Lisa Morton describes Dennis Etchison’s work as a “brain bombshell” that changed her idea of what horror fiction could do. When she was just starting out, Etchison had a major influence on both her art and her career. In this month’s edition of Nuts & Bolts, Lisa discusses Etchison’s writing technique, his influence on her own work, and what writers today can learn from the late horror legend.
Early in his career, writer and director John Harrison picked up techniques about telling a horror story from collaborating with George Romero. He’s spent decades refining those techniques as a screenwriter, director, and novelist – most recently in a new novel that released on the 11th of this month, Residue: Paramentals Rising, based on the Netflix series he created. In this month’s edition of Nuts & Bolts, John shares his thoughts about telling a horror story and storytelling in general. He also gives advice about releasing a book, and getting into TV writing.
Whether they come by way of Oz, Wonderland, or the Brothers Grimm, nightmare-inducing children’s stories are the gateway for many nascent fans into the strange, terrifying, and delightful genre of horror fiction. Joe R. Lansdale took a crack at children’s horror fiction with the Ray Bradbury-influenced Something Lumber This Way Comes, which is being rereleased by Pandi Press this month. Kasey Lansdale, executive editor of Pandi Press, provides some useful information about the publishing industry for aspiring authors in this month’s edition of Nuts & Bolts. And Joe gives some tips on writing children’s fiction.
Before he could create Vietnam veteran John J. Rambo in First Blood, thriller and horror author David Morrell had to find that pesky “ferret.” That’s how his mentor Philip Klass, aka legendary science fiction author William Tenn, used to describe it. Professor Klass, who’d taken David under his wing at Penn State University, used to say that if you’re a writer, a dominant emotion fuels your craft. No exceptions. It could be anger or joy. Sorrow or lust. Like it or not, you’re stuck with it because it’s an integral part of you. The professor compared it to a ferret rooting around in your psyche. Elusive. Ravenous. And worst of all, unwilling to be found.
Taking a creative writing course is a concept that some of Ray Cluley’s fellow authors seem to find puzzling. Even objectionable. If you’re calling yourself a writer, shouldn’t you already know how to write? Since it’s such a personal endeavor, how can it even be taught?
In this month’s edition of Nuts & Bolts, Ray discusses the full range of benefits from a creative writing course, and how even seasoned professionals can use one to hone their craft.
As a novelist, short-story writer, filmmaker, playwright, and theater director, John Patrick Higgins has explored the art of story-telling from many different perspectives. In this month’s edition of Nuts & Bolts, he discusses the counterintuitive similarities between horror and humor, and gives advice for authors who’d like to try writing for the stage.
Nobody becomes a writer because they had childhood dreams of negotiating contracts. Like it or not, according to author Todd Keisling, it’s part of the job for authors without an agent. In this month’s edition of Nuts & Bolts, Todd talks about what authors – particularly beginners – should know about self-advocacy.
The great thinkers of the Renaissance get plenty of credit for their indelible mark on art, science, and architecture. But maybe they don’t get enough credit for another field to which they made an enormous contribution – horror tropes. Demon-summoning rituals? Deals with the devil? Spellbooks full of dark secrets that must not fall into the wrong hands? All part of the legend surrounding Renaissance-era “magi,” who straddled the line between scientist and sorcerer, and who inspired literary accounts of Faust and Prospero. Anthony Grafton, a Princeton University history professor, tells their fascinating story in Magus, his study of Renaissance-era magic and its practitioners, which should provide plenty of inspiration for horror or fantasy writers who want to add an element of historical accuracy to their fictional sorcerers.
Publishing great horror authors proved more rewarding than he’d imagined,
so Crystal Lake Entertainment founder and CEO Joe Mynhardt took it a step further. He’s expanded what started as a small press into “a platform for launching careers.” In that spirit, Crystal Lake’s recent two-volume Shadows and Ink writing guide serves as a comprehensive education course for aspiring horror authors. In this month’s edition of Nuts & Bolts, Joe has agreed to share some advice on what beginning writers should know.
Over her long and influential career, editor and anthologist Ellen Datlow has played a major role in shaping not just the genre of horror, but fantasy and science fiction as well. During her pioneering stint as fiction editor at Omni magazine in the 1980s, she acquired and edited stories from writers including William Gibson, Octavia Butler, William Burroughs, and George R.R. Martin. Her Best Horror of the Year, on which she’s currently wrapping up the sixteenth volume, remains essential reading for anyone with a personal or professional interest in the genre.
In this month’s edition of Nuts & Bolts, Ellen shares advice about the craft and business of short-story writing, geared especially toward beginning writers.
Congratulations, you’ve achieved your dream of becoming a professional writer. Now what? According to author and editor Jennifer Brozek, that’s a question many beginning writers neglect to ask, let alone formulate an answer to. In this month’s edition of Nuts & Bolts, Jennifer talks about how proper career planning can go a long way toward ensuring your long-term success as a publishing professional.
Q: What factors should you consider when you're thinking of writing as a career? A: Most writers don’t start off thinking about a career in writing. If they do, they think of it in academic terms — as in that is what they have gone to school for. Once a writer has been writing and submitting their work for a while, they should have an honest conversation with themselves on what they want out of their career. What is their mountain? What are they striving for?
In this month’s edition of Nuts & Bolts, J.H. Williams III shares insights for HWA members on topics including how to successfully collaborate with other creators, and creating works for an existing franchise. J.H. Williams III’s beautifully detailed art has won him multiple awards, including a Nebula, and graced the stories of antiheroes (Jonah Hex), mainstream heroes (Batwoman), and decidedly non-mainstream heroes (Alan Moore’s Promethea.) Over a long career, he’s created significant works for DC Comics, Image Comics, Amazon, and Marvel. He’s also illustrated album covers for The Sword and Blondie. His current project, the mind-bending, multi-genre adventure Echolands, is drawing critical acclaim.
In this month’s edition of Nuts & Bolts, Bitter Karella discusses topics including personal branding, dialogue as a story-telling technique, and using humor to address serious issues.
The Midnight Pals microfiction series started as a simple but inspired running gag on Twitter. Storytellers gather around a campfire a la Nickelodeon’s Are You Afraid of the Dark?, except they’re real-life horror authors past and present — Stephen King, Clive Barker, Mary Shelley, etc.
Its author, Bitter Karella, has managed to find surprising depths in that premise, delivered almost entirely in dialogue. Midnight Pals features complex, interweaving storylines, recurring characters, and trenchant social commentary, all while remaining consistently hilarious.
Since 2019, Midnight Pals has picked up nearly 50,000 followers on various social media platforms, attracting fans including Brian Keene, Nick Mamatas, and Neil Gaiman. Bitter Karella has picked up two Hugo Award nominations, and successfully crowd-funded three collections of the series, which is being adapted as an audio podcast.
By Tom Joyce
True to the throwback aesthetic of his 2013 indie film, WNUF Halloween Special, writer, director, and producer Chris LaMartina took a low-tech approach to promoting it. He used atypical tactics, such as leaving VHS copies lying around at conventions, in the hopes that curious attendees would take them home and pop them into their VCRs.
