. Strangely enough, that’s about the same ratio as the male-to-female writers I tend to hang out with.
That doesn’t mean women write it differently, or weaker, or softer (because as a case point, I write much more brutal fiction than my male other half). It just means there are less of them. And if you’ve read only a handful of the top female writers in the last decade, you would know they can hold their own.
So why are people still asking the question? Still presuming women are somehow different than men when it comes to writing. I don’t know. But those that do can stop now. Please. Stop perpetuating a falsehood and judge the writer by their words. After all, we’re all using the same dictionary. Same language. Same tropes, tricks and internal fears to move our readers. Some of us just have boobs.
You can learn more about Kelli and her writing at: Kelli Owen
Ty is an author in the horror genre. To learn more about his work, you can visit his website at: Ty Schwamberger
New HWA Membership Level
Posted by: | CommentsThe Horror Writers Association has announced that it is now accepting non-professional members in the newly created “Supporting Membership” level.
Although the HWA is largely dedicated to servicing professional writers in the genre, it also recognizes that, as the only non-profit organization devoted to advancing and promoting horror, it exists to serve all those who have an interest in the genre. The new Supporting Membership will offer readers, fans, and writers who are still working towards that first professional sale the opportunity to interact with some of their favorite writers, the ability to recommend works for the organization’s prestigious Bram Stoker Award, and discounted prices on the organization’s annual Bram Stoker Award Weekend (to be held June 16-19, 2011 on Long Island, with guests including Peter Straub, David Morrell, Douglas Clegg, and many more). Supporting members also receive HWA’s monthly newsletter (edited by Kathy Ptacek), internet mailers with up-to-the-minute news and special offers, and limited access to the organization’s message board, where they can discuss their favorite books and movies, receive valuable tips from the pros, and learn more about HWA’s various projects.
Supporting Membership dues are offered at a special reduced rate – $45 for an entire year. Those joining as of December 1st will also receive that month as a bonus.
For more information: Horror Writers Association
For more information on HWA’s Bram Stoker Awards Weekend: 2011 Stoker Weekend
Ty-ing Up the Genre – My Own Ghosts and Why I Love (All But One Of) Them
Posted by: | CommentsHosted by Ty Schwamberger
Written by Elizabeth Massie
Pin any established* horror writer to the wall and demand he/she give a clear, detailed explanation of how they came to write what they write, and you’ll get an answer unique to that writer. The answer may have similarities to the answers of others, but his/hers will also have small details that are personal, intimate, and sometimes painful. That’s because horror is a genre that deals with the personal, the intimate, and the painful. Yes, it can deal with universal themes and often does, but the writer who imagines these tales are coming at them from their own dark and private places.
I’m going to get personal with this. Stop reading now if that idea bores or bothers you.
(*A quick clarification: I specify established horror writers because they are the ones who continue to delve over and over again into the terrifying and the troubling, the horrifying and the hurtful, the human and the inhumane. Some writers have dabbled in the genre for the fun of it, sticking a toe or foot into the swamp, mainly in an attempt to see if they can gross-out a reader. It’s my guess that most of these writers won’t become established. After a while the fun of the gross will fade and they’ll move on.)
I’m a horror writer. It’s not all I write. I also write historical fiction, media tie-ins, features and biographies for American history textbooks, science readers and activities for elementary and middle school programs, language arts testing passages, poetry, and plays. But horror was my first love, and we remained committed to each other.
I was a ‘fraidy-cat when I was little. That’s not to say I was cowering in the corner at any given moment, but a lot of things disturbed and bothered me. The second of four kids, the second of three girls, I fit many of the “middle child” traits: I tended to be secretive, keeping my deeper thoughts and feelings to myself. I was a peacemaker, trying to see all sides of a situation. I often felt alone, though was lucky enough to have a sister (my younger) who was and remains my best friend.
And I was overly sensitive. And some things that scared me didn’t seem to bother my older sister or younger brother.
There was the witch who lived a block down the street; she sat on her front porch and made bizarre sounds as we’d run by. There was the haunted house on the hill across the street; we never saw anyone go in and out of that house – ever – but there were lights that went on at night. There was the bully who lived in the duplex next door; he broke my Chatty Cathy doll so she could never speak again. There was a ghost in our basement, in that back-back room where nobody went. There was a smashed baby doll head that came to sit in my window at night to stare at me. There was the arm under the bed that grabbed for my bare ankle should it protrude from under the covers.
Not only was I surrounded by things I imagined wanted to catch, eat, or terrorize me, but I also grew up during a time of astoundingly strange, frightening, unsettling, and sometimes socially challenging television shows and movies. No Saw or Hostel. No Audition or Human Centipede. Rather The Twilight Zone, Outer Limits, Alfred Hitchcock Presents, and Way Out. There were short films our class watched that warned us of the dangers of blasting caps, and we were crowded into the school auditorium to view Fail Safe and short documentaries on how we were to protect ourselves in case of an attack by the Soviets. A good number of these offerings dealt with themes of good and evil, fairness and injustice, understanding and denial, judgments and misjudgments, compassion and cruelty. These stuck with me. I thought about them. I dwelled on them. I tried to figure it all out.
My reading choices were varied, but included darker, more introspective works that lingered, that made me question and think about the human condition, even when I was not yet a teen. The Child Buyer by John Hersey, Fahrenheit 451 by Ray Bradbury, and Psycho by Robert Bloch. I read accounts in the papers and magazines about the brutality of the Vietnam War and the oft-times bloody fight for Civil Rights.
Then there was the issue of my own abuse. First, let me state right here and now that my nuclear family was wonderful, fun, loving, nurturing. So was most of our extended family, and we had quite a few in our small town. Yet it is my speculation that most families have a cold place, a danger zone. Ours was in the form of one particular family member. I won’t specify, but will admit here that I was sexually molested by this person. Off and on from age five until I was about eleven. I felt disgusted, confused, angry, and helpless. This kind of violation will settle into your soul and leave its mark. It will make you fearful and distrusting of certain aspects of life, but can also give you the chance to fight back and rise up. It can give you insight into the pains and struggles of others. It can cause you to wrangle with the concept of the terrors humans can endure (or not) and the intrinsic value of humanity itself. As for me, I have risen. The abuser is long dead and I live on.
Never in a million years would I have, during those tender years, imagined I would become a horror writer. A writer, yes. I always wanted to be a writer (as well as a famous horseback rider and actress), but writer of horror fiction? No. Yet life has a way of leading you up the right path if you pay attention. And so here I am. Embracing most of the ghosts of my past for what they are and what they did for me. Appreciating the things that disturbed me because they have a role in the writer, and the person, I am today.
I write horror. My horror may be psychological or supernatural. My horror may be graphic or understated. My horror may deal with social issues or spiritual issues. It may deal with the alienated, the isolated, the lonely. It may deal with the wealthy or the poor. It may be light-hearted or serious. But it all springs from my ghosts, from my past. And as time goes on, I collect more ghosts. I embrace them and all their disturbing aspects. I use them. I learn from them. And I hope my offering them up to readers might find something of value for themselves, as well.
Next time you meet a horror writer, keep this in mind. We’re dealing with our own personal, intimate, and painful ghosts, in whatever combination or quantity that might be. For our own reasons, we feel compelled to lay some of that bare and share with you. Don’t assume we’re just “trying to add more horror to the world” as one woman at a book signing accused me of. Most of us are, I believe, trying to understand the roots of horror, the reasons horrors exist. We’re writing for ourselves. We’re also writing for you. Our genre may make us seem tough, but it’s my guess that we all have a private, tender place on the inside. If you cut us open, yes, we’ll bleed.
You can learn more about Elizabeth and her writing at: Elizabeth Massie
Ty is an author in the horror genre. To learn more about his work, you can visit his website at: Ty Schwamberger
