I’ll have a story in it!! My story Like Furies will appear in The Best Horror of the Year, Volume 17, edited by Ellen Datlow!

Every year I look forward to this volume. It’s more than an anthology—it’s a State of the Genre address. I hoped someday to get a mention in it. I am honored to the core to be part of the actual table of contents!

Ellen’s approach to compiling this book is a demonstration of the strength of this horror community. It’d be easy to fill the anthology entirely with known names—and there are plenty of them, including authors from whom I have multiple books on my shelves—but that’s not what Ellen does. She routinely selects several authors she hasn’t published previously (like me). This willingness to find and support authors and artists not already established in the horror world is one of the reasons the entire horror genre is currently experiencing a Golden Age. It’s not a closed club. It truly is a community open to new voices as well as supporting the leaders of the genre and honoring its founders.

Thank you, Jeani Rector, for first publishing this story in The Horror Zine—and not just for publishing it but also for taking the time to work with me to make it better. You know it’s a good edit when you see the suggestion and think “Why didn’t I notice that?” Her advice and know-how made this story so much stronger!

Thank you JG Faherty, my Horror Writers Association mentor. I signed up for the mentorship program with three goals: qualitative, quantitative and aspirational. JG helped me reach all three—and he continues to mentor me. He also read and commented on Like Furies and, as always, his suggestions were spot-on. After the first draft, before I let anyone else read it, I went through it and thought to myself, What will JG say about this?” And I made some deep changes to the story right there. That was part of meeting goal 1: helping me learn to edit and analyze specifically my horror writing with confidence.

Goal 2, quantitative: I made a professional sale to James Aquilone with a story appearing in the Stoker-nominated anthology Shakespeare Unleashed.

This was my aspirational goal—to write something Ellen Datlow wanted to see.

I’ll be pre-ordering 10 copies… or more… I hope you’ll get one too! Tell your bookstore to stock it when it’s available. And don’t worry, I’ll remind you!

I’m starting out the year with a few anthologies I’ve been pretty anxious to read. I’ll read simultaneous with novels and other books.

Weird Tales: 100 Years of Weird, edited by Jonathan Maberry, is going to be great. I became a Weird Tales fan in the late 1980s, when Weird Tales was part of Terminus Publishing and under the helm of George H. Scithers, John Gregory Betancourt, and Darrell Schweitzer. The magazine covers were beautiful and lavish, and I can see some of the illustrations with my eyes closed. Weird Tales in that era introduced me to some of the best writers in horror at that time. I can’t wait to dive into this 100 year retrospective and forecast, edited by Jonathan Maberry, who is absolutely a perfect choice for this. (He’s also the editor of the current iteration of the magazine.

I brought the book with me to Route 51 Brewery, where I enjoyed a Pumpkin Ale, easily the best of its kind in the region.

I just finished Stories We Tell After Midnight, vol. 2 edited by Rachel A. Brune. I’ll have to get volume 1 now. It’s a Crone Girls Press publication. Support indie horror publishers and get this book! Seriously, the founders are terrific people who were very welcoming to me at my first horror con. After-midnight nightclubs, nursery rhymes gone awry, dating while cannibalistic, becoming part of an all-too-real movie premiere—and more.

I had this book with me just after Christmas at my favorite dive bar in Union County, Fuzzy’s, while starting out the night with an Angry Orchard.

I’m a little bit fixated on the Appalachians right now. I’m always low-key into that region but driving through a corner of it on the way home from Scares That Care / AuthorCon last spring poured fuel on the Appalachian-love fire. So I’m ready to tear into Tony Evans’ Better You Believe: A Collection of Horror. Also, I plan to attend AuthorCon IV in St. Louis in October. I don’t have a book yet, but I will have a manuscript by then, I hope.

I started reading this one at Blue Sky Vineyard, where my wine of choice that day was Seyval.

Read horror! Share your #nerdinabarwithabook!

Caution: spoilers.

I hated reading The Girl Next Door by Jack Ketchum. I did not enjoy it at all. If Ketchum were not the craftsman he is, I’m not sure I could have finished it. As it is, he is an astonishing writer and he knew exactly what he was doing with this book. And it’s an important book, and, I think, one that should be read, and talked about. The back description sums up why: “Based on a true story, this shocking novel reveals the depravity of which we are all capable.”

Based on a true story. The novel is a fictional take on the true story of the horrible abuse and murder of Indiana teenager Sylvia Likens. Sylvia was abused, imprisoned, and eventually killed by Gertrude Baniszewski, whom Sylvia’s father trusted with her care. Baniszewski involved a handful of neighborhood children and her own children—Sylvia’s peers—encouraging their participation in inflicting serious injuries on Sylvia. Several adults in the neighborhood saw hints of maltreatment but none of them called authorities. The abuse escalated to shocking degrees, and eventually, Sylvia’s murder.

Knowing this book is based on a true story makes it that much more difficult to read. Because unlike two similar difficult-to-read-but-masterful books—American Psycho by Bret Easton Ellis and Not Forever, But For Now by Chuck Palahniuk—this is not a satire. It’s an exposé.

Ketchum’s book takes a hard look at the questions: How could this happen? Why did it happen? By his own admission, he flinched. In the book, main character David is redeemable, and Meg (the fictional version of Sylvia) has some small comfort at the end—she is not alone.

The depravity of which we are all capable. Several of the villains in this book are kids. The youngest is 10, the others in their early teens. However, their youth does not render them inculpable.

Ketchum makes David, neighbor boy and family friend, our protagonist. In doing so, he takes away our easy out—letting the kids off the hook and blaming only Ruth. David knows his limited participation is wrong, and he understands that his passivity is tantamount to betrayal. He approaches his parents when the abuse begins to escalate, but does such a poor job of explaining what is happening—and his parents such a lousy job of listening to him—that it amounts to having done nothing.

We are not to walk away from this book thinking, aw, he’s just a kid. We are to see ourselves as David. We are challenged to confront our own hesitation to take a stand when it’s difficult to do so, when we feel (or are) powerless, and when we might lose standing in our peer group—including in our careers or at university, for example.

Ketchum’s Ruth, the fictional Baniszewski, has had a rough and unfair life, and she has lost her ability to empathize. She convinces herself, at least in the beginning, that she’s helping Meg avoid some of the perils to which she herself fell prey. She is as hateful as any character I’ve ever encountered in literature.

While we might be very unlike Ruth, still: How many times have we justified being unkind, callous, or thoughtless because we perceive someone else’s suffering as less than our own?

Have we gloried in someone’s misfortune because we think they deserve it?

Have we labeled a group of people—those who vote differently than we do, for example, or those who choose different lifestyles—and by labeling them, rendered them less than human, a group we can denigrate and even persecute?

An important point to bring away from this book: Don’t assume you can never be the monster.

“We had permission.” A key factor both in the fictional and the true stories: The neighborhood children participated in torturing a girl because they were told they could. They had permission. An authority figure told them it was their right. They felt justified. They felt righteous. They might as well have confidently stated that they were “on the right side of history.”

So here’s another point: We can’t be like children and assume that authority is always right. “I was just following orders” didn’t keep war criminals from punishment. “They told me it was the right thing to do” doesn’t absolve us from asking questions. We have an obligation to defy authority when authority acts to persecute, vilify, and dehumanize. And no, it’s not just those people over there who need this lesson. It’s us, too. Whoever your “us” includes.

I needed some comfort while I was reading, some support. I posted about this reading experience in the Facebook group Books of Horror—an excellent community of well-read fans of the horror genre. The responses were thoughtful and considered. Other readers talked about feeling complicit in the atrocity just by continuing to read about it. They talked about honoring the memory of Sylvia Likens by reading the fictional account of what happened to her—giving her a voice and seeing her. A few people didn’t finish the book. A few people did and were still shaken. Very few were untouched by it.

This isn’t a book I’m going to be giving away at Christmas. It’s a difficult read. In writing this book, Jack Ketchum reminds us: We must confront the potential monsters we carry inside ourselves.