EDEN ROYCE: I hope horror eventually becomes a genre that isn\u2019t frowned upon as \u201clesser\u201d. I actually hope that happens for all of speculative fiction versus literary fiction. For as much as it\u2019s maligned, horror can be a brilliant, sharp, and lingering way to express what we hold sacred as well as who and what and why we fear.<\/p>\n
I\u2019m seeing more discussions about the work of non-cis white male horror writers, more publishing announcements showing deals for these writers, and more attention being paid to writers who have traditionally been excluded from or minimized in the canon of horror writing. Much of it starts with gatekeepers \u2013 those who read slush or otherwise have the job of sorting through submissions. Have more people who understand different methods of storytelling. Look at your staff: are they all one demographic? Consider expanding that.<\/p>\n
Also, look at how and to whom your books are marketed. Think more widely about how you describe and position your books in the marketplace. Do you want more BIPOC readers and reviewers? Seek them out; ask them if they will read your books and don\u2019t assume they\u2019re always aware of your releases.<\/p>\n
GABY TRIANA: I would love to see more Latina\/Hispanic voices, as well as more Black, Asian, and transgender voices in horror. There\u2019s simply not enough. We\u2019ve come a long way, but there\u2019s still more work to do. One way to achieve this is by hiring editors who are Latina, Black, Asian, transgender and any other underrepresented group out there. Reading about a variety of people is how we learn about the world, how we develop empathy, and it\u2019s time to get diverse.<\/p>\n
A recent example of a change in approach is The Twisted Book of Shadows<\/em> anthology with editors Christopher Golden and James A. Moore. Chris put together a diverse editorial committee to read blind submissions; widely circulated the submission guidelines with a clear message of wanting work from everyone<\/em>. In the end, Chris and Jim were given a list of fiction from the edit committee that could have filled three anthologies out of over 700 submissions. They made the final decisions on fiction from the committees\u2019 selection. The anthology was on the final ballot for the HWA Bram Stoker award\u00ae 2019 for Anthology, and won the Shirley Jackson Award in Anthology.<\/p>\n Another anthology that changed the paradigm, Sycorax\u2019s Daughters<\/em>, was a HWA Bram Stoker award\u00ae finalist, gathered great reviews and was edited by Prof. Kinitra Brooks, Prof. Susana Morris and myself. The original idea was Prof. Brooks\u2019 to create an anthology of horror fiction and poetry written by Black women.<\/p>\n The HWA has created outlets, like the monthly column The Seers Table<\/em>, to introduce membership to underrepresented creatives.<\/p>\n There\u2019s much work to be done, but these are examples of what can be done.<\/p>\n V. CASTRO: Again, we need more people of color represented in horror, and not as characters. We need to support writers of color so they continue because it\u2019s very easy to become discouraged in publishing. It\u2019s falling and getting up again. The more we show writers of color it is possible to be seen and heard, the more diversity we will see cropping up. The more opportunities offered to people of color will also boost morale.<\/p>\n I think women are making strides everyday in publishing, however, there have been a string of stories of harassment. We don\u2019t just need our stories to be published, we require respect and dignity. We require to feel safe. If men can\u2019t do that then they have no place in publishing and are just taking up valuable space. They can fuck right off.<\/p>\n G.G. SILVERMAN: I\u2019d like to see horror get the same respect as literary fiction. As for representation, I feel like more women are getting represented in horror, but I\u2019d love to see more intersectionality, more BIPOC folks represented, more LGBTQ folks, more disabled folks. and not just as writers, but in all areas of publishing. And I\u2019d love to see all of us reaping the financial rewards, contract-wise, that white male writers get. Representation isn\u2019t enough. The true financial support of the industry\u2014that would go farther.<\/p>\n SONORA TAYLOR: I hope we\u2019ll see less gatekeeping, both in the fandom and in the publication world. I can\u2019t count the number of times I see people having the \u201cWhat\u2019s real horror?\u201d debate. Horror is wide-ranging. It isn\u2019t just monsters and blood. It isn\u2019t just Stephen King and H.P. Lovecraft (with a passing mention of Shirley Jackson to throw women a bone). Why spend all this time debating the intricacies and shouting down fans when you can just read it and enjoy it? Though I will say for every gatekeeper, I see 10 or 20 awesome fans who are open to all kinds of stories and all kinds of storytellers.<\/p>\n This is where publishing needs to keep up. People are only going to talk about King if you only promote King, if you only offer your entire horror marketing budget to King, if you only ask King to blurb new books coming out; and if your non-King authors are all almost the same demographics as King. The next Stephen King doesn\u2019t need to be another white man. All kinds of storytellers should be given a chance to have their stories told on a widespread level.<\/p>\n What projects are you currently working on? Also, what works of yours have been recently released or are set for release?<\/strong><\/p>\n EDEN ROYCE: I mentioned Root Magic<\/em> earlier \u2013 that\u2019s due to be released on January 5, 2021. I\u2019ve turned in another middle-grade to my editor, this one is a Southern Gothic fantasy (magical realism !!!) and I\u2019m working on a YA horror novel. You\u2019ve also got me thinking about this romantic horror crime noir, so that will be percolating in my head as well!<\/p>\n GABY TRIANA: Right now, I\u2019m writing a witchy occult novel called MOON CHILD. It\u2019s in the beginning stages, so I can\u2019t say more than that. I\u2019ve also co-written a paranormal horror novel with two celebrity individuals. Sorry to be vague, but they\u2019ll be making an announcement at the end of the summer! Also, I have a short story called \u201cDon\u2019t You See That Cat?\u201d coming out in DON\u2019T TURN OUT THE LIGHTS: A Tribute to Alvin Schwartz\u2019s Scary Stories to Tell in the Dark (September, 2020, HarperCollins) and a flash fiction piece called \u201cGut Instinct\u201d coming out in Issue #365 of Weird Tales Magazine<\/em>, slated to release at the end of 2020, soon available in print, e-book, and audio.<\/p>\n LINDA D. ADDISON: I\u2019m finishing edits on my first novel. This has been a grand adventure because it\u2019s a new form for me to play in. For 2020 I have work in the following anthologies: Miscreations<\/em>, Don\u2019t Turn Out the Lights<\/em>, Chiral Mad 5<\/em>, and Weird Tales Magazine<\/em> #364. I\u2019m also excited about the 2020 release of a film (inspired by my poem of same name) \u201cMourning Meal\u201d, by producer and director Jamal Hodge.<\/p>\n V. CASTRO: I have 3 short stories out. Next year you can expect The Queen of the Cicadas<\/em> from Flame Tree Press and Goddess of Filth<\/em> from Creature Publishing.<\/p>\n R.J. JOSEPH: My most recent academic essay, \u201cThe Beloved Haunting of Hill House: An Examination of Monstrous Motherhood\u201d appears in the essay collection edited by Kevin Wetmore, Jr., The Streaming of Hill House: Essays on the Haunting Netflix Adaption<\/em>. I also have a poem appearing in the upcoming HWA Poetry Showcase VII<\/em>.<\/p>\n I\u2019m currently fleshing out screenplays for my short stories \u201cLeft Hand Torment\u201d (historical horror from the Black Magic Women<\/em> anthology) and \u201cTo Give Her Whatsoever She May Ask\u201d (contemporary horror from the Sycorax\u2019s Daughters<\/em> anthology). I\u2019m also pulling together a story collection that I plan to have done by the end of next month. I hope to have something exciting to say about those three projects at some point in the near future.<\/p>\n I\u2019m also working on a dark, feminist poetry collection. And hoping to shop that around next year as well.<\/p>\n As for recent releases, I had a story come out at Speculative City<\/em>\u2019s WEIRD issue, in celebration of Weird Fiction that defies the previously white male conventions of the genre. The story is called \u201cI\u2019m sorry, I tried, I love you\u201d and can be found here: http:\/\/www.speculativecity.com\/fiction\/im-sorry-i-tried-i-love-you\/<\/a><\/p>\n And, in a deep nod to my immigrant heritage, my gothic Italian sea monster story, The Miraculous Ones<\/em>, is in the NOT ALL MONSTERS Women in Horror anthology, from StrangeHouse Books.<\/p>\n Soon, I\u2019ll also have a witchy faux micro-memoir out from Rough Cut Press, which will be available online.<\/p>\n I feel so lucky that I get to do this work.<\/p>\n Thanks again for having me, Gwendolyn! Your work inspires me, and it is an honor to be here today.<\/p>\n![\"\"](\"https:\/\/www.gwendolynkiste.com\/Blog\/wp-content\/uploads\/2020\/08\/Linda-D-Addison.jpg\")
<\/a>LINDA D. ADDISON: My hope for horror is the same as my hope for the world: for differences to be embraced and enjoyed. The way to increase representation in writing is to have gate-keepers\/editors that include the underrepresented, how else can different kinds of writing be selected. The publishing industry has to be mindful, put in extra work to seek out and include others in their platform. Old patterns don\u2019t change by thought alone. We\u2019ve had projects called out that are clearly not putting the work in to create inclusive anthologies, etc.<\/p>\n<\/a>R.J. JOSEPH: I see a lot more women being welcomed into the fold, as well as an inspiring number of men in the genre who understand why they need to proactively work towards equity for all horror writers. I hope this extends more fully to writers of color, at some point. There\u2019s still way too much policing of the types of ethnic enactments that are \u201cacceptable\u201d and those that gatekeepers don\u2019t want to support. A horrifying number of reviewers who approach books by own voices authors as alien works they just can\u2019t relate to\u2026pretty much because they just don\u2019t want to expand their world views to include anyone not like them or the stereotypes they\u2019ve built up about other folks inside their heads. I\u2019d love to see all those walls broken down so that future horror writers of color never have to read reviews of their work written by people of other ethnicities bashing how they\u2019ve chosen to write about their own experiences, or watch everyone around them (including less talented writers) get opportunities that are never extended to them.<\/p>\n
\n\u201cAsylum\u201d in Lockdown<\/em> from Polis Books
\nCucuy of Cancun in Worst Laid Plans<\/em> from Grindhouse Press
\n\u201cTemplo Mayor\u201d in Graveyard Smash Vol.2<\/em> from Kandisha Press<\/p>\n<\/a>G.G. SILVERMAN: Currently, I\u2019m working on a feminist speculative short fiction collection that lies somewhere between dark fantasy and horror. I still need an agent, and a publisher, but my proposed collection was a finalist for the Barbara Deming Memorial Fund (for feminist writers and artists) so I feel like the collection has potential.<\/p>\n