“Velocity. The Nature of Ghosts. Life. Existence and Extremities.”
Night Time Logic is the part of a story that is felt but not consciously processed.
This column explores Night Time Logic and other aspects of horror and dark fiction through conversation with authors ranging from favorites and award winners to underexposed talents and new comers.
I delight in exploring the strange, weird and uncanny in fiction particularly the kind of story one might call “Aickman-esqe.” My short story collection is titled The Night Marchers and Other Strange Tales in homage to Robert Aickman’s strange tales. The new Cemetery Dance Publications trade paperback edition of the book can be found here. Included are all-new story notes discussing strange tales and an essay exploring one of Aickman’s own.
Kathe Koja has long been regarded as one of the true artists in dark fiction, weaving horror into stories and novels that blur the lines of genres and realities. From her Stoker winning The Cipher back in 1991, she has upended what’s to be expected from the genre. Of course, she’s also diverted on occasion into historical fiction, young adult, suspense, and simply plain weird fiction over the years. In Velocities, some of her best has been collected, ranging from “Pas De Deux” from 1995 to “Urb Civ” from 2019 — a stunning array of styles and stories that, while accessible, reach into surreal corners of our reality and others, almost as if creeping down into the hole in The Cipher itself.Continue Reading
There’s kind of this unofficial debate among readers concerning those who enjoy unlikable characters and those who need protagonists to be tolerable in order to invest in their story.
I like despicable, flawed people. I think protagonists should be as varied as the people we encounter in real life. I don’t need to like people in order to emotionally invest in their stories — sometimes, hating them is just as fun as loving them.Continue Reading
As a horror writer coming up in the first decade of the new millennium, I’ve had the opportunity to see the dual perspectives of women’s place in the horror genre, the former reflecting where we used to be, and the latter reflecting how much progress we’ve made. Continue Reading