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So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

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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.

Pop country definitely frightens me, how popular it is.

'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.

Ambiguity is our permanent state, isn't it? We don't like it being so. Most of us crave order and routine, and yet yawning before us is our future, as frightening as it is thrilling.

My first book deal was for two Mark Genevich novels. I hadn't planned on writing a second Genevich novel, but I was contracted to do so, and so there I was being introduced as a crime writer.

There's no objective reason anyone can point to that proves a horror story is innately inferior or that it's doomed to fail as a work of art because of it being horror. Anyone saying otherwise is being intellectually dishonest.

My first two novels were quirky detective stories followed by a couple of SF/Fantasy novels.

What keeps me up at night is our nation's continued and burgeoning lack of rationality in response to mass shootings.

When it comes to actually writing the book/story, I work on a computer. I wish I could write longhand, but I can't.

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So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.