Authors in Quarantine – Julie Czerneda

With this this series, I am hoping to capture how this cultural moment is affecting our speculative fiction authors and how our authors are surviving during the COVID-19 outbreak

Spec Can: What have you been up to during the COVID-19 outbreak?

Julie Czerneda: It’s been work as normal for us in many ways, especially coming out of winter. I turned in a book in February and the next is due early June. That’s a good pace. My publisher, DAW Books, has all their staff working from home and eager to see material flow. As I’d already been driving hard to turn in my current WIP, SPECTRUM, early, to give me more time ahead for a “secret project,” I haven’t lacked motivation. Now? Because spring is like a tonic, especially to see the green things and birds, the struggle to balance outside and office is pretty familiar. It’s not a bad thing.

Spec Can: How are you adapting to social distancing?

Julie Czerneda: I’m very fortunate to live with my best friend and partner (coming up to 44 years, btw) Roger. We have offices and room to roam in our house, and much to do. For breaks and exercise, we love walks and biking, so that’s all good. I won’t lie, it’s agony at times being apart from the rest of our family and friends. Videos of loved ones are bittersweet. Sometimes I’ll sniffle a while afterwards. Not being able to help is the worst, but we know we’re protecting one another and are in it together. The end of this will come.

Like many, I can say we’re getting a great deal done on several fronts simply because we’re not leaving town or dividing our time. Oh, and I must applaud Roger for being our designated Seeker of Needful Things. I haven’t shopped since March 14th. (When I bought my wonderful new keyboard, so there’s that.)

Spec Can: How is the outbreak affecting your writing?

Julie Czerneda: I am grateful to be writing Esen. She’s family and joy, along with the suspense, and there’s a great release in finding new weird aliens around every corner. I don’t know if I could have written MAGE during this. Maybe. Glad I don’t have to find out.

The first week I couldn’t focus as well. The significance of the news was overwhelming–trouble with a science background, we both had a sense of how huge the problem would become. By the second, I’d regained my rhythm, but my daily word count was down maybe 20% overall until lately. (I track it) I do allow myself to walk away, then try again later. We leave the news till after our workday, as best we can. That helps. Plus we’re wary of what we watch or read for pleasure. Some themes cut too close right now and that’s normal.

Fortunately, the new book has hit the climatic portion–so much happens!–and that’s always the smoothest/fastest for me to write. I’m already seeing my numbers head back to normal. As for tone…that’s interesting. When I need to decompress, I’ve gravitated to rereading favourite mysteries, Rex Stout’s Nero Wolfe. Bonus? That tingly sense of oooh REVEAL CLUE!!!! has crept in to my story, which is fun.

Coffee and cheesecake from the local bakery

Interviewed by Derek Newman-Stille, MA, PhD ABD

Authors in Quarantine – Kate Story

With this this series, I am hoping to capture how this cultural moment is affecting our speculative fiction authors and how our authors are surviving during the COVID-19 outbreak

Spec Can: What have you been up to during the COVID-19 outbreak?

Kate Story: Freaking out. Cleaning the house. Drowning in certainty that I am not cleaning the house enough. (Somebody said to think of the virus as glitter – and when you go out, you and all the things you bring home are covered in glitter. As anybody who works in theatre knows, GLITTER IS EVERYWHERE AND YOU CAN NEVER GET RID OF IT.) Working on funding applications for future projects that I don’t even know will happen. Discovering what other people see during meetings with me (unspeakably horrid – my god, I need a filter! How to do you activate a Zoom filter, please somebody?? Is there a filter for life? Wait, that’s plastic surgery, scratch that). Laughing a lot. Poking around in the garden. Pissing off the cats by being home too much (yes, it is possible). Cooking. Eating. Drinking bad beer. Going for walks. Finding every corner of this town that looks like an Edward Gorey drawing. Reading from the Tsundoku. (I find I want to read things that really grip me. Not so much into post-apocalyptic fiction. I like to write it, and I used to like to read it, but living in it? not so much) Finally watching Citizen Kane. Rinse and repeat.

Spec Can: How are you adapting to social distancing?

Kate Story: Other than cringing every time I hear the term (it has this kind of smug, packaged feeling. And it should be “physical distancing,” no?) it has not affected me as much as some people, I think. I already worked from home, in my split life – the writing and arts administration was almost all from home. It’s the theatre work that is suffering the most. Theatre artists literally can’t practice our art right now. Not only do I miss everyone dreadfully, I miss the work – and fear for the future of live performance. But in terms of my daily work and routine, the main daytime structure hasn’t changed much.

I live with my partner, and a dear friend too, and they are both good company (I won’t speak for myself). We do our best to be careful with each other and give as much space as we can. Most days, it works. I live in a house with a yard, in a smallish town where lots of totally uncrowded walking options are available. My Newfoundland family is pretty much okay thus far, and although I worry, they are fairly safe. I am insanely lucky.

I am now drinking bad beer (see above) and eating meat. That’s the weirdest thing. What the hell is happening to me?

Spec Can: How is the outbreak affecting your writing?

Kate Story: HAHAHAHAHAHA you have to be joking. It’s a mess. If I had five dollars for every person who has greeted me with a jocular, “Bet you’re getting a lot of writing done, eh?” I’d be a friggen millionaire. I am just as messed up by all this as anyone! I had forcefully carved out time to write before all this – a global lock-down pandemic is not a dream come true for me (or for anyone, I sincerely hope). Also I had a serious blow in terms of my writing career just before all this happened, one that some people will know about and I will say no more here. The world has more than moved on, but many of us affected by it are still reeling from the loss and trying to deal with the aftermath, and my attempts to do so have of course come to a grinding halt. Because Covid 19.

Like many people, I overdid news and social media at first, and have learned that one needs to limit that for mental health reasons. I try to keep up with news once a day or so, mostly through the Guardian, CBC, and Stephen Colbert (yup. Hard to encounter the Orange Caligula unfiltered by humour). I am disturbed by some vicious social media shaming I have seen, although grateful to be able to stay in touch. However, I can only look at so many photos of home-baked bread. And the accompanying apologies for posting said pictures. If I can’t eat your bread, I don’ts wants to sees it.

At the same time I am terribly fortunate. I have 2 books in the pipes. One (a collection of my short fiction) will be postponed. Printers are non-essential, so are shut down, and the publisher is rightly questioning whether it makes sense to release an e-book and then a print book a year or 2 later… plus there will be a cascade of books by heavy hitters coming out once all this lifts! – and books by more obscure writers would get lost in the shuffle. So that is up in the air, for good reasons, although still likely to happen at some point. Another book, a YA fantasy, is slated for 2021. So far the publisher is still keen to do it. And very fortunately, I had ground out a first draft before the pandemic hit us in Ontario. I’m almost certain I’d fail at doing that right now – my brain is mush. So I am working in a desultory fashion at Draft 2, which is due in a little over a month. Pray for me.

I don’t feel like there’s any way for me to have a writerly view of the pandemic while living in the middle of it. Maybe ultimately it will change how and what I write – I am interested to see what occurs in that regard.

Interviewed by Derek Newman-Stille, MA, PhD ABD

Exciting News: Two Prix Aurora Awards for 2016

Exciting news Speculating Canada followers, the Speculating Canada website and the Speculating Canada on Trent Radio 92.7FM show each won a Prix Aurora Award this year at When Worlds Collide in Calgary. 

The Speculating Canada website has now earned 3 Aurora Awards and the Speculating Canada on Trent Radio show has now earned 2 Aurora Awards.

The success of Speculating Canada is entirely due to you brilliant fans and all of the fantastic authors that have done interviews with me here on the site. Without all of you, Speculating Canada would not exist and I only hope I have been able to create an exciting platform for exploring questions and thoughts about Canadian Speculative Fiction. Thank you all for joining me on this rocket ship journey through realms of possibility where curiosity is our guide.

I also want to thank Dwayne Collins for providing me with tech support and for providing a second eye to read through most of my posts, and I want to thank the brilliant folks at Trent Radio 92.7 FM in Peterborough for bringing me onto the airwaves. 

I want to congratulate everyone who won an Aurora Award this year. So many of you have been involved in various ways in Speculating Canada and I am excited and honoured to be journeying along with you. 

Quote – Tragedy as Columns of Type

“Inevitable? In hindsight tragedy always appears so. Somehow the concept of unavoidable destiny offers comfort to uniformed readers, those to whom tragedy is nothing more than oderly columns of black type.”

-J.R. Campbell “To One Table” in Professor Challenger: New Worlds. Lost Places (Edge, 2015).


Speculative SEXtember: September 2014

This September, Speculating Canada will be a Speculative SEXtember, focused on the theme of the exploration of sexualities in Canadian speculative fiction with a particular interest in representation of LGBTQ2, Queer, or QUILTBAG people.

There will still reviews of books that do not highlight sexuality and sexual identities during the month, but a higher than average representation of sexual diversity.

Gay Pride is happening in Peterborough this month, the city where I live, and I thought this would be a nice time to explore some fantastic queer fiction, particularly since I have planned an LGBTQ2 author reading for September 18th as part of ChiSeries Peterborough titled “Speculating the Queer: an LGBTQ2 Canadian Speculative Fiction Reading” ( )

So get ready this month to hear about queer fears, LGBTQ futures, and QUILTBAG other worlds. As people who have been treated as monsters, aliens in our own worlds, and otherworldly fairies, speculative fiction gives us a fascinating place to ponder about other options, other ways of viewing the world, and to assert our presence in the cultural imagination.Speculative SEXtember

Upcoming interview with Diane Walton Wednesday July 16th

This Wednesday July 16th I will be doing an interview with Diane Walton, managing editor of OnSpec magazine: speculative author, feminist, fan, and supporter of the Canadian fantastic. Ms. Walton and I discuss the nature of the Canadian fantastic, pushing the envelope in SF, bringing forward characters from diverse backgrounds that are often under-represented in texts, the challenge of creating an SF magazine in a cultural climate the views SF as non-literary, and the power of short fiction.

Author photo of Diane Walton from

Author photo of Diane Walton from

Here are a few teasers from our upcoming interview:

Diane Walton: “We started On Spec out of frustration, when no American magazines seemed interested in the type of spec fiction we Canadians were writing.”

Diane Walton: “We weren’t afraid of publishing obscure stories with “downer” or ambiguous endings from time to time. We looked for quirky works and diverse characters that pushed the envelope a bit, and took risks.”

Diane Walton: “For us, it is all about the storytelling, and the multi-faceted characters who drive the stories. Diversity is sometimes just a bonus that comes with a well-crafted story of the fantastic that doesn’t necessarily rely on the tried and true tropes of the genre.”

Diane Walton: “The short story is such an elegant and challenging art form. A powerful short story can stay etched in your memory for decades after reading it.”

So, this Wednesday, check out my interview with Diane Walton and share in her insights.

Tune in Tonight at 8:00 PM EST for the Second Speculating Canada on Trent Radio show

I had a chance to chat with Winnipeg author Chadwick Ginther and discuss the Thunder Road trilogy at the Toronto-based speculative conference Ad Astra. In our interview we talk about his upcoming stories, why Loki from Norse mythology is such a fascinating figure, the potential to blur gender boundaries in SF, bringing myths from elsewhere to the Canadian landscape, interconnections between local stories and myths of elsewhere, living in a transnational community, the potential for his novel Tombstone Blues to take on horror characteristics, recreating Thor as a monster, and the relationship between the mundane and the magical.

Chadwick Ginther plays with our notions of the heroic and the villainous, challenging any easy reading. Hear about the way he plays with myth, challenging our assumptions and bringing new ideas into our conceptions of the mythical.

Check out Ginther’s process of creating modern myths and building worlds from fragments of legend from the past on this, our second radio show of Speculating Canada on Trent Radio.

Trent Radio second Icon

Tune in tonight at 8:00 PM EST to Trent Radio (92.7 FM in the broadcast range or online at for an interview with Chadwick Ginther and a discussion of his Thunder Road trilogy.

OnAir on Trent Radio for the Summer : Mondays at 8:00 PM

Speculating Canada is going On Air on Trent Radio for the summer. I will be on air every Monday at 8:00 (EST) throughout the summer starting next monday (April 28th). Trent Radio second Icon

The summer radio show will be a mixture of discussions of Canadian speculative fiction (horror, fantasy, science fiction, and the various speculative genres in between) and interviews with Canadian speculative authors, allowing them to share their perspectives, thoughts, and ideas.

Next Monday, Speculating Canada  on Trent Radio will begin with a discussion of Canadian zombie fiction, highlighting the diversity of the genre and focussing on texts that do something a little bit differently with the zombie.

If you are in broadcast range, Trent Radio can be heard at 92.7 FM, and if you are outside of our broadcast range, you can live stream Trent Radio at . daniels_trlogo


An interview with Nick Rayner about The Tandem Region Times

An interview with Nick Rayner, Editor of the fictional newspaper The Tandem Region Times
By Derek Newman-Stille

Nick Rayner is in the process of creating a fictional, online horror-themed newspaper about an invented region called The Tandem Region. He is currently inviting participants in this project, which seeks to combine themes from horror and journalism, mixing reality with a fictional world. The Tandem Region Times is set in a fictional Canadian small town, giving writers the opportunity to create a terrifying world within our own. In our interview, Rayner outlines his current project and the motivations and characteristics that shaped it.

You can find out more about The Tandem Region Times project at . They are currently seeking submissions, so check out their requirements.

Spec Can: To start our interview, could you tell readers a little bit about yourself and your background?

Nick Rayner: I’m a 26 year old who currently works in the advertising industry, mainly graphic design and content marketing. I currently live in Kingston, Ontario, but while living in Toronto I dabbled in self-publishing. I went to school for marketing, and before that I was in school for culinary arts. I’m at a point in my life where I describe myself as a “storyteller,” which is a cool way to say “I haven’t put in the gruelling hours to be a published Canadian author yet, but I’m cocky enough to do a project like Tandem Region Times.”

Spec Can: Could you tell readers a little bit about your current project, The Tandem Region Times?

Nick Rayner: The Tandem Region Times is an online, horror-themed newspaper about a fictional Ontario municipality called Tandem Region.It’s composed of 4 towns called Laughing’s End, Hatchet Hill, Spinning Head, and Museum City. The area also shares a dimensional schism with another reality which houses 4 similar towns, except they are populated by impossible creatures and are governed by completely alien physics and rules. The newspaper publishes stories from both realities, both in the same format, but with The Other Place being the highly experimental arm of this.

I’ve always been fascinated with internet horror, especially the stuff that isn’t really attributed to any author. Same with the images you find floating around forums and image boards. It occurred to me that the main reason these stories stuck with me was because of the lack of detail and poetry and a lot of the conventions most reputable magazines love. It’s like urban legends; they play loose with the characters and it’s more about the core narrative and making it seem like it could happen to you. There’s a mimetic quality to them as they’re passed around and altered slightly.

Spec Can: What inspired your interest in creating a fictional, horror-based newspaper?

Nick Rayner:   I was working as a reporter around the time when my friend and co-editor Johnnie Alward said “we should do a fake horror newspaper.” That’s our Act 1. We’d worked on scripts and projects in the past and this was our way to take the reins and try something new.

The “news report” format to telling a story really appealed to me since it put the “concept” centre stage.  I left the newspaper I was working at but the idea sounded like there was no ceiling; we could expand this thing as big as we want, and it’s completely dependent on the stories we receive. As we have more writers and different voices taking on these creepy events, we might see recurring characters and plotlines emerge, and we might see the geography of this world come into sharp relief. That’s what kept me going this whole time: the possibility, as an editor, to guide this world being created and see if patterns emerge.

Spec Can: I am struck by the potential of this paper to introduce readers to the exciting notion that horror and reality can mix and mingle a bit. What elements of the real world do you hope authors will bring into their horror editorials?

Nick Rayner: This is a very good question, and it’s one of the main questions that we’ve had to tackle with the paper. I said before there are no ceilings, so now I’m going to admit we do have SOME limitations. For example, there’s currently a lot of news about the elections in Quebec: are we going to have that sort of “ripped from the headlines” stuff in the paper? Maybe people want to write about the NSA, does that have a place here? Tesla Motors? And the answer is “sort of.” It’s a weird little small-town paper, so we’re not going to get into Palestinian politics, but this is first and foremost a place for storytellers, so if you want to tackle the NSA, maybe the story is about government surveillance, and maybe there’s a way to frame that within a city hall.

And even though I say this now, talk to me in a few months and see if I’ve completely gone back on my word, because someone might send in a story that breaks all these rules and it’s amazing and we run it anyway.

One of the first stories we will run is one I wrote where there’s a fire at a dairy mill and 20 people were dead, but it becomes clear that the milk was leaking from a vat and drawing people into it, and once they were swallowed by it they burst into flames, meaning that this was using people as fuel somehow to create destruction. So if we’re running stories like that, I don’t want to be the guy who starts slamming doors on peoples’ concepts.

Spec Can: Your website mentions that you are hoping to attract both horror authors who want to try exploring journalistic writing and newspaper reporters who may want to try introducing a bit of fiction into their work. What are you hoping will result from this collaboration and experimentation with writing styles?

Nick Rayner: From my perspective, this thing lives and dies on whether or not we can get enough variety of voices, especially in the horror genre. In comedy, you can riff on things forever. The Onion will never run out of content. In something like this – and this is another big discussion myself and Johnnie had – the fear is that we will get repetitive. We want to keep the stories fresh, but how long until we’re doing Dracula 2000?

In a lot of writing circles, there’s a bit of elitism that you run into, and I think it’s because it’s such a grind to get recognition in the writing game, especially in Canada. I’ve always said that everyone is a storyteller, though. And everyone knows when they’re hearing a bad story.

If I say to you “I went to the store,” your immediate response is “…and?” Then I say “I got some milk.” Then you say “And?” “And I went home.” “So?” Everyone knows how to tell a story, and everyone knows when they’re hearing a bad or incomplete story. We are human beings and we love narratives. We can comfortably say that at this point it’s in our DNA.

If we can figure out a way to tap into that, and if we can figure out a way to engage the experiences of as many individuals as we can, that’s how you inject life into this stuff. That’s the grand experiment with this thing. I think a hard-news reporter telling a horror story and a creative writer doing a hard-news report can both blow my mind in different ways.

I love the format for this reason. A blank canvas spooks a lot of people, and it can be intimidating. I’ve always liked writing scripts because there are formatting limitations and certain rules you need to follow.

To give a sports metaphor that makes no sense and will make everyone hate me, imagine you have a ball and you’re bouncing it in a room. It’s a big open room and all you have is a floor. You need to give me a wall, or a net, or a pole, and suddenly you have a game. That’s why writing exercises are the most important thing you can do to become good. You need to add some challenge – some limitation – and that gets people’s minds working. So if it’s “tell me a story, make it scary, keep it 800 words or less and give away as much of the story as you can in the first paragraph,” it feels a bit like a game.

Spec Can: I would imagine that, much like a newspaper, you are hoping for a lot of visual material. What sort of visual art contributions are you hoping for?

Nick Rayner: This is completely dependent on the stuff we receive, but I can tell you what the dream is.

The dream is that we have artists, photographers, and graphic designers sending in whatever they would qualify as “scary.” The mantra for the project overall is “it can be scary, it can be creepy, it can be bizarre, it can even be humorous, but it needs to be interesting.” We might end up with a pile of photographs of creepy buildings, forests, people, and we find ways to fit them in, or we write stories about them. A previous writing project I did called “It’s Made Of Hells” ( was all about this. I looked at the huge stockpile of creepy images I had and write stories that explained them. That’s fun, that’s something a lot of people can do. I can’t say for sure that all these people will start sending us things right away, but that’s the dream.

Spec Can: What can the visual dimension add to this project?

Nick Rayner: If the goal is to tell stories, then the visual dimension offers up all sorts of opportunities. A written piece can stand on its own, a photograph can stand on its own, or maybe one inspires the other. We’re open to anything that triggers inspiration. If someone sent us in a weird podcast, we would find a way to work that in. If someone has a collection of photos of weird food they’ve cooked and they want to run a cooking column about cooking things they found in a swamp that only appears every other month, that’s amazing, tell me more.

Spec Can: In what way do you hope that The Tandem Region Times will expand and change the nature of Canadian horror fiction?

Nick Rayner: It’s about creating opportunities. I think a lot of Canadian writers end up going the independent route simply because there’s not a lot of agents, there’s not a lot of publishers, there’s not the same market that you see in the US or the UK. That’s one of the reasons we wanted to make the Tandem Region a Canadian area, and not just a nondescript place.

It’s a buyer’s market out there for writers, and that’s why magazines/publishers can be so picky. That’s just what happens when there is an abundance of a resource. If the “problem” is there’s too many writers and not enough publishers, why don’t we find a new-media solution for this? Let’s just get as far away from the old business model as we can. Let’s figure out a way to give as many people a platform as possible, have enough editorial oversight to keep it consistent and ensure quality control, and build this thing where people know they can find great stories and writers can develop their skills. And get paid, once we work out the advertising situation.

Spec Can: I have to say that I really enjoy the notion of inserting a bit of fictional horror into a newspaper format since newspapers often contain so much real horror. I like the idea of playing with the nature of “real”. What inspired you to create a work of fiction that plays with notions of reality?

Nick Rayner: It’s the reality that makes things truly terrifying, and it’s the fuzziness of it that sticks with people. That’s the difference between a demonic possession movie where a bunch of random wacky stuff happens, and a movie like Black Christmas. You can tell when some humanity has been put into the bones of the thing, cause at some point someone thought “what truly scares me?”

Anyone can watch a show where someone gets shot in the face and blood goes everywhere. But if you stumble across a YouTube video of someone doing it, there’s some switch that gets flicked in your brain. It doesn’t look exactly like it should; the human body does unexpected things when it dies. Like I mentioned before, that’s why urban legends work. “It could happen to you.” One of the tips we give on the site is “don’t tell us a story about a recently divorced woman who is scared for her children because it’s raining blood. Just tell us it was raining blood and put us in that world.”

It’s interesting, though: you ask that question and it really does make a case for how the sensationalism of news is essentially telling horror stories, isn’t it? “It could happen to you.” Prejudice is built on this, fear is instilled with this sort of thinking, maybe that’s the social commentary that will emerge over time. That’s above my paygrade. Let the muckity mucks on Parliament Hill sort that out, I’ve got 2 days till retirement.

Spec Can: Is there anything further you would like to add to our interview?

Nick Rayner: I’d just like to thank you for asking me these questions and I hope all the tangents I went on serviced the answer to the questions asked.


I want to thank Nick Rayner for these new insights about this interesting Online collection. There is something very exciting about mixing news (a format for the horrors of reality) with horror fiction. I look forward to seeing what this project develops into and I hope that others are inspired to contribute materials.

Remember, you can check out The Tandem Region Times project at .

Upcoming Interview with Michael Rowe on Wednesday, December 18th

I have been a fan of Michael Rowe’s work for some time, and was really pleased that he was willing to take some time to do an interview with me so shortly after the publication of his recent novel Wild Fell. Rowe is an accomplished journalist and horror author.

Check out our upcoming interview on Wednesday, December 18th

In our upcoming interview, Michael Rowe discusses the switch from non-fiction to fiction writing, the power of horror, the use of ordinary people in horror, small town culture, the history of residential schools in Canada, the impact of social repression,  the issue with the use of LGBTQ characters for shock value, homophobia in horror, LGBTQ2 literature, the tremendous appeal of ghost stories, changes in the figure of the vampire over time, horror and loss, and the gothic potential of the Northern landscape.

Here are a few highlights from our interview:

Michael Rowe: “The body is our first haunted house. We live in it. We haunt it. We are literally our own ghosts.”

Michael Rowe: “I think what horror and indeed most speculative fiction does is enable the writer to shift and bend the boundaries of the narrative to reveal more texture and subtext about otherness and the outsider experience.”

Michael Rowe: “Much of horror is often about bad things happening to ordinary people, which, by definition, negates the notion of any intrinsic “otherness” unless the story is being told from the perspective of an entity that is extraordinary.”

Michael Rowe: Everything happens in small towns. I was and am entranced at the way the currents and counter-currents that bind people in small towns can be both beautiful and horrifying.”

Michael Rowe: “The metaphors just write themselves. That’s what vampires do. They drain you of blood and turn you into something else.”

Michael Rowe: “The residential school system in Canada, run by churches, is a stain on our national identity that shames me, on a deep level, as a Canadian. The collusion between the churches and the Canadian government that yielded that system is the very definition of vampirism to me.”

Michael Rowe: “Repression and suppression do two things: they isolate, and they create monsters. The isolation weakens the victim and makes them vulnerable, and hides any number of horrors behind a façade of propriety. Repression also bottles up rage and God knows what else which, when unleashed, is often devastating. You could write reams about the parallels between the way society makes monsters, and the way it makes monsters out of those who are already vulnerable and marginalized.”

Michael Rowe: The notion of the vampire as a gothic lover has never really resonated with me, and that appears to still be the dominant current image. I like my vampires terrifying, and only seductive in the service of his vampirism, like Christopher Lee at the top of the winding stone staircase in Horror of Dracula.

Michael Rowe: “Queer Fear was the first-ever gay horror anthology. We didn’t want it to be erotica, we wanted it to be horror stories where LGBTQ identity was a given, not something injected for shock value.”

Michael Rowe: “So many of us started life as observers and outsiders, not necessarily in the mainstream.  I know that informs a lot of my own work.”

Michael Rowe: “I think many people would like to believe the sprits of the dead could haunt them, but actually don’t believe it. Ghost stories are that marvellous spaces in between, where readers can enjoy the thrill of seeing in happen to someone else without paying the price themselves.”

Michael Rowe: “What horror allows both the reader and the writer to do is to explore both darkness and redemption by staring both in the face and naming them for what they are. When the narrative boundaries are as flexible and permeable as they are in horror fiction, the ways to tell those stories, to examine the human condition, increases exponentially.”

Michael Rowe: “Forced loss informs a great deal of my fiction—loss of innocence, loss of sanity, loss of beloved friends and relatives, loss of lovers.”

Tune in on Wednesday, December 18th to read out interview. If you haven’t yet had a chance to read Mr. Rowe’s work, you can check out his website at . If you have a chance, you can check out reviews of some of Mr. Rowe’s novels at and

Enjoy some delightful winter chills.