This is the eleventh post published in conjunction with the release of The Great Unknown, where authors share their experience of writing eerie stories for the anthology. The Great Unknown is available from Booktopia, Readings, Avid Reader, Fishpond (free shipping worldwide) and all good bookstores. You might also want to add it to your shelves on Goodreads.
Deborah Biancotti is a regular on genre fiction award lists, writing across a range of urban fantasy, horror, science fiction and steampunk. Her books include Bad Power and A Book of Endings. Today she answers some questions about writing ‘See-Saw’ for The Great Unknown.
What did you enjoy/find challenging about writing to this particular theme?
I love unexplained stuff. Weird stuff, stuff that happens that doesn’t have any kind of logical explanation. I always wanted spontaneous combustion to be real, you know? Also reincarnation. And ghosts, I’d like ghosts to be real. Though not at my place, and not after dark. All those creepy photos of ghosts you see, right before they’re debunked by experts – I love those.
I like to think that the walls of reality could just fall the hell apart and we’ll be left with chaos. Something that would blow our minds into tiny, tiny pieces. And then I want to think that the ones who survive the end of reality will be the people like me, who’ve been reading and writing and living the weird since we were kids.
But, writing something that was inexplicable without being alienating, that was hard. Trying to fashion a world that felt coherent and yet pliable, trying to fit in events that were strange but convincing, trying to hold it all together, that turned my brain into a pretzel. This is where the writer relies on the smarts of the editor to help her fashion just the right balance to intrigue a reader without just, y’know, being annoying about it.
Tell us about your story in The Great Unknown.
For some reason I went with a kind of French influence. In my story, ‘See-Saw’, I built a crowded little city and one loveable rogue of a protagonist, and then I said to myself, ‘well, what would be weird in this world? And what would be awesome?’ And I built something that was weird and awesome for my cigarette-smoking, lazy liar of a protag. I hope she enjoys it.
After all, there’s no telling if it will last.
What memories do you have of watching The Twilight Zone, The Outer Limits or of reading spooky/uncanny stories (or comics) as a kid?
Some of those stories really stuck in my mind. Like the guy who sees the demon on the wing of the plane. And the guy who is challenged by the Devil while he’s trying to solve a maths problem. And the guy for whom all language falls apart when everyone around him starts to use the word ‘dinosaur’ when they mean ‘lunch’. Those weird, challenging ideas rolled around and around in my head for decades.
And then, oh man, there were the Creepshow movies. A part of my brain is still dedicated to memorising lines like ‘Thanks for the ride, lady!’
Despite her success as a writer of quality macabre and psychological thrillers, Patricia Highsmith was, to her great disappointment, never published in The New Yorker. Has anything changed? What thoughts do you have on the current status of writing genre fiction?
Patricia Highsmith was a consummate writer of believable, psychological horror. I hate to think she was disappointed by anything. Has anything changed? I think the states of reading and writing change so much, so often, that by the time I could fashion any kind of summary statement about it, the world will have turned upside-down and none of what I have to say will be relevant any longer.
Which is just the way I like it.
You might also enjoy reading about stories by Chris Flynn, Helen Richardson, A.S. Patric, Marion Halligan, Guy Salvidge, Kathy Charles, Ali Alizadeh, Ryan O’Neill, Carmel Bird, Rhys Tate, and Alex Cothren.