Interview with Brian Hodge (Part One): On These Blackened Shores of Time

Last year I taught two of Brian Hodge‘s stories in my Advanced Creative Writing workshop, online. They were both pretty amazing. One of my students (Ian Vogel) reached out to Brian, and the next thing I knew we were sending him questions, and talking in depth about his stories. This is something I do with my Contemporary Dark Fiction class, but not so much with the ACWW (because our two-hour slots are usually full, and I don’t know all of the authors in the anthologies). But when we had an opening in our schedule, we decided to send him some questions. And we got some amazing answers in return.

I’ve become a huge fan of Brian’s work over the last couple of years, and he has really pushed me to write better—to take chances with my stories. (Note: funny story—my first professional sale, “Stillness,” was to Cemetery Dance for Shivers VI, and I just happened to publish alongside…you guessed it…Brian Hodge. (As well as Stephen King, Peter Straub, Kealan Patrick Burke, Brian Keene and a bunch of other hacks.)

I hope you enjoy the Q&A here.

“On These Blackened Shores of Time” 

(Originally in Children of Lovecraft, and reprinted in The Best Horror of the Year, Volume Nine. Both were edited by Ellen Datlow.)

QUESTION ONE: I love how you handle backstory, with the history of coal counties sprinkled in throughout the story. You don’t over describe the protag but give us enough to know him. But the weight of history was masterful. Is there a decision tree you use or a set of “filters” you use to choose meaningful backstory? Such as you might construct something meticulously for specific reasons, whereas some of us stumble into ways of handling backstory. (Speaking only for myself, hah.)

ANSWER ONE: It primarily comes down to what’s relevant, and what’s intrinsically connected over time. You have to know the history of your world, however small it may be, or discover it for yourself. If there’s any filter, it’s answering some form of this question: “If I didn’t include this, or if I pulled this out, would things stop making sense? Would they weaken, or not hang together as well?”

In this piece, it’s two tragedies that are linked over nearly a century, through cause and effect. There’s one timeframe in which competing agendas, and baser emotions like prejudice and anger and greed end up creating one tragedy. Even 90+ years later it’s not completely over and done with…the original tragedy is still unfolding when it breaks through into the modern day and creates another tragedy among people who had no idea about the first one. Then, underneath them both, there’s this mystery that goes back maybe hundreds of millions of years, and exerted its own mechanistic influence.

I think of backstory, a lot of times, as answering fairly simple questions and providing logical motivations. Like, here’s why Character A has this phobia; here’s why Character B hates Character C. It provides context so their actions don’t seem arbitrary. But with this particular novelette, I think the past goes beyond backstory, because it’s more complex, with a lot of different elements that are integrated and interrelated. Anywhere you go on this planet, the same geographical location encompasses vast layers of time, some of which have left a residue. And in this particular spot, they happened to line up and interact with each other not just across decades, but over geological timescales. So that requires a lot of detail.

QUESTION TWO: The ending was heartbreaking. I think most authors would have tried to save the boy and kill the grub-man. You did the opposite. Why did you make those choices?

ANSWER TWO: Oddly enough, perhaps, I don’t consider that a choice I consciously made. I’ve seen written works described as creations that are less constructed from scratch than unearthed like artifacts. That’s what this was like, so where it ultimately went seemed like a foregone conclusion to me. It felt all along like, hey, this is what happened—now, how can I relate it with as much feeling as possible?

A couple of clarifications. The sole surviving miner you call the grub-man…his form has actually become that of a labyrinthodont. That’s a general subclass of amphibians that were some of the more dominant forerunners to the dinosaurs. And nobody’s saving him. He’s asking for death and Trevor is about to deliver, although not out of anger or vengeance, but compassion.

QUESTION THREE: You avoid a lot of tropes with both Lovecraft’s oeuvre and your own backstory and character choices in your stories. How consciously do you make those decisions? This might be one of the most “humane” Lovecraft-inspired stories I’ve read.

ANSWER THREE: It feels less about making conscious decisions than about my fundamental approach. I’m not trying to mimic, or replicate, either in content or style. I’m just trying to be as authentically myself as possible, even when what I’m working on is like coming over to play in someone else’s yard. So that means carrying in my usual fascinations and obsessions and concerns and sense of aesthetics and so on. Several years ago I was hired to write a novel in the Hellboy universe, and after it came out, I remember seeing reactions like, “It feels like one of his other novels,” as if there was some surprise about that. Well, yeah. Because I’m trying to give you the best version of what I’m uniquely capable of, rather than an imitation of someone else that would probably miss the mark.

QUESTION FOUR: You nail some major universal themes in this story: familial loss, loneliness, the primal fear of the dark and the power of nature. Did that happen organically or was it more constructed?

ANSWER FOUR: It’s hard to establish themes upfront, like a checklist. It’s more likely that you recognize them in hindsight, once you have a completed work. In this instance, these themes arose naturally out of taking the core ideas and pursuing them where they led and massaging them into shape.

There was more real-world stuff that fed into this than you might’ve guessed. Five years ago, here in Colorado, we really did have a 1000-year flood. More than a year later, right in front of a friend’s house, the street really did collapse beneath one of his neighbors, as the guy was leaving for work. The entire neighborhood really did have no idea they were living over a mine from the 1920s, and it really had been closed in the shoddiest possible way, and the shaft really was washed out from below by floodwaters. Plus both my grandfathers were miners back in Illinois, and the brother of one of them really was involved in violent riots when scabs were brought in during a strike.

So that was a lot of raw material already, and it was easy to start asking the kind of fruitful questions that take you somewhere: What if Don’s neighbor hadn’t come safely out of the hole? What if the hole was much deeper? What if there was a whole mutant ecosystem down there? What would be the worst-case scenario of losing someone down a shaft like that, and what would it do to everyone involved?

But after you start coming up with answers for yourself, it’s real, thinking, feeling beings that have to embody the experience, and find out these answers for themselves. It becomes a matter of going as deep as you can to weave as strong a tapestry as possible out of all the sorrow and hope and grief and fear and longing and anger that would inherently arise out of such a situation. No matter how fantastical the premise may be, to me, it still has to be grounded in plausible human experiences. Does that part feel genuine? If it does, then I think it goes a long way in selling the rest.

QUESTION FIVE: I wrote in my notes, “Goddamn it, Brian can make mine history tense, how does he do it?” So…do you have any techniques you can share as to how you create tension and build the intensity in your stories?

ANSWER FIVE: The biggest favor you could do for yourself is to Google the concept of “micro-tension” as proposed and expounded upon by Donald Maass, and read whatever you can find that he has to say about it. Or, better yet, get some of his books on fiction writing, because he really does know his stuff. He’s a literary agent, but before that, he was a published author and an editor, so he’s in the unique position of being able to analyze how fiction works, and understand the whole business aspect of it all, from three different professional perspectives.

In a nutshell, micro-tension is the continual infusion of unease within a scene, that will pull the reader along because of the sense that all is not right. It doesn’t have to be anything overt. It can verge on the subliminal. It can be implemented with elements as granular as word choice, observations about the setting or environment, dialogue that implies things that aren’t being said…so many ways of doing it, really, and the beauty of it is that it can be applicable to any genre you happen to be writing in.

So I definitely rely on that, along with a grab bag of other approaches. In this particular piece, there was an escalating sense of what was at stake, and what was waiting to be found at the end of the parents’ search. Throughout, there were layers of mysteries, as things continued to unfold. And I strived to use those techniques to build a mounting sense of dread, that whatever was coming, it couldn’t be good … and then ultimately tried to make it even worse than you might have expected.

You’ll also notice that I broke that extensive mine history into two chunks. I initially wrote it as a single scene, a story-within-a-story, but then it seemed too long, too much at once. So I found a good split point, and put a family scene in between them, which itself ended on a cliffhanger of sorts: “What have you done?” So, as the reader, you keep leapfrogging through.

QUESTION SIX: Picking up on [the previous] questions about universal themes, one thing that really impressed me about this story was how it put the concepts of deep time and old ones into a human context. How did you hit these cosmic notes while at the same time keeping the story focused on the bonds of family and real human emotion? That is something I have not seen much of in cosmic horror. The last line really sealed this as a story about real people.

ANSWER SIX: Characters have always been my top focus. I’ve always considered them Priority One. I consciously made that decision at the very beginning, when I got serious about writing, my first few months out of college. I figured that if the reader was invested in the characters, that’s the thing I could always count on that would pull them through, regardless of what genre I was writing in. It would be universally transferable. So even though I may be hitting those cosmic notes, they’re still seen through the eyes, and challenging the perceptions, of the characters.

QUESTION SEVEN: What prompted some of your choices about the family—the jobs the parents have, the role reversal with the mother, and the ways they handled the situation?

ANSWER SEVEN: Over the past decade, I’ve trained in and practiced Krav Maga, the hand-to-hand combat system of the Israeli Defense Forces. For a couple of more advanced weekend intensives, one of our guest trainers brought in was a body language expert and special squads operator from the California Highway Patrol. Fascinating guy, and the stuff he imparted was riveting. I usually find that with training like that, I want to know more, and one thing leads to something else, and further resources.

So, for these characters, the father’s career path was loosely inspired by a former FBI agent and nonverbal communication specialist named Joe Navarro, and over the years I’ve been fortunate enough to have had some badass women instructors. Drawing on all that, I thought these two would make an interesting couple, with a promising dynamic, and not a pair you’re likely to have seen before in this context. They could plausibly get shit done, because they wouldn’t be rendered helpless by an overpowering situation. Plus I liked the idea of Ginny, the mother, being the true prime mover here, because, being purely into defense and counter-offense, she actually feels less bound by the law than Trevor, the father. She’d be the one to tell you that it’s better to be judged by twelve than carried by six, so for the sake of those you love, always respond accordingly.

QUESTION EIGHT: You do a great job with the inciting incident and narrative hook at the start (both broadly intriguing and appealing, as well as relating to the specific incident, and how it personally resonates) as well as the ending, the climax, resolution, change, and denouement. Do you have any advice on how to connect those elements? What’s your process? (Start with hook, write it later, when it all comes together, plot ending, or organically let it develop?)

ANSWER EIGHT: Really, I can’t improve on the way Trey Parker and Matt Stone broke down the way they approach their scripts for South Park. Instead of “this happened, and this happened, and then this happened,” they think in terms of “this happened, so this happened, and therefore this happened.” Or “this happened, but then this happened, so this happened.” These may look similar, but there’s a vital distinction. Instead of a string of events that you hope connect, it’s that as a storyline progresses, everything emerges as a consequence of the actions and the decisions that have gone before. So there’s a logical through-line, even if it doesn’t seem obvious as you’re first encountering it. Everything else is mainly world-building and being true to the characters.


PART TWO tomorrow: “It’s All the Same Road in the End.” Visit Brian at his WEBSITE or TWITTER or AMAZON.

“Battle Not with Monsters” accepted by Cemetery Dance

Big news! Thrilled to announce that my short story, “Battle Not with Monsters” has been accepted by Cemetery Dance magazine, and will be out with them in 2018. This will be my second story in the magazine (I was in Issue #72 alongside Stephen King last year), my third with them in general (“Stillness” in Shivers VI my first), and fourth acceptance overall (my collection Tribulations was released in eBook with CD last year). Huge fan of the work they’re doing, and it’s an honor to publish with them again. Thank you Richard Chizmar, Blu Gilliand, Norman Prentiss, and Brian Freeman for your continued support. Means a lot.

The eBook for Tribulations is now out with Cemetery Dance.

CDTribulations

Thrilled that I can finally announce the eBook of my third short story collection Tribulations is out now with Cemetery Dance Publications. Long time fan of CD, bought so many Stephen King titles from them over the years. I’ve previously published a short story, “Stillness” in Shivers VI (alongside Stephen King and Peter Straub) as well as “Chasing Ghosts” in Cemetery Dance #72 (also alongside Stephen King—it’s like the dude is stalking me).

“Chasing Ghosts” out now in Cemetery Dance #72 – with Stephen King!

CD#72Okay, not only did my story, “Chasing Ghosts” come out in Cemetery Dance #72 today,
but guess who is in there with me? STEPHEN KING! This will be the THIRD time I’ve
published alongside him. What a thrill. Honored to be in here with SK, as well as
the rest of the authors.This has been a LONG time coming, a white whale I’ve been
chasing for years. I’m honored to be in here. And, my name on the cover, too!

Here’s the full table of contents:

Issue #72

Publication Date: January 2015
Cover Artist: Stacey Drum
Interior Artists: Chris Bankston, Mark Edwar Geyer, Stephen C. Gilberts,
Chris Odgers, Shane Smith, Luke Spooner
Page Count: 80

Fiction
“Summer Thunder” by Stephen King
“Incarnadine” by Norman Partridge
“The Cambion” by Stephen Bacon
“Barn Dance” by Tim Davis
“Chasing Ghosts” by Richard Thomas
“Anti-Theft” by Victorya Chase

Features
“The Zebra Interviews: Rick Hautala, Ronald Kelly,
and C. Dean Andersson” by Christopher Fulbright
“Feature Review: Revival by Stephen King” by Bev Vincent

The Usual Suspects
“Words from the Editor” by Richard Chizmar
“Stephen King News: From the Dead Zone” by Bev Vincent
“The Mothers and Fathers Italian Association” by Thomas F. Monteleone
“MediaDrome” by Michael Marano
“The Last 10 Books I’ve Read” by Ellen Datlow
“Fine Points” by Ed Gorman
“Spotlight on Publishing” by Robert Morrish
“Horror Drive-In” by Mark Sieber
“Cemetery Dance Reviews”

Complete List of Stories in Print

Here is a complete list of all of my stories that are in print, or digital only format.
It’s in reverse chronological order. Enjoy!

UPDATED: February 21, 2019

The Best Horror of the Year, Volume Eleven
“Golden Sun” novelette
with Kristi DeMeester, Damien Angelica Walters, and Michael Wehunt
(Prime Books)

Shallow Creek
“The Caged Bird Sings in a Darkness of Its Own Creation”
(STORGY)

Grease Paint and .45s
“Clown Face”
(Down and Out Books)

50969817_10218468233527788_3627061613313392640_o

It’s Alive: Bringing Your Nightmares to Life
“The Many Faces of Horror: Craft Techniques” (non-fiction)
(Crystal Lake Publications)

Chiral Mad 4: An Anthology of Collaborations
“Golden Sun” novelette
with Kristi DeMeester, Damien Angelica Walters, and Michael Wehunt
(Written Backwards)

Mythos Magazine
“White Picket Fences”

s665497115385132279_p19_i1_w1280

Gorgon: Stories of Emergence
“Undone”
(Pantheon)

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Lost Highways: Dark Fictions from the Road
“Requital”
(Crystal Lake Publishing)

LostHighways

Where Nightmares Come From: The Art of Storytelling in the Horror Genre
“Storytelling Techniques” (non-fiction)
(Crystal Lake Publishing)

Tales from the Shadow Booth: Volume 1
“White Picket Fences”

Deciduous Tales (Debut Issue)
“Nodus Tollens”

DeciduousTales1

Behold: Oddities Curiosities and Undefinable Wonders
“Hiraeth”
(Crystal Lake Publishing)

33400659

The Soul Standard
Golden Geese
(novella)
(Dzanc Books)

soul standard cover(1)
Blue Monday Review, Vol. 3, No. 2
“How Not to Come Undone”

BMR copy
Gutted: Beautiful Horror Stories
“Repent”
(Crystal Lake Publishing)

Gutted_Cropped
Tribulations
(Crystal Lake Publishing / Cemetery Dance)

Tribulations
Chiral Mad 3
“The Offering on the Hill”
(Written Backwards)

CM3_Cover
Blue Monday Review, Vol. 2, No. 3
“Twenty Reasons to Stay and One to Leave”

BMR
Gaia: Shadow & Breath Vol. 2
“Asking for Forgiveness”
(Pantheon)

GAIA2

Slave Stories
“From Within”
(Omnium Gatherum)

SlaveStories
Cemetery Dance #72
“Chasing Ghosts”

CD#72
XIII: Stories of Transformation
“Chrysalis”
(Resurrection House)

XIII_coverLitro UK #138
“Little Red Wagon”

LitroUK138 LitroSpread

Truth or Dare?
“Shackled to the Shadows”
(Perpetual Motion Machine Publishing)

TruthOrDare
22 More Quick Shivers
“Homecoming”
(Daily Nightmare)

Dead Harvest
“Bringing in the Sheaves”
(Scarlett Galleon Publications)

DeadHarvest
Qualia Nous
“The Jenny Store”
(Written Backwards)

QualiaNous_crop
Pantheon Magazine
(Ares Issue)
“The God of War”


Pantheon6
Penumbra Magazine
(Pain Issue)
“Balance Sheet”

Penumbra
Horror 101: This Way Forward
“The Journey of ‘Rudy Jenkins Buries His Fears” (non-fiction)
(Crystal Lake Publishing)

ThisIsHorror
Shadows Over Main Street
“White Picket Fences”
(Hazardous Press / Cutting Block Books)

ShadowsOverMainStreet
Gaia: Shadow and Breath
“Flowers for Jessica”
(Pantheon Magazine)

Gaia
Vignettes from the End of the World
“This is How It Ends, My Love”

Vignettes
Pantheon Magazine
(Aphrodite Issue)
“Rapture”

PantheonMag
Trouble in the Heartland
“Because the Night”
(Gutter Books)

Heartland
Pantheon Magazine
(Dionysus Issue)
“Head Like a Hole”

full-cover-dionysus
Chiral Mad 2
“Playing With Fire”
(Written Backwards)

1404956_662039637159846_650160715_o
Fear the Reaper
“The Culling”
(Crystal Lake Publishing)

Fear the Reaper FB version
The Best of the Horror Society 2013
“Victimized”

best-of-the-horror-society-2013
Reloaded: Both Barrels, Volume 2
“Trinity”
(One Eye Press)

reloadedfrontcover
Bleed
“Death Knell”
(Perpetual Motion Machine Publishing)

Bleed
Cipher Sisters
“Dance, Darling”
(Thunderdome Press)

Cipher
Booked Anthology
“Surrender”
(Booked Podcast)

BookedAnthologyFrontCover-e1373343973611
Staring into the Abyss
(Kraken Press)


Daddy Cool
“Bloodline”
(Artistically Declined Press)

Daddy_Cool_Cover_large
Best of Surreal Grotesque
“Vision Quest”

Surreal
Midwestern Gothic
“Garage Sales”


Arcadia Magazine
“Chrysalis”

“Transmogrify”

transmogrify
Sanitarium Magazine
“Bringing in the Sheaves”


SanitariumWeird Fiction Review
“Flowers for Jessica”

WFR
Into the Darkness
“The Wastelands”
(Necro Publications)Darkness
Nova Parade
“On a Bent Nail Head”
(Solarcide)


NovaTerror Scribes
“Transmogrify”
(Dog Horn Publishing)

terror-scribes-cover
One Buck Horror
“Wicker Park Pause”


OBHGargoyle Magazine
“Tinkering With the Moon”
(Paycock Press)

Gargoyle

Curbside Splendor – “Divining”


CurbsideSlices of Flesh
“Rudy Jenkins Buries His Fears”
(Dark Moon Books)

Slices-of-Flesh
In Search of a City: Los Angeles in 1,000 Words
“The Jenny Store”
(Thunderdome Press)

LosAngeles
Dark Moon Digest Presents: Vampires!
“Transmogrify”
(Dark Moon Books)

Vampires
Warmed and Bound
“Say Yes to Pleasure”
(Velvet Press)

warmedandboundwebfront400
Speedloader
“Herniated Roots”
(Snubnose Press)

SPEEDLOADER_cover2_167dpi
“Victimized”

victimized
Shivers VI
“Stillness”
(Cemetery Dance)

ShiversVI

FREE eSingle, “Transmogrify” to release before Staring Into the Abyss (Kraken Press)

We’re going to be giving away a FREE eSingle of my contemporary vampire short story, “Transmogrify” soon. Cinder (Cindy to her friends) feeds on negative energy—she’s a psychic vampire, or energivore, a bit of a twist on the classic tale. It’s in my upcoming collection of neo-noir and horror stories, Staring Into the Abyss (Kraken Press) which is out in March. I just wanted to share this excellent cover art by George Cotronis and get you excited about the collection.

There are some fantastic stories in here, including “Maker of Flight” which won a contest at ChiZine, “Stillness” which was in Shivers VI (Cemetery Dance) with Stephen King and Peter Straub, “Splintered” which was in PANK, “Rudy Jenkins Buries His Fears” which was in Slices of Flesh (Dark Moon Books) with Jack Ketchum, Ramsey Campbell and Graham Masterson, and “Twenty Reasons to Stay and One to Leave,” which was nominated for a Pushcart Prize by Metazen. So STAY TUNED!

Table of Contents:

Maker of Flight
Steel-Toed Boots
Freedom
Committed
Splintered
Fallible
Stillness
Fringe
Underground Wonder Bound
Amazement
Victimized
Twenty-Dollar Bill
Interview
Paying Up
Ten Steps
Honor
Stephen King Ate My Brain
Twenty Reasons to Stay and One to Leave
Transmogrify
Rudy Jenkins Buries His Fears

Release the Kraken! My short story collection, Staring Into the Abyss, will be out later this year.

That’s right, my second short story collection, Staring Into the Abyss, will be out later this year from Kraken Press. It’s a collection of 20 dark stories, neo-noir leaning towards horror, and some of my best work to date. Want to know more? Head over to their website or just keep reading. We’re targeting March, but definitely the first half of 2013. And it looks like it will be a book club selection over at LitReactor as well, probably July or August. More information to come.

FROM THE  JACKET: As Friedrich Nietzsche said, “Battle not with monsters lest ye become a monster; and if you gaze into the abyss the abyss gazes into you.” In this collection of short stories Richard Thomas shows us in dark, layered prose the human condition in all of its beauty and dysfunction. A man sits in a high tower making tiny, mechanical birds, longing for the day when he might see the sky again. A couple spends an evening in an underground sex club where jealousy and possession are the means of barter. A woman is victimized as a child, and turns that rage and vengeance into a lifelong mission, only to self-destruct, and become exactly what she battled against. A couple hears the echo of the many reasons they’ve stayed together, and the one reason the finally have to part. And a boy deals with a beast that visits him on a nightly basis, not so much a shadow, as a fixture in his home. These 20 stories will take you into the darkness, and sometimes bring you back. But now and then there is no getting out, the lights have faded, the pitch black wrapping around you like a festering blanket of lies. What will you do now? It’s eat or be eaten—so bring a strong stomach and a hearty appetite.

It includes my contest winning “Maker of Flight,” my longest short story to date, “Victimized,” a Pushcart nominee in “Twenty Reasons to Stay and One to Leave,” and much more. Full TOC below. I hope you’ll pick it up when it comes out. It’s a little over 130 pages, about 32,000 words.

Special thanks have to go out George Cotronis for his amazing cover design. That’s part of the reason I signed up with him, he’s a globally recognized illustrator and artist, and his work is just fantastic.

TABLE OF CONTENTS:

Maker of Flight 14
Steel-Toed Boots 18
Freedom 22
Committed 30
Splintered 34
Fallible 40
Stillness 42
Fringe 48
Underground Wonder Bound 52
Amazement 58
Victimized 62
Twenty-Dollar Bill 80
Interview 86
Paying Up 94
Ten Steps 98
Honor 106
Stephen King Ate My Brain 112
Twenty Reasons to Stay and One to Leave 116
Transmogrify 120
Rudy Jenkins Buries His Fears 130