The closer a horror story gets to the truth of things, the more affective it is going to be.
I was definitely a child of the '80s. Cable TV was new. I watched a ton of movies and a ton of TV. HBO would show the same movies over and over again, so I'd watch the same movies over and over again.
I'm a daydreamer - a purposeful one when I'm writing fiction.
My first two novels were quirky detective stories followed by a couple of SF/Fantasy novels.
For too many of our citizens, Christianity has become entwined with the ecstatic worship of the gun and violence. For the adherents, there is no compassion, no love thy neighbor, no peace, no reason, and God only helps those who arm themselves.
'Martha Marcy May Marlene' is excellent. I adore how the film is both grounded in realism and, at the same time, it has an ethereal, nightmarish atmosphere.
If what needs to get done is going to get done, then I can't screw around with the luxury of writing rituals or waiting for pristine writing conditions to magically materialize.
Ambiguity and the horror of possibility play a part in so many of my favorite horror stories: Shirley Jackson's 'We Will Always Live in the Castle,' Mark Danielewski's 'House of Leaves,' Victor LaValle's 'Big Machine,' Charlotte Perkins Gilman's 'The Yellow Wallpaper,' Stewart O'Nan's 'The Speed Queen,' and so many more.
