In the early 2000s, I started selling some short stories to horror markets. I joined the Horror Writers Association.
Why shouldn't we, so generally addicted to the gigantic, at last have some small works of art, some short poems, short pieces of music [...], some intimate, low-voiced, and delicate things in our mostly huge and roaring, glaring world?
I'm a fan of short horror fiction... in fact, the most memorable horror I've read is of the short variety... but I have a hard time pulling it off myself.
As to my writing short pieces, there are two reasons I can give you. The first is my invincible laziness. The second is that I've always been fond of short stories, and it always took me some trouble to get through a novel.
Many of my short stories (all unpublished) were horror, and the novel I'd just finished was horror, too.
I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
But the difference between the little pieces and the big pieces - I'm not actually sure which are the little pieces. With some of the big pieces, it's a lot of musical running around, whereas the little pieces, you can say everything you want to say.
When you think of it I haven't really done a lot of horror. It's amazing: I have done some really good ones, but I haven't done a lot of them.
I'm not a fan of horror. I don't think a proper horror movie has been done since The Shining.
The universe may be timeless, but if you imagine breaking it into pieces, some of the pieces can serve as clocks for the others. Time emerges from timelessness. We perceive time because we are, by our very nature, one of those pieces.
When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.
I slightly lost my enthusiasm for most acting, but I've done some little bits and pieces - curiosities.
I teach fiction in my workshops, and some of the readings could be classified as horror. For example, 'House Taken Over,' a short story by Julio Cortazar, is a work I regularly teach.
I think people seem to want to read pieces that are shorter but not as short as the pieces they can read in small bites on the Internet. It may be that the sort of long essays are hitting a sweet spot between the tiny morsels online and the full-length book.
As a kid I was into horror. I loved horror. Horror was huge. I was always into horror. Goosebumps for me was massive growing up. Horror for me was always a big thing.
By writing a horror novel where this inexplicable disorder takes over in our ordered lives, you make order look better by comparison. But below that, there's a part of us that responds to the Who bashing their instruments to pieces on the stage. There's a very primitive part that says, "Do it some more."