I think I might do this for all my releases going forward: a post on why I wrote what I wrote. For good or bad, a look into the creative process — like a piranha frenzy or a garter snake breeding ball — that results in the grim and gory birth of fiction. Here, then, is a look into why I went ahead and wrote SHOTGUN GRAVY.
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At the fore of this week, Mister J.C. “Hutch Snugglepants McGee” Hutchins interviewed me at his podcast (come and bathe in the soothing dulcet sounds of my weird voice), and in the same fell swoop turned in his answers for an interview here at Jolly Ol’ Terribleminds. Dive in, and behold his storytelling truths.
And so it feels like a good time — with Halloween approaching, with DOUBLE DEAD in November and me writing MOCKINGBIRD at present — to visit the subject of writing horror. None of this is meant to be hard and firm in terms of providing answers and advice. These are the things I think about writing horror. Good or bad. Right or wrong.
All I’m trying to say is, you want to write story, you’re going to have to deal with exposition in some form, and this list is about that. I present to you, 25 ways to twist exposition to your will, turning it into a dancing gimp that will serve you… and serve the audience.
I think I can be upfront and say that Will Hindmarch, though he describes himself as a “mooncalf,” is pretty farking awesome and I’m happy to call him friend and cohort. He’s a freelance penmonkey such as myself, crawling through the trenches, chucking word grenades and getting blood on his face as good as anybody.
I find it instructive to shine a light in dark spaces. It’s probably annoying. But, too bad. Here I am, once more kicking over logs inside the writer’s mind and seeing what squirmy little wormlets lurk underneath. Let’s tackle some more writing myths, shall we?
