Podcasts about World Horror Convention

What if the source of your best writing isn't something you control — but something you learn to collaborate with? How can ancient ideas about the muse, the daimon, and creative genius transform the way you approach your work? And what might happen if you stopped fighting the silence and let it become your greatest creative ally? With Matt Cardin, author of Writing at the Wellspring. In the intro, thoughts on bookstores and Toppings; 20 ways authors can signal humanity and build reader trust [Wish I'd Known Then]; Learning from Silence – Pico Iyer; ProWritingAid spring sale; Bones of the Deep – J.F. Penn. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Matt Cardin is the multi-award-nominated author of eight books at the convergence of horror, religion, and creativity. His latest book is Writing at the Wellspring: Tapping the Source of Your Inner Genius, which is fantastic. I actually blurbed it as follows: “A guide for writers who welcome the dark and hunger for meaning. . . . If the page is a threshold, this book will show you how to cross.” You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How Matt balances a full-time academic career with his creative writing life The ancient concept of the genius, the muse, and the daimon, and why creativity is about collaboration with something beyond yourself Why the silences that come into our creative lives, including writer's block and inertia, might actually be gifts rather than obstacles The stages of the creative process Living into the dark, and embracing uncertainty How Substack and blogging can organically grow into books You can find Matt at MattCardin.com or www.livingdark.net. Transcript of the interview with Matt Cardin Joanna: Matt Cardin is the multi-award-nominated author of eight books at the convergence of horror, religion, and creativity. His latest book is Writing at the Wellspring: Tapping the Source of Your Inner Genius, which is fantastic. I actually blurbed it as follows: “A guide for writers who welcome the dark and hunger for meaning. . . . If the page is a threshold, this book will show you how to cross.” It is a great book. So welcome to the show, Matt. Matt: Well, thank you, Jo. It's really a pleasure to be here, especially since, as you and I were briefly acknowledging before we started recording, we have overlapping interests to a great degree. So it's really great to make official contact with you. Joanna: Indeed. So, first up, before we get into the book itself— Tell us a bit more about you and how you got into writing. Matt: Well, I'm one of those people whose story is probably typical in some ways, in that I really wanted to do it from the time I was a child. My father was a great writer, although he was an attorney. He wasn't a professional writer. Something about books and reading when I was a child really seriously enchanted me. I was very frustrated when I was so young—and I vividly remember this—that I couldn't read, because I loved the books that were read to me. I craved being able to read them for myself. So as soon as I gained that ability in school, it was off to the races, so to speak, and for some reason, a desire to tell stories myself came along with that. Being a “writer” was one of the earliest life desires, job or career desires, that I expressed. I was one of those young people really into fantasy, horror, and science fiction. So I was reading a lot of it and trying to emulate it and write a lot of it. There was a cinematic component—I was a movie fanatic as well. I won a local Authors' Guild short story writing contest when I was a senior in high school and began trying to write stories seriously in college. Then my interest in horror and religion became dominant over time, and that's what I ended up writing about. Joanna: Has your interest turned into paid work? That's the other thing, because there's an interest and then there's making writing more of your income and your business. Matt: Right. Well, actually, although I have made and do make money from my writing, it has always, always, always remained on the side. My main career, as far as my moneymaking life, first started off in video and media production, which is formally what I got my undergraduate college degree in. Then I switched into education. I taught high school for some years, and then now for the past, good Lord, 18 years, I have been in higher education. First as English faculty who also taught some religion courses, and then now for the past several years in the administration. I'm Vice President of Academic Affairs at a college. My writing has been something that I pursued as an avocation. As far as earning money from it, that didn't happen even with my first publication, which happened on the internet in 1998, I believe, with a horror story titled “Teeth.” It was just free—I didn't get paid. That led to paid publication of that story three or four years later, when it appeared as my very first print publication in a Lovecraftian horror anthology from Del Rey titled The Children of Cthulhu. It appeared as the final story, and that was the first time I had received a paycheck. It was a professional per-word rate. Since then I've had several books published and more stories and essays and that kind of thing. I've had income sometimes from writing and sometimes I haven't. My first book came out of that story. I attended the World Horror Convention in 2001, actually before that Lovecraftian anthology was published, but it had been placed. At the World Horror Convention, which was in Seattle that year, I met one of the two editors of that book, and that led to me having my first short story collection, Divinations of the Deep, which was not for much money, but it attracted a lot of good attention and some good reviews. So it's been like that all along. I mean, I've made a couple of runs at saying I would love to just be an author, as it were, but that doesn't seem to be in the cards for me. And honestly, I'm glad it's not. I have made the most money from some academic editing projects that I've done. I created and edited a two-volume encyclopedia of the history of horror literature, for instance, for a big academic publisher. Those are work-for-hire projects that I get paid for. Making money on my own creative vision and my own creative work has been intermittent. It really has proven over time that not having my primary creative, spiritual, and philosophical drive hooked to what I earn my bread by has been a blessing. I don't want to take this thing I love and make it be how I have to grind to earn my money. I want to keep it in a protected space. That has been spontaneously what's happened with my writing career. Joanna: Yes. I think as you say, there are a lot of benefits of that, especially where you are writing at this convergence of horror, religion, and creativity. Your writing is very deep. I would say it's on the edge of academic. I don't want to say it's completely academic, because a lot of people will find that difficult. But I think Writing at the Wellspring goes very deep while still being open to non-academic readers. As you say, I think if you had wanted to make a living with your books, you would've had to have gone in at a lighter level, perhaps. Do you think that makes sense? Matt: Yes, I know what you mean. I want to specify, I know that neither you nor I are saying anything about this as any kind of criticism or condescension to anyone who does make their living as a writer. I mean, I believe you do. Joanna: Yes, exactly. Matt: And that's fine. There really are people who have had significant commercial success from books or other things they've written that don't appear to be making huge concessions to being commercial. You can make a living as a writer, I think, and really follow your muse and not feel like you have to pander or cater or cheapen it. Then there are people who have perfectly happily decided to commercialise their work and tune it in whatever way is currently popular. That's fine. Every writer, every creative person should do what is right for him or her, in my opinion. In my particular case, I think what you said is right. I do think that I might have needed to change some things, to back off, to word them differently. Whenever I've tried to exert deliberate control like that, it just turns out that it's not something that my creative spirit wants to do. I don't really feel like I'm in contact with the work anymore. I'm fine with that. I don't think I'm doing a sweet lemons type thing. It really is the way it just needs to be. If it ever proves that me doing it strictly the way I want to do it, going however deep I want regardless of trying to appeal to a paying readership—if it turns out that at some point aligns with boatloads of money coming in, that's fine. That's perfectly fine. I'd be open to that. Joanna: Yes. Matt: I would be open to that. Joanna: You mentioned muse there, and with Writing at the Wellspring, the subtitle is “Tapping the Source of Your Inner Genius.” So I think this is a good place to talk about it. As you mentioned, you are leaning into your muse and your inner genius, and you use other terms—daemon or daimon. I think sometimes people find the word “genius” particularly very difficult because it has the connotation of brilliance in some form. So how can people think about this? How can we lean into this [genius] side of ourselves? Matt: Honestly, one thing that I would suggest people do is I would refer them to the TED Talk that Elizabeth Gilbert gave some years ago—was it 2009, 2010, 2011? It's one of the more popular TED Talks. Elizabeth Gilbert spoke about. I think it's sometimes given the title “Your Elusive Creative Genius” or something like that. Her whole talk is about the way in her own creative life, and as she recommends to others, it has been very important for her to seize on the older model that we're talking about. The most clear articulation of it is that it used to be the case—and we're talking about in ancient Western history, back to the Romans and even earlier to the Greeks—that genius was not something that you identified a person as being. It was something that a person had. And I would also say importantly, maybe had them too. In ancient Roman culture surrounding art and poetry and that kind of thing, the genius was the spirit that might, say, live in an artist's studio and would provide the same service to that artist as the Greek muses provided to someone who was writing epic poetry or history or something like that. That understanding of it has continued in various ways down through history. But there was a fateful transition as Western culture went through what we commonly call the Enlightenment and the Renaissance as well. This was where the term “genius,” while it didn't lose all those connotations of being an inspiring spirit—something that a person both has and maybe has hold of them—did become internalised to the point where we speak of people as being geniuses., which is exactly what you're talking about. I agree, some people listening to this probably have some reservations about this. They don't want to call themselves a genius because we tend to mean that's a super brilliant person, some kind of prodigy who is possessed of amazing artistic, creative, or intellectual skills. Again, that is the result of a cultural, philosophical, psychological, historical transition that occurred several centuries ago. And you still see the older meaning of it being attached sometimes. You think of people who we call geniuses being touched by something. Well, the older version—where you think of the genius, which in the way I use it in this book and also in my first book on creativity, A Course in Demonic Creativity—the genius is equivalent to the muse, which is equivalent to that other figure that you mentioned, the daemon or the daimon. It refers to a separate—what seems for all the world to be a separate—centre of intelligence or entity or influence. The thing that gives you both your creative drive and also your ideas, and serves as the source of what comes to you naturally to write. It's more than just ideas. When you talk about the ancient Greek daimon, there was a whole well-developed tradition of that in ancient Greek philosophy and religion. A daimon was, in one famous sense, a spirit that you were born with, that the gods had given you. It was like your double, your higher self. It was the thing that represented your character, your interests, the blueprint and the outline that your life was supposed to follow. There are great books written about that. There's a book by the psychologist James Hillman titled The Soul's Code. A lot of people have read it. It lays out the daimon theory and gives it application to modern instances. The idea is that everybody has a genius or has a muse or has a daimon. For writers, my recommendation is to say, whether you believe it or not, whether you take it as a metaphor—which is fine—or whether you want to get somewhat mystical and delve into the idea that maybe there's really a spirit or something, it doesn't matter. Productively, with practical, measurable results, you can learn to relate to your creative impulse as if you are collaborating internally with someone else. It's the centre of why you're interested in writing what you want to write, why you want to write the way you want to write, and even the types of things that unfold in the course of your career—both your creative career and the rest of your life, in the mould of the ancient daimon. I have found that to be a vein of great power and meaning in my own life. I do it exactly the way I'm describing. I don't actually believe it, but I don't disbelieve it. I find that in experience, it really doesn't matter. It works and it may as well be true. Joanna: I mean, obviously the book has a whole load of ways we can tap into that, but I did like that you talk about stillness and silence, because I feel like that is actually increasingly difficult as authors. Obviously it's noisy online and we're meant to be doing things like social media or interacting with people online. And then the world is just noisy. The news is noisy. There's lots of things. How can we use this idea of stillness and silence? Also, any other ways we can practically tap into this side? Matt: Sure. One thing that wanted to say itself in this book was some things I had been thinking and feeling about silence for a long time. As you say, it can be difficult these days to find what feels like the silence that we need to even get our work done. We're talking about the muse or the genius. How can we even hear it when it seems like the clamour of all the pulls that we have on our outward attention has become truly a cacophony? We have opted for this in many ways through our engagement with social media or other things, but in other ways seems like it's been thrust upon us. What I want to point out, that has been of extreme importance to me, is that many silences come into our lives as creatives that we resist. It's not just that we can't find the silence and the space that we feel like we need so as not to drown out our creativity. It's that we have unwanted silences come in, like writer's block. Or even if it doesn't feel like a block, just inertia. Just stasis. I don't know about you, but I have many, many times found myself grappling with what, for all the world, feels like a totally natural, organic sense of wanting to slip into complete inertia, just total stillness. And that feels like it has been in conflict with my creative drive. It's like I have this residual desire and also a sense of duty that I really should be writing. Maybe I have an idea in mind and I'm just not working on it. Or maybe I'm in the middle of a project and I feel like I'm abandoning it. Or maybe nothing's coming up, but I feel like it should be. I'm pushing myself, but there's a division in me where I also just want to leave it alone. Whether that means actually just sitting there silently at my writing table or in meditation, or maybe just going about regular daily life and forgetting about trying to fulfil this creative calling. I really think there's a vein of gold to be tapped in the silences that come to all of us. Because as I said, that can be in the middle of daily activity. We have this kind of franticness, some of us, about our creativity. We get wrapped up in it. We feel bound to it. The thing that so much of the time we want to think is a gift—we're proud of it, we cherish it, we like our writing—also becomes a burden. This fantasy of just chucking it all, of just saying, “I would love to be free of it. It's like something that's weighing me down. I'm sorry that I roped myself into it. I would love to just sink into complete silence.” This sort of meditative thing, or just muteness—hey, that is valid to hear. That's valid to heed when it comes up. I mean, sometimes we have gotten ourselves into situations where we have external responsibilities and deadlines, and it's important to try and honour those and not be a bad person on the level of just fulfilling practical obligations. It's also important to recognise you've got silence offering itself to you in all kinds of ways. The more important silence is paradoxically the one that we so often resist if we're creative people and feel like we have to be making. The more important silence is not whether or not your outward conditions seem like they're a clamour and they're chaotic and they're distracting and they're full of pressure. It's that inner silence. So I recommend paying attention to when it comes up. And for practical ways—they are endless. Take advantage of early mornings. A lot of people have found great value in getting up earlier than they are used to and making a practice of that, and either just meditating or free writing. Maybe using, for example, Julia Cameron's famous practice of morning pages, which has been valuable to me sometimes. Or doing things like—as I've said about the muse and the genius and the daimon—personify your unconscious mind and maybe write down a dialogue between yourself and your creative spirit, whether about your current project or just about your life and your creativity as a whole. There are various tricks to get in touch with this unconscious part of you, and I really am convinced out of practical personal experience that it's not necessary to have outer silence and outer spaciousness when you can find it within yourself. You can find it through some of these exercises for getting in alignment with what your creativity wants to do. You can get in touch with it if you're paying attention to what you might not recognise as a gift—offering it to yourself. If things go quiet and you think, “Oh no, I should be doing something”—why not let that be a place where things can germinate? Why not let that be the silence that you might not be able to find on the outside? Joanna: Yes, and I'm feeling guilty here because of course we are producing a podcast episode for people to listen to. I find personally that one of the places I can find silence is when I walk. It's not obviously silent outside, but I am definitely guilty of always listening to podcasts, often at very fast speed as well. Sometimes when I go for a walk, I just deliberately do not listen to anything—don't listen to an audiobook, don't listen to a podcast—and a lot comes up there. I have my phone with me, and when I get back from those walks and jot down things that come up in my mind, I will have so many notes of things that have come up in my brain during the walk. It's really difficult, isn't it? Because I know you also love input. You do a lot of research. As I said, your books have a lot of research in them, and so we both like doing the research. But also I definitely find that has to be balanced with the time for letting it come out again in some form, with that mental silence. You also talk about being uncomfortable, and I feel like sometimes that silence can be uncomfortable as well. Matt: Yes, it can be. There's no telling what might come up when you are faced with silence. Again, it's one of those things—even the outer kind that we think we crave. Sometimes it's a bit frightening when it comes up, which is why we try to fill it with things, like this podcast episode for example. There's a threshold that you can notice you cross sometimes, where what was a natural desire to connect with something that you heard about and found interesting becomes a bit frantic. Where now, really, what might be good is if you shut off—didn't go for the next podcast episode or didn't go for the next click to the website—if you just shut the browser and just sat there and did something else. You're kind of, with a little desperateness, trying to fill the void. What you described about needing to get quiet and let things happen—yes. I love reading and research, but the classic stages of the creative process—first codified, I think, by Graham Wallas, if I remember correctly—they still work. It's really good sometimes to have a model and understand how it works. You have what's sometimes called the preparation stage. All the input, all the research, all the brainstorming, all that kind of thing. Then the incubation stage can be vastly important. That can get frightening, both because the silence seems somehow threatening, like something about you is going to be exposed. Or maybe that you're going to lose the thread of whatever it was and it's never going to come out. But really, if you just stop and let your muse, let your genius do its thing, let your unconscious do its thing, it will suggest itself again. It will come up on its own. Ideas will come back. You'll realise, “Oh, I didn't know what I was going to do with that character. I didn't know how these ideas were going to come together. I didn't even know what this idea for a story, a book, or an essay was going to be.” It comes back up, and with you working with it, it shows what it wanted to be all along. This whole thing about doing the preparation and then allowing it to incubate and germinate and then sprout when it wants to, that still works. Part of the reason that we're scared of the silence, I'm convinced, is because each of us operates in our psychological selves as a closed system. It's like we each comprise our own cosmos, so to speak. I know you know that I have worked in horror literature, the literature of cosmic fear. In cosmic horror, as laid out by the likes of Lovecraft and others, the basic effect has been analysed as constituting a disturbance of the universe. That's the horror of cosmic horror—the world is transformed into this nightmarish thing in a cosmic horror story, where there's a haunting, threatening presence that's out of the ordinary and it's somehow bound up with the narrator's interior world. Life reveals itself as supernaturally or ontologically something nightmarish—there are awful forces that are about to erupt all the time. And whether anybody's into cosmic horror or not, I think it's pretty accurate to say that we each constitute our own world, our own cosmos. A lot of the noise that we make—the mental noise and the complications we introduce into our own lives—is, usually unconsciously, trying to stave off confrontation with the otherness that is outside the barrier of our personal sense of self. The weird thing is that that otherness is actually in us, and in fact, we can approach it in the figure of the daemon or the daimon or the muse. So creativity is fraught. You're dealing with something that you might want to think, “Oh, this is great, it's going to be the source of my ideas, it's going to fulfil my creativity.” Well, yes, but it is frightening to think about the fact of something about yourself being beyond yourself and perhaps being out of your conscious control and somehow guiding your destiny. A lot of people have trouble getting along with their own unconscious, which is another way to put it. There's a horror, a fear, a dread effect that comes when we feel like we are out of control. We all face that ultimately—when it comes to our death, for example. There are some spiritual traditions that talk about dying before you die, that being basically the way to enlightenment in those traditions. Recognising and coming to terms with the fact that this thing that is you, that you call yourself, is transitory. It is only there by being enclosed within and swamped from without by this thing that is not you, which is a sort of void to which you'll return. In the book, I deal with some of that, and I talk about it from a non-dual spiritual viewpoint, because ultimately for me, these creative questions have become inseparable from spiritual questions. Joanna: Yes. And obviously people know about my book Writing the Shadow, which is how we really connected around this Jungian idea of the shadow and the darkness. I agree with you—there's some really interesting things at the juxtaposition of all of these topics, which we could talk about for a long time. I do want to ask you around your idea of “living into the dark.” Because I feel like you do take things beyond just the writing into this idea of living into it. So maybe talk a bit about that. And obviously synchronicity, which is a Jungian psychology concept. Matt: Living into the dark is the thing that forms the overarching ethos or perspective for me of all this. I got the term from “writing into the dark,” which actually comes from the American science fiction and fantasy author Dean Wesley Smith. He wrote a book titled Writing Into the Dark, subtitled “Writing Without an Outline.” It's a great book. I recommend it to anyone. It is about forsaking and foregoing the felt need to outline writing in advance and trusting your creative mind to be able to make up a story in real time. That draws on the deep nature of storytelling to come out right. Therefore you write into the dark, as if you're walking down a road where you have a lantern and you can only see one step ahead. You haven't mapped out the territory. It was a great metaphor. I had already been thinking in that direction about life and about creativity for some time when I first came across that book. I devoured it and recognised it described how I had already been writing anyway, which is one reason it was so powerful for me. Then it edged out into a broader understanding for me that I had also been coming up with, that I just ended up calling “living into the dark.” None of us knows where anything is going, that much is obvious. But living into the dark goes farther than that, to embrace this understanding. I think of this in connection with what so many people, either personally or because of jobs they have where they're required to think like this. I think of this in terms of the famous five-year plan that so many of us want to draw up. There's nothing wrong with a five-year plan or a ten-year plan or a one-year plan. You can come up with that for practical purposes and try and chart where you're going, but we too often forget that that's just a fantasy exercise. We are not actually thinking into the future, nor are we ever actually thinking into the past. Remembering the past, predicting or projecting the future—both are events that are happening right now, in this moment, which is always now. It's no less now than it was when you and I first started this conversation. Past and future are projections—mental projections right now. And everything is unfolding in the present in real time, which effectively means what's going to come next is coming out of—well, we don't know where it's coming out of. Darkness. Living into the dark is living with full-on contact with, and awareness of, and embrace of this fact that we don't know what's coming up. That encompasses all of life and all of creativity. That same darkness, if it's helpful for you to take on this emotional tenor—which it is for me—can relate to the darkness in cosmic horror fiction, or to some of the rich traditions of darkness, like in Daoism with the yin contrasted with yang. Yin is the dark, moon, feminine aspect of things—the receptive source of the universe. This idea of living into the dark, of just accepting that we're all on this journey on a path where we can only see one step ahead, even if that far, has been meaningful to me. It's been meaningful to my creativity, and I recommend it to anybody to whom it appeals. It takes a lot of pressure off. I think that's a guiding meta-theme for me—trying to take the pressure off us from trying to control things that can't be controlled, and more stepping into that flow of understanding: what's going to come to me is going to come to me, and my posture toward it, whether I align with it or not, is what's going to determine my experience of it. You mentioned synchronicity. It's interesting. It's verifiable. I know a lot of people have verified it for themselves. Maybe some people listening to this have too. It's verifiable that when you really get in tune with this present-moment thing and get in tune with your creativity—and you can tell when you're aligned and not, when you feel blocked or when you feel resistance or not—when these things align on their own sometimes, strange coincidences do happen. Jung talked about synchronicity as an acausal connecting principle. That was probably due to the fact that the psyche is not separate from the fabric of the world that gives rise to it, so that we might have subjective things—impressions, fantasies, dreams—that we rather uncannily see mirrored in objective events. Like the famous thing that clarified and coalesced that for him: a psychotherapy session with a patient who was describing a dream she'd been having about a scarab beetle. Then he heard a tapping at the window of his office and he went there and opened it, and there was a European beetle—a kind of scarab beetle, much like the Egyptian scarab—that was there. He held it up and said to the woman, “Is this your beetle? Here is your beetle.” It just blew her mind. It opened new levels of the therapy that she was receiving. Those kinds of things happen. I've had them happen. Joanna: Me too. Matt: If you're a long-time writer or reader, you're familiar with the library genie—the library daemon, we sometimes refer to it as—the book that, just at the moment you think of it and realise, “Oh yes…” You're doing your study, and it doesn't have to be a library, it could be on the web or whatever. You finally realise what it is that you need, what you've been looking for, and in some cases it literally falls off the shelf onto someone's head. What do you make of those when they happen? At the very least, it rattles your cage. You might enter a state of suspended judgement about whether we really are living in a kind of magical cosmos full of real correspondences. It's a bit like the daimon or the muse: is it a metaphor? Is it just an interpretation, or is it something real? Probably the best place is one of profoundly, actively embraced agnosticism, and just take it for what it is. Joanna: Yes, and leaning more into your intuition. I think you definitely demonstrate that in the book as well, really exploring a lot of very interesting topics. Now, we are almost out of time, but you do have a Substack, The Living Dark, where you publish essays, and you've also got all kinds of really interesting books. I want people to go have a look at some of the other stuff you've written, especially if you enjoy horror and religion and all of that kind of thing. So just to ask, how do you decide when something is an essay on The Living Dark, and how do you decide when you are going to put it in a book or in some other way? I feel like a lot of authors are thinking about Substack but don't necessarily know what to put on it. I think I first connected with you on your Substack, where I was like, “Oh, this guy's writing interesting, weird stuff.” How do you use Substack as opposed to writing for your books? Matt: Sure. Let me answer by first talking about what happened previously with that first book on creativity that I mentioned, A Course in Demonic Creativity. I had all kinds of thoughts and ideas coming up, seeded over many years of practice and reading about the daimon and the daemon and the genius and the muse. In 2009 I founded a blog—it was just a WordPress blog—and I titled it Daemon Muse. I attended to it for two to three years. A lot of people ended up reading it. I really did not have any plans, not even any back-burner plans, of taking the material that I published in posts there about this way of creativity and making it a book. I did realise about a year and a half in that essentially I had a book I had already written in those posts. So it took some work, and I spent six months making it all into a coherent book. By the way, that book was only ever published as a PDF, which is still free on my website, MattCardin.com—although plans for the first-ever print edition of it are in motion right now. That was published in 2011. When I went to Substack and started my newsletter there in 2022—and by the way, it wasn't originally called The Living Dark; my first title was “Living Into the Dark,” and then I changed it about a year, year and a half in—I kind of am doing the same thing. It's been a while since I took anything and thought, “I'm writing a book with it.” I write what comes to me to write. You know how Substack Notes is Substack's own version of social media, kind of like Twitter used to be or like X kind of is now. It happens all the time that I write things that just stay in contact with people as a Substack Note—some short thing. And then I realise I wanted to say more about that. Or you have what happened just this morning. Three or four hours before you and I were talking, I started writing a Substack Note and it got so long I realised I had something that could be a post to The Living Dark. So I switched over and finished it that way. The book Writing at the Wellspring came together after I had written things for a couple of years at The Living Dark and realised that I could trace a path through about a third of the posts that I had ever published there, and had the makings of a book. So that, plus other material from earlier in my life—there are things from my private journals from years ago in Writing at the Wellspring—plus some new material, ended up turning into that book. So I'm not thinking about the difference, is what I'm saying. I find writing at my Living Dark newsletter to be a needful and enjoyable creative outlet, partly because I have some 3,800 readers now and it feels good to be in contact with them and to have that audience and to know that there's that eye on what I'm writing. That's partly because I just have the freedom to work it out to my satisfaction and publish it there. I'm already halfway forming another book that will be of a different focus, to come from things that I have published there. So for me, there's an organic relationship between Substack writing, or any kind of blogging, and the writing of books. If people haven't thought about that, they might want to consider it. If you have one already or if you're thinking of starting a blog on Substack or anywhere else, maybe you have things that can guide you to a book that already exists and you just haven't realised it. Joanna: So where can people find you and your books and everything you do online? Matt: Well, The Living Dark that we're talking about is at www.livingdark.net—and it does require the three Ws at the beginning to get there. Then my author website is MattCardin.com, and you can go to the books page there to get a link to all the books I've published and read about them. Joanna: Great. Well, thanks so much for your time, Matt. That was fantastic. Matt: Thank you, Jo. I really appreciate the invitation.The post Writing At The Wellspring: Tapping The Source Of Your Inner Genius With Matt Cardin first appeared on The Creative Penn.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Chelsea Quinn Yarbro (1942-2025) Tanith Lee (1947-2015) This program honors two master practitioners of horror, fantasy and science fiction, Chelsea Quinn Yarbro and Tanith Lee, with two interviews back to back. In the first, in 1983, Tanith Lee is interviewed by Chelsea Quinn Yarbro. In the second, in 1979, Chelsea Quinn Yarbro is interviewed by Richard Wolinsky.  Chelsea Quinn Yarbro, who died on August 31, 2025 at the age of 82, was best known for her historical horror novels featuring the vampire the Count Saint.-Germain. Along the way, she wrote in several genres, including science fiction and westerns, and wrote over seventy novels, along with several short stories. Along with her writing, which includes a series of books about a channeler,  titled Messages from Michael, she was a cartographer, palm reader, and composer. In 2009, she received the Bram Stoker Lifetime Achievement Award from the Horror Writers Association. She also wrote novels under several pseudonyms. In this podcast, Chelsea Quinn Yarbro joins Richard A. Lupoff to speak with Tanith Lee. In the second interview, she talks about her vampire hero. Count Saint-Germain, and about writing historical horror fiction. It was recorded shortly after her second San Germain novel, The Palace, was published, which would put it in late 1978 or early 1979..   Tanith Lee, who died of breast cancer in 2015 at the age of 67, also wrote fantasy, science fiction and horror, and her work is considered to be similar and a forerunner of the work of Neil Gaiman. She received a lifetime achievement award from the World Horror Convention in 2013. Nominated for several awards for her novels and short stories, she won the 1980 British Fantasy Award for her novel, Death's Master. In this first undated tnterview from Probabilities, most likely recorded at BayCon in San Jose in November 1983, Tanith Lee is interviewed by Chelsea Quinn Yarbro and Richard A. Lupoff. This is the only interview conducted by Quinn Yarbro for Probabilities. Tanith Lee's novel set during the French Revolution was eventually retitled The Gods Are Thirsty, and was finally published in 1996. You've been listening to an interview with Tanith Lee, conducted by Chelsea Quinn Yarbro and Richard A. Lupoff for the Probabilities radio program on KPFA. It was digitized, remastered and edited on September 24. 2025. Review of “Stereophonic” at BroadwaySFCurran Theatre through November 23, 2025   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others for shorter periods each week. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  See website for highlights from the 110th Annual Bay Area Book Festival, May 31 – June 1, 2025. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. BookShop West Portal. Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actors Ensemble of Berkeley.  See website for readings and events. Actor's Reading Collective (ARC).  Mary Jane by Amy Herzog, directed by Amy Kossow, November 6 – 30, Magic Theatre, Fort Mason. African American Art & Culture Complex. See website for calendar. American Conservatory Theatre  Stereophonic (in association with BroadwaySF, at the Curran), Oct 28 – Nov 23. Awesome Theatre Company. See website for information. Berkeley Playhouse. Annie. November 7- December 21. Once, February 20 – March 22.  Berkeley Rep. The Hills of California .by Jez Butterworth, Oct. 31 – Dec. 7, Roda Theatre. Mother of Exiles by Jessica Huang, World Premiere, Nov. 14 – Dec. 32, Peets Theatre. Berkeley Shakespeare Company The Tempest, Oct. 24 – Nov. 2,  Immersive theatre. Point Montara Lighthouse. Brava Theatre Center: See calendar for events listings. BroadwaySF: Stereophonic (in association with ACT), Oct 28 – Nov 23, Curran. See website for complete listings for the Orpheum, Golden Gate and Curran Theaters. Broadway San Jose:  Kinky Boots, Nov. 28-30. See website for other events. Center REP: The Woman in Black, U.S. Tour, November 5-23.. Central Stage. See website for upcoming productions, 5221 Central Avenue, Richmond Central Works Dada Teen Musical: The Play by Maury Zeff, Oct. 18 – Nov. 16, Cinnabar Theatre. Young Rep: Disney's The Little Mermaid, November 14-23, Studio Space, Petaluma Outlet Mall. Club Fugazi. Dear San Francisco ongoing. Check website for Music Mondays listings. Contra Costa Civic Theatre Ebenezer Scrooge, an adaptation of “A Christmas Carol” by Joel Roster, December 6 –  21. . See website for other events. Golden Thread  Pilgrimage by Humaira Ghilzal and Bridgette Dutta Portman, a co-production with Z Space, October 24 – November 8, Z Space's Steindler Stage. Hillbarn Theatre: Murder for Two, a musical comedy, October 9 – November 2, 2025. Lorraine Hansberry Theatre. See website for upcoming productions. Los Altos Stage Company. Freaky Friday, The Musical. October 24 – November 2. A Christmas Carol, November  28 – December 21.. Lower Bottom Playaz  August Wilson's King Hedley II, November 8 -30. BAM House, Oakland. Magic Theatre. Actors Reading Collective: Mary Jane by Amy Herzog, directed by Amy Kossow, November 6 – 30, See website for other events and productions. Marin Shakespeare Company: See website for events and productions. Marin Theatre: Sally and Tom by Suzan-Lori Parks. October 30 – November 23. The Lightning Thief, MSC Teen Company, November 7 -9. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC)  Spanish Stew by Marga Gomez, October 17 – November 23. New Performance Traditions.  See website for upcoming schedule Oakland Theater Project. Cabaret, November 21 – December 14. Odd Salon: Upcoming events in San Francisco & New York, and streaming. Palace of Fine Arts Theater.  See website for event listings. Pear Theater. Ada & The Engine  by Lauren Gunderson, November 21 – December 7. See website for staged readings and other events. Playful People Productions. Newsies, November 8-16. Presidio Theatre. Peter Pan Panto, Nov. 29 – Dec. 28. See website for complete schedule of events and performances. Ray of Light: The Rocky Horror Show. October 9 – November 1, The Oasis. Ross Valley Players: See website for New Works Sunday night readings and other events. San Francisco Playhouse. Noises Off by Michael Frayn. September 25 – November 8. SFBATCO.  See website for upcoming streaming and in- theater shows. San Jose Stage Company: See website for events and upcoming season Shotgun Players.  Sunday in the Park with George, November 15 – December 30. South Bay Musical Theatre:  Let It Snow: A Broadway Holiday Celebration, December 20-21, Little Women, The Broadway Musical, January 24 – February 14, 2026. SPARC: See website for upcoming events. Stagebridge: See website for events and productions. Storytime every 4th Saturday. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Lunatico Frankenstein, October 11 – November 2. Theatre Rhino  The Break-Up written and performed by Tina D'Elia, November 6-23. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. A Driving Beat by Jordan Ramirez Puckett, Oct 29 – Nov. 23, . Mountain View Center for the Performing Arts Second Stage.Georgiana & Kitty, Christmas at Pemberley by Lauren Gunderson and Margot Melcon, Dec. 3 – 28, Lucie Stern Theatre. Word for Word.  See website for upcoming productions. Misc. Listings: BAMPFA: On View calendar for Berkeley Art Museum and Pacific Film Archive. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2025 Season. Dance Mission Theatre. On stage events calendar. Fort Mason Center. Events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Gay Men's Chorus. See schedule for upcoming SFGMC performances. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org   The post November 6, 2025: Tanith Lee & Chelsea Quinn Yabro, Virtuosos of Horror and Fantasy appeared first on KPFA.

Chelsea Quinn Yarbro (1942-2025) Tanith Lee (1947-2015) This podcast honors two master practitioners of horror, fantasy and science fiction, Chelsea Quinn Yarbro and Tanith Lee, with two interviews back to back. In the first, in 1983, Tanith Lee is interviewed by Chelsea Quinn Yarbro. In the second, in 1979, Chelsea Quinn Yarbro is interviewed by Richard Wolinsky.  Chelsea Quinn Yarbro, who died on August 31, 2025 at the age of 82, was best known for her historical horror novels featuring the vampire the Count Saint.-Germain. Along the way, she wrote in several genres, including science fiction and westerns, and wrote over seventy novels, along with several short stories. Along with her writing, which includes a series of books about a channeler,  titled Messages from Michael, she was a cartographer, palm reader, and composer. In 2009, she received the Bram Stoker Lifetime Achievement Award from the Horror Writers Association. She also wrote novels under several pseudonyms. In this podcast, Chelsea Quinn Yarbro joins Richard A. Lupoff to speak with Tanith Lee. In the second interview, she talks about her vampire hero. Count Saint-Germain, and about writing historical horror fiction. It was recorded shortly after her second San Germain novel, The Palace, was published, which would put it in late 1978 or early 1979..   Tanith Lee, who died of breast cancer in 2015 at the age of 67, also wrote fantasy, science fiction and horror, and her work is considered to be similar and a forerunner of the work of Neil Gaiman. She received a lifetime achievement award from the World Horror Convention in 2013. Nominated for several awards for her novels and short stories, she won the 1980 British Fantasy Award for her novel, Death's Master. In this first undated tnterview from Probabilities, most likely recorded at BayCon in San Jose in November 1983, Tanith Lee is interviewed by Chelsea Quinn Yarbro and Richard A. Lupoff. This is the only interview conducted by Quinn Yarbro for Probabilities. Tanith Lee's novel set during the French Revolution was eventually retitled The Gods Are Thirsty, and was finally published in 1996. You've been listening to an interview with Tanith Lee, conducted by Chelsea Quinn Yarbro and Richard A. Lupoff for the Probabilities radio program on KPFA. It was digitized, remastered and edited on September 24. 2025.         The post The Probabilities Archive: Chelsea Quinn Yarbro & Tanith Lee: Virtuosos of Horror, Fantasy and Science Fiction appeared first on KPFA.

Season Two of The Dark Word takes the ferry cross the Mersey to conclude in style.Ramsey Campbell was born in Liverpool in 1946 and still lives Merseyside. The Oxford Companion to English Literature describes him as “Britain's most respected living horror writer”. He has been given more awards than any other writer in the field, including the Grand Master Award of the World Horror Convention, the Lifetime Achievement Award of the Horror Writers Association, the Living Legend Award of the International Horror Guild and the World Fantasy Lifetime Achievement Award.In 2015 he was made an Honorary Fellow of Liverpool John Moores University for outstanding services to literature.He is the author of more than 30 novels and hundreds of short stories. Among his novels are The Face That Must Die, Midnight Sun, The Darkest Part of the Woods, The Grin of the Dark, and more recent titles include Think Yourself Lucky and Thirteen Days by Sunset Beach and The Wise Friend. His latest is Fellstones.His novels The Nameless and Pact of the Fathers have been filmed in Spain, where a film of The Influence is in production. He is the President of the Society of Fantastic Films.

In this episode, I have a conversation with Matt Cardin. We discuss Alan Watts's book Beyond Theology: The Art of Godmanship. We explore various themes including: the Creator/creature distinction, the philosophy of nonduality, "scientism", and spiritual disciplines that help us become more "accident prone" to receiving divine grace.  Matt Cardin is a writer and freelance editor living in North Central Arkansas. With a Ph.D. in leadership and a master's degree in religious studies, he writes frequently about the intersection of religion, horror, art, and creativity. He is also Vice President of Academic Affairs at North Arkansas College. His books include the weird and cosmic horror fiction collection “To Rouse Leviathan” and the nonfiction collection “What the Daemon Said: Essays on Horror Fiction, Film, and Philosophy.” He has been a panelist, panel chair, and reader at The World Fantasy Convention, The World Horror Convention, MythosCon, and more. In 2014 he was an invited panelist at Baylor University's Faith and Film symposium. He has been a guest on Expanding Mind, Weird Studies, Darkness Radio, the Mancow Muller Show, This Is Horror, and many other radio shows and podcasts. He is also a longtime pianist with an especially extensive background in church music. Former careers include professor of English and religion, dissertation editor for doctoral students, high school teacher, piano salesman, college writing center instructor, corporate communications specialist, media producer for a large state university, and video director for country and pop music legend Glen Campbell. Website: https://mattcardin.com Blog: https://www.teemingbrain.com Twitter: https://twitter.com/_MattCardin

Dan & Paul talk to legendary fantasy & horror writer Ramsey Campbell! The Oxford Companion to English Literature describes Ramsey Campbell as “Britain's most respected living horror writer”. He's been given more awards than any other writer in the field, including the Grand Master Award of the World Horror Convention, the Lifetime Achievement Award of the Horror Writers Association, the Living Legend Award of the International Horror Guild and the World Fantasy Lifetime Achievement Award. We get to speak with him live about his new book, "The Way of the Worm", the finale of The Three Births of Daoloth trilogy. Review of The Way of the Worm in the Guardian: "The concluding volume of the Three Births of Daoloth trilogy brings the story of Dominic Sheldrake's lifelong struggle against a sinister cult into the present day. The cult has become a worldwide religion, the Church of the Eternal Three, and Dom's own son is a member. The previous book held out the faint possibility that Dom had been driven mad by his own paranoid obsession, but this astonishing, apocalyptic conclusion does not. Although now better known for his subtler evocations of unease, Campbell's early stories were heavily influenced by HP Lovecraft. Here he returns to his roots, even outdoing Lovecraft in his depictions of full-on cosmic terror." Get The Way of the Worm from Flame Tree PublishingAnd follow Ramsey on Twitter Wandering DMs Paul Siegel and Dan “Delta” Collins host thoughtful discussions on D&D and other TTRPGs every week. Comparing the pros and cons of every edition from the 1974 Original D&D little brown books to cutting-edge releases for 5E D&D today, we broadcast live on YouTube and Twitch so we can take viewer questions and comments on the topic of the day. Live every Sunday at 1 PM Eastern time.

My writing had progressed over the years and I spent a lot more time writing in 2005 and 2006. Those two years led me to a pretty banner year in 2007, where I had several pieces published and a couple of short films made from my stories. I also had an audio version of one of my stories produced. It was also the year I went to my first World Horror Convention where my short film “Storm” was premiering. Little did I know that “Storm” would be invited later to screen at the Shocklines Film Series in New York City. Along with my own film were films based on stories by Ed Gorman and an up-and-coming writer at the time named Jeff Hill, son of Stephen King, the man who was one of the catalysts for my own writing. It was definitely good karma, or so it seemed.Support this show http://supporter.acast.com/houseofmysteryradio. See acast.com/privacy for privacy and opt-out information.

Ramsey Campbell is an English horror fiction writer, editor and critic who has been writing for well over fifty years. He has been given more awards than any other writer in the field, including the Grand Master Award of the World Horror Convention, and the Lifetime Achievement Award of the Horror Writers Association.

Comics Cowboy Troy takes over the airwaves for Western Comics Month on Kirby's Kids to review the interview by Del Howison of Joe R. Lansdale on HWA Day at the 2012 World Horror Convention in Salt Lake City. Joe reveals how comics taught him how to read and developed his love of the medium and lead to not only his love of reading but his chosen profession as an author and storyteller. It is an outstanding reveal and provides fantastic context for our graphic novel of the month read Jonah Hex: Shadows West. Please drop us a message on the anchor app or send us an mp3 or email to kirbyskidspodcast@gmail.com. Please share your impressions once you have viewed: Joe Lansdale Interviewed at WHC 2012 https://youtu.be/poCIRslL5H8 Our Graphic Novel For May In Celebration Of Western Comics Month Is: Jonah Hex: Shadows West https://www.comixology.com/Jonah-Hex-Shadows-West/digital-comic/87690 Discussion Schedule: June 12 - TWO-GUN MOJO pg. 9-164 June 19 - RIDERS OF THE WORM AND SUCH pg. 165-319 June 26 - SHADOWS WEST pg. 320-387 Our Comic Book Character Of The Month For June Is Rawhide Kid. Please join us for Western Comics Month and our read: Rawhide Kid (1960-1979) #17 - #20 https://www.comixology.com/Rawhide-Kid-1960-1979-17/digital-comic/534757 https://www.comixology.com/Rawhide-Kid-1960-1979-18/digital-comic/534762 https://www.comixology.com/Rawhide-Kid-1960-1979-19/digital-comic/534767 https://www.comixology.com/Rawhide-Kid-1960-1979-20/digital-comic/534772 Discussion Schedule: June 3 - Issue #17 June 10 - Issue #18 June 17 - Issue #19 June 24 - Issue #20 Leave a message via the anchor app at Kirby's Kids. www.anchor.fm/kirbyskids Join the Community Discussions https://mewe.com/join/kirbyskids Please join us down on the Comics Reading Trail in 2020 http://www.kirbyskids.com/2019/11/holiday-special-kirbys-kids-giving.html For detailed show notes and past episodes please visit www.kirbyskids.com

F. PAUL WILSON is the author of fifty-plus books and numerous short stories spanning science fiction, horror, adventure, medical thrillers, and virtually everything between. His novels regularly appear on the New York Times Bestsellers List. He was voted Grand Master by the World Horror Convention and received Lifetime Achievement Awards from the Horror Writers of America and the Libertarian Futurist Society. He has also received the Stoker Award, the Porgie Award, the Prometheus and Prometheus Hall of Fame Awards, the Pioneer Award from the RT Booklovers Convention, the prestigious Inkpot Award from San Diego ComiCon, and is listed in the 50th anniversary edition of Who's Who in America. Paul can be found on the Web at www.repairmanjack.com. Join the Thorne & Cross newsletter for updates, book deals, specials, exclusives, and upcoming guests on Thorne & Cross: Haunted Nights LIVE! by visiting Tamara and Alistair at their websites: alistaircross.com and tamarathorne.com This is a copyrighted, trademarked podcast owned solely by the Authors on the Air Global Radio, LLC.

Leslie S. Klinger is considered to be one of the world’s foremost authorities on Sherlock Holmes, Dracula, H. P. Lovecraft, Frankenstein, and 19th-century genre fiction. Klinger is a long-time member of the Baker Street Irregulars, and served as the Series Editor for the Manuscript Series of The Baker Street Irregulars; he is currently the Series Editor for the BSI’s Biography Series. He served three terms as Chapter President of the SoCal Chapter of the Mystery Writers of America and on its National Board. He is also the Treasurer of the Horror Writers Association. He lectures frequently on Holmes, Dracula, Lovecraft, Frankenstein and their worlds, including frequent panels at the Los Angeles Times Festival of Books, Bouchercon, NecronomiCon, StokerCon, World Horror Convention, World Fantasy Convention, VampireCon, Comicpalooza, WonderCon, and San Diego Comic-Con, and he frequently teaches courses on Holmes and Dracula at UCLA Extension. See acast.com/privacy for privacy and opt-out information.

Brian Keene joined Dan and Howard at the World Horror Convention to talk about writing crime fiction, including how he goes about getting readers to feel the things he wants them to feel to drive the story forward. Liner Notes: The Horror Show with Brian Keene

Your Hosts: Howard and Dan, with Special Guest Linda Addison Linda Addison joined us at the World Horror Convention in 2016 for a discussion of the shapes and sounds of words as seen from the perspective of the poet, and how this approach can inform our prose.

F. Paul Wilson is the author of fifty-plus books and numerous short stories spanning science fiction, horror, adventure, medical thrillers, and virtually everything between. His novels regularly appear on the New York Times Bestsellers List. He was voted Grand Master by the World Horror Convention and received Lifetime Achievement Awards from the Horror Writers of America and the Libertarian Futurist Society. He has also received the Stoker Award, the Porgie Award, the Prometheus and Prometheus Hall of Fame Awards, the Pioneer Award from the RT Booklovers Convention, the prestigious Inkpot Award from San Diego ComiCon, and is listed in the 50th anniversary edition of Who's Who in America. Thorne and Cross’ new thriller, MOTHER, is available now. http:Visit Tamara and Alistair at their websites. This is a copyrighted, trademarked podcast owned solely by the Authors on the Air Global Radio

Author and editor Nick Mamatas joins Brian to talk about his background, H.P. Lovecraft, politics, and his controversial new novel I AM PROVIDENCE. Plus, an update on the status of next year's World Horror Convention, ... The post appeared first on .

Ray Garton has been writing novels, novellas, short stories, and essays for more than 30 years.  His work spans the genres of horror, crime, suspense, and even comedy.  His titles include Live Girls, Ravenous, The Loveliest Dead, Sex and Violence in Hollywood, Meds, and many others.  His short stories have appeared in magazines and anthologies, and have been collected in books like Methods of Madness, Pieces of Hate, and Slivers of Bone.  He has been nominated for the Bram Stoker Award and at the 2006 World Horror Convention he received the Grand Master of Horror Award.  His novella Vortex: A Moffett & Keoph Investigation is now available as an ebook and in paperback.  He lives in northern California with his wife, where he is currently at work on several projects, including a new novel titled Monster Show.  Visit his website at RayGartonOnline.com. Thorne and Cross’ new thriller, MOTHER, is available now. http:Visit Tamara and Alistair at their websites. This is a copyrighted, trademarked podcast owned solely by the Authors on the Air Global Radio

Chow down with Lynne Hansen and Jeff Strand at the Carnegie Deli for a chat about how the horror supercouple came together after the 1995 World Horror Convention,  why she's moved on from novels to movies while he's gone in exactly the opposite direction, what writers must keep in mind when creating YA horror, how she's turning one of his novellas into a  full-length movie titled Cold Dead Hands,  and much more.

It’s the quest of every ultra-fan: finding fellow obsessives to share in the collective joy.  Fan conventions provide a meeting place and an outlet for like-minded folk.  What’s it like to really find your tribe?  In this episode I talk about horror conventions, my pilgrimage to the “Anti-Convention” known as “Cinema Wasteland” and meeting a group of fellow obsessives I call “the Algonquin Round Table of Horror.”   Convention History 1936- Philcon: First “Fan Convention”. Science Fiction Convention, held in Philadelphia. There were 9 attendees. 1975 World Fantasy Convention: first Convention where there’s a strong presence of horror under the Fantasy umbrella. 1991- World Horror Convention – the first true Horror Convention.   Convention: Cinema Wasteland Movie and Memorabilia Expo- Holiday Inn, Strongsville, Ohio (shows every April and October) Created by Ken Kish and Pam Kish   Movies Discussed (In order of appearance): Alien (1979) Dir: Ridley Scott Friday the 13th (1980) Dir: Sean Cunningham Creepers (Phenomena)-(1985) Dir: Dario Argento Saw (2004) Die: James Wan Halloween (1978) Dir: John Carpenter Paranormal Activity (2009) Dir: Oren Peli Killdozer! (1974) Dir: Jerry London Gargoyles (1972) Dir: Bill Norton Satan’s Triangle (1975) Dir: Sutton Roley Street Trash (1987) Dir: James M. Muro Whiskey Mountain (1977) Dir: William Grefe  Mako: The Jaws of Death (1976) Dir: William Grefe Stanley (1972) Dir: William Grefe Kill the Scream Queen (2004) Dir: Bill Zebub The Worst Horror Movie Ever Made (2008) Dir: Bill Zebub  Dickshark (2015) Dir: Bill Zebub Demons (1985) Dir: Lamberto Bava     The Algonquin Round Table of Horror: Jon Kitley: Kitley’s Krypt/ HorrorHound Magazine Bryan Martinez: The Giallo Room (YouTube) Matt “Putrid” Carr: Freelance Illustrator Ryan Olson: Deadspeak Design/ The Cold Beyond Billy and Vanessa Norcera: Evilspeak Magazine/ Surgikill Damien Glonek: Living Dead Dolls Bryan Schuessler: Shuizmz Gregg Olheiser and Jill Van: LIX Dave Kosanke: Liquid Cheese   Filmmakers/Actors/Vendors: Photographer Jim Sorfleet and model Kat McGill of SnS-Photo Mike Watt and Amy Lynn Best- Happy Cloud Productions Fred Vogel- Toe Tag Pictures (August Underground) Bill Zebub- Bill Zebub Productions Jane Arakawa- Actor “Street Trash” Mike Lackey- Actor “Street Trash”  Roy Frumkes-Producer/Actor “Street Trash” Dan Curtis Val Lewton Tobe Hooper Wes Craven Kane Hodder  Doug Bradley William Shatner   This is S.A. Bradley, and I’m a life-long horror lover. This podcast combines horror history, personal observations, common themes, and cultural trends to tell a story with each episode.  Here we talk about all things horror. Horror movies, books, comics, hosts, conventions.  The door swings wide here, and all types of horror are welcome.  Each episode covers some aspect of horror with lots of viewing or reading suggestions for you to check out.  I want to start conversations with people about all types of horror.  I’ve been a fan all my life, and I love all the different styles: Classic Universal Monsters, Slasher Films, Found Footage, French Extreme, Asian Extreme, Korean Ghost Stories, J-Horror, Hammer Horror Films, Amicus Films, Glass Eye Pix, EC Horror Comics, Creature Features, Horror Hosts, Italian Zombie movies, Spanish Zombie movies, George Romero Zombie movies, Giallo, Silent Horror Films, Nature Run Amok, Atomic Age Horror, Roughies, Exploitation, Horror Literature, Serial Killer, Halloween, B-Movie, Splatter films, ghost stories, Folk Horror, supernatural, body horror, torture porn, VHS, Psycho

I had a blast at World Horror Convention in Atlanta, GA I also got to meet and interview a few cool people for Arm Cast: Dead Sexy Horror Podcast, too!

I had a blast at World Horror Convention in Atlanta, GA I met a few cool people and interviewed them for Arm Cast: Dead Sexy Horror Podcast as well!

Two great authors this week on the Arm Cast: Dead Sexy Horror Podcast! Bram Stoker winner Eric Guignard and I finally get to talk since we passed each other 57 times during World Horror Convention in the halls, and then Bobby Adair joins me to chat books

In Portland, Oregon at the World Horror Convention 2014 Scott Glancy (co-host of Podcast at Ground Zero and The Unspeakable Oath), Derek M. Koch (host of Monster Kid Radio, co-host of 1951 Down Place, and former host of Mail Order Zombie), and Desmond Reddick put on a podcasting panel moderated by author Jeff Strand. This is that podcasting panel. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia on Twitter. Join the Facebook group!

In Portland, Oregon at the World Horror Convention 2014 Scott Glancy (co-host of Podcast at Ground Zero and The Unspeakable Oath), Derek M. Koch (host of Monster Kid Radio, co-host of 1951 Down Place, and former host of Mail Order Zombie), and Desmond Reddick put on a podcasting panel moderated by author Jeff Strand. This is that podcasting panel. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia on Twitter. Join the Facebook group!

In Portland, Oregon at the World Horror Convention 2014 Scott Glancy (co-host of Podcast at Ground Zero and The Unspeakable Oath), Derek M. Koch (host of Monster Kid Radio, co-host of 1951 Down Place, and former host of Mail Order Zombie), and Desmond Reddick put on a podcasting panel moderated by author Jeff Strand. This is that podcasting panel. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia on Twitter. Join the Facebook group!

In Portland, Oregon at the World Horror Convention 2014 Scott Glancy (co-host of Podcast at Ground Zero and The Unspeakable Oath), Derek M. Koch (host of Monster Kid Radio, co-host of 1951 Down Place, and former host of Mail Order Zombie), and Desmond Reddick put on a podcasting panel moderated by author Jeff Strand. This is that podcasting panel. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia on Twitter. Join the Facebook group!

Last weekend, Desmond journeyed to Portland, Oregon, where he attended his first World Horror Convention and Stoker Awards Ceremony. This is two and a half hours of footage from said convention. The amazing personalities we meet along the way (in order of appearance) are: Derek M. Koch (from Monster Kid Radio), David Agranoff (author of Boot Boys of the Wolf Reich and co-author of Flesh Trade), Edward R. Morris (co-author of Flesh Trade), Victoria Price (daughter of Vincent Price), Jeff Strand (author and Stoker Awards emcee), James Beach (founder of Dark Discoveries magazine and now editing for Dark Regions Press), Lynne Hansen (young adult horror fiction author and director of He's Not Looking So Great and Chomp), Brian Keene (prolific author of The Rising and Ghoul and recipient of this year's Grandmaster Award), Jeff Burk (publisher of Deadite Press), Carlton Mellick III (bizarro fiction author of The Tick People and Adolf in Wonderland among many others), and White Jesus (known mainly for interrupting podcasts). There's songs as well! "Johnny Paranoid" by Sado-Nation, "Howling in the Streets" by Rat, "Face Down" by Monster Magnet, "New Dark Ages" by Bad Religion, "Sick Bubble Gum" by Rob Zombie, and "Morgue than Words" by Wednesday 13. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia on Twitter! Join the Facebook group!

Last weekend, Desmond journeyed to Portland, Oregon, where he attended his first World Horror Convention and Stoker Awards Ceremony. This is two and a half hours of footage from said convention. The amazing personalities we meet along the way (in order of appearance) are: Derek M. Koch (from Monster Kid Radio), David Agranoff (author of Boot Boys of the Wolf Reich and co-author of Flesh Trade), Edward R. Morris (co-author of Flesh Trade), Victoria Price (daughter of Vincent Price), Jeff Strand (author and Stoker Awards emcee), James Beach (founder of Dark Discoveries magazine and now editing for Dark Regions Press), Lynne Hansen (young adult horror fiction author and director of He's Not Looking So Great and Chomp), Brian Keene (prolific author of The Rising and Ghoul and recipient of this year's Grandmaster Award), Jeff Burk (publisher of Deadite Press), Carlton Mellick III (bizarro fiction author of The Tick People and Adolf in Wonderland among many others), and White Jesus (known mainly for interrupting podcasts). There's songs as well! "Johnny Paranoid" by Sado-Nation, "Howling in the Streets" by Rat, "Face Down" by Monster Magnet, "New Dark Ages" by Bad Religion, "Sick Bubble Gum" by Rob Zombie, and "Morgue than Words" by Wednesday 13. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia on Twitter! Join the Facebook group!

Last weekend, Desmond journeyed to Portland, Oregon, where he attended his first World Horror Convention and Stoker Awards Ceremony. This is two and a half hours of footage from said convention. The amazing personalities we meet along the way (in order of appearance) are: Derek M. Koch (from Monster Kid Radio), David Agranoff (author of Boot Boys of the Wolf Reich and co-author of Flesh Trade), Edward R. Morris (co-author of Flesh Trade), Victoria Price (daughter of Vincent Price), Jeff Strand (author and Stoker Awards emcee), James Beach (founder of Dark Discoveries magazine and now editing for Dark Regions Press), Lynne Hansen (young adult horror fiction author and director of He's Not Looking So Great and Chomp), Brian Keene (prolific author of The Rising and Ghoul and recipient of this year's Grandmaster Award), Jeff Burk (publisher of Deadite Press), Carlton Mellick III (bizarro fiction author of The Tick People and Adolf in Wonderland among many others), and White Jesus (known mainly for interrupting podcasts). There's songs as well! "Johnny Paranoid" by Sado-Nation, "Howling in the Streets" by Rat, "Face Down" by Monster Magnet, "New Dark Ages" by Bad Religion, "Sick Bubble Gum" by Rob Zombie, and "Morgue than Words" by Wednesday 13. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia on Twitter! Join the Facebook group!

Last weekend, Desmond journeyed to Portland, Oregon, where he attended his first World Horror Convention and Stoker Awards Ceremony. This is two and a half hours of footage from said convention. The amazing personalities we meet along the way (in order of appearance) are: Derek M. Koch (from Monster Kid Radio), David Agranoff (author of Boot Boys of the Wolf Reich and co-author of Flesh Trade), Edward R. Morris (co-author of Flesh Trade), Victoria Price (daughter of Vincent Price), Jeff Strand (author and Stoker Awards emcee), James Beach (founder of Dark Discoveries magazine and now editing for Dark Regions Press), Lynne Hansen (young adult horror fiction author and director of He's Not Looking So Great and Chomp), Brian Keene (prolific author of The Rising and Ghoul and recipient of this year's Grandmaster Award), Jeff Burk (publisher of Deadite Press), Carlton Mellick III (bizarro fiction author of The Tick People and Adolf in Wonderland among many others), and White Jesus (known mainly for interrupting podcasts). There's songs as well! "Johnny Paranoid" by Sado-Nation, "Howling in the Streets" by Rat, "Face Down" by Monster Magnet, "New Dark Ages" by Bad Religion, "Sick Bubble Gum" by Rob Zombie, and "Morgue than Words" by Wednesday 13. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia on Twitter! Join the Facebook group!

At the 2014 World Horror Convention, Victoria Price shared her memories of her father, Vincent Price, during an hour-long multimedia presentation. With her permission, we recorded that presentation and now we can share it with the Monster Kid Radio listeners. Voicemail: 503-479-5MKR (503-479-5657)Email: monsterkidradio@gmail.com (.mp3s of every episode of Monster Kid Radio is available for download at our barebones behind-the-scenes website at ) Vincent Price - Vincent Price Legacy - The opening and closing song "Rustbucket" (from the album See and Be Seen) appears by permission of The Boss Jaguars! - All original content of Monster Kid Radio by is licensed under a . Monster Kid Radio is a registered service mark of Monster Kid Radio LLC.

Derek attended the 2014 World Horror Convention in Portland, Oregon, last weekend. The convention was a horror writer's paradise, and Derek spoke with fellow podcaster Desmond Reddick (from the Dread Media podcast) about his experiences at the convention, and even plays a round of the MKR Classic Five. While most of the panels and content at the WHC were focused on current horror fiction, but Monster Kid Radio listeners would still have found something to do at the convention as one of the special guests was Victoria Price, the daughter of the legendary . Not only did she deliver an amazing presentation about her father (which listeners will hear in Episode #98 of Monster Kid Radio), but she chatted with Derek in the dealer's room as well. Voicemail: 503-479-5MKR (503-479-5657)Email: monsterkidradio@gmail.com (.mp3s of every episode of Monster Kid Radio is available for download at our barebones behind-the-scenes website at ) You Decide Monster Kid Radio's Top 100 Classic Movie Monsters! -  Vincent Price - Vincent Price Legacy - Dread Media - A Mythos Grimmly on Kickstarter - The opening and closing song "Dangerous Waves" (from the album See and Be Seen) appears by permission of The Boss Jaguars!- All original content of Monster Kid Radio by is licensed under a . Monster Kid Radio is a registered service mark of Monster Kid Radio LLC.

Common Use by Jay Wilburn “I don’t understand why we are here.” The older gentleman in the driver’s seat adjusted his fedora and scanned through the pages of his ledger. “If you understood, you wouldn’t be riding along to learn, would you now, compatriot.” The younger man in the passenger’s seat peered through the windshield of the parked car at the battered, silver trailer. He saw the eclectic, folk art around the grassless lawn and a windmill that appeared nonfunctional in the desert wind. “We are eliminating obsolete words for the next edition. Is the fellow that lives in this domicile an expert on lexicon?” The driver closed his ledger and placed it on the broiling dashboard. “He’s a hold out, a hold over.” “I don’t understand, sir.” “You are quite the ingénue, ain’t ya?” The young man wiped at the sweat gathering in his collar. “We learn through inquiry, sir. I’ll wait in silence if that serves you better.” “Touché, son, touché,” the elder leaned back and blinked the sweat out of his eyes. “Every year we have new entries for the dictionary. Changes in technology and ridiculous slang have to be added to sell the print editions and now online searches powered by commercial ads. Did you ever think the dictionary would be subject to commercials?” “Never could have imagined, sir,” the younger man looked out his side window. He saw a dusty bus parked at the edge of the property. It had an open top and sides with benches that crossed all the way over with no center aisle. He wondered if that would be cooler in the desert than sitting in the parked car. He also wondered what a tour bus ride through open desert would reveal. “Me either. Me either,” the older man continued, “Also, self-important authors take it upon themselves to bastardize the language and invent new words where old classics would do their tripe works just fine. Every writer now thinks he is Poe, Shakespeare, or Winfrey and the English language is their playground.” The younger man noticed a small plane behind the trailer. Sand had blown across the short runway. The craft did not appear airworthy. The older man held out his hands in front of him over the steering wheel. “We have more words, but no extra money, so arcane words must be quietly eliminated.” “Yes, sir, I understand our job,” the young man undid two buttons on his dress shirt and loosened his tie. “Why are we not back in the office instead of out here at a hermit’s trailer.” “Well, then, I guess you do not understand the job at all,” the older man countered. He reached back over the seat and brought an older edition of the company’s print through open desert would reveal. “Me either. Me either,” the older man continued, “Also, self-important authors take it upon themselves to bastardize the language and invent new words where old classics would do their tripe works just fine. Every writer now thinks he is Poe, Shakespeare, or Winfrey and the English language is their playground.” The younger man noticed a small plane behind the trailer. Sand had blown across the short runway. The craft did not appear airworthy. The older man held out his hands in front of him over the steering wheel. “We have more words, but no extra money, so arcane words must be quietly eliminated.” “Yes, sir, I understand our job,” the young man undid two buttons on his dress shirt and loosened his tie. “Why are we not back in the office instead of out here at a hermit’s trailer.” “Well, then, I guess you do not understand the job at all,” the older man countered. He reached back over the seat and brought an older edition of the company’s print quietly push them out of the lexicon.” “Like what, sir?” “He is the last one in America calling his airstrip an aerodrome and he calls that eye sore bus a charabanc. Both words are on the block this year and we need him to let go.” The younger man squinted and started to speak, but his elder continued after a breath. “Not so immediate, but as a bonus, he calls his blog The Brabble and refers to his mental health treatment as alienism. So here we are.” The older man opened the cover of the dictionary. It was hollowed out in the middle. He handed the roll of duct tape to his younger partner. He lifted out the clippers and trench knife for himself. “Sir, what the hell?” “We have to obtain his tongue for the company before we deal with the body. Have the tape ready as soon as I have it. Your first time will be easier out here in the desert.” “I can’t do this. I won’t.” “Son, if you are not useful, you are obsolete. You can start walking now and make me do this myself, but I will catch up to you. The company sent you out here for your first time for that reason too. What will it be?” “Is this necessary?” “Dictionaries are serious business. Leave the tape on the hood, if you decide to run.” The older man removed the keys from the ignition and stepped out of the car. The younger man looked down at the space in the false volume. He looked back through the windshield where the older man knocked on the door to the trailer. He held his hat in place against the wind. The door opened slightly and he threw his weight into it disappearing inside. The fedora tumbled off his head and bounded across the sandy lot.      The younger man exhaled as he made his decision. He lifted the roll of tape and opened his door. --- Jay Wilburn lives with his wife and two sons in beautiful Conway, South Carolina by day and writes horror by night. He has not set aside time for sleep yet, but he is hoping to add it in the near future. Jay Wilburn is featured in THE BEST HORROR OF THE YEAR vol 5 with editor Ellen Datlow. Jay Wilburn is a featured author with Hazardous Press at the 2013 World Horror Convention in New Orleans June 13-16. He is also a panelist on THE RULES OF GENRE WRITING at this convention. Jay Wilburn is a faetured author on the Dark and Bookish authors tour and documentary. His debut novel, Loose Ends, was published with Hazardous Press. Time Eaters is his new novel coming in November of 2013 Check out his website here.  Follow him on Twitter here.

Jeff celebrates the milestone of reaching his second episode by talking about his plans for the 2011 World Horror Convention, and shares some horror stories of conventions past. And he learns the perils of "keepin' it real." Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Join the Facebook group! Visit www.audibletrial.com/dreadmedia to get a free audiobook!

Jeff celebrates the milestone of reaching his second episode by talking about his plans for the 2011 World Horror Convention, and shares some horror stories of conventions past. And he learns the perils of "keepin' it real." Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Join the Facebook group! Visit www.audibletrial.com/dreadmedia to get a free audiobook!

Jeff celebrates the milestone of reaching his second episode by talking about his plans for the 2011 World Horror Convention, and shares some horror stories of conventions past. And he learns the perils of "keepin' it real." Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Join the Facebook group! Visit www.audibletrial.com/dreadmedia to get a free audiobook!

Jeff celebrates the milestone of reaching his second episode by talking about his plans for the 2011 World Horror Convention, and shares some horror stories of conventions past. And he learns the perils of "keepin' it real." Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Join the Facebook group! Visit www.audibletrial.com/dreadmedia to get a free audiobook!

Horror Addicts #021 http://www.horroraddicts.net Horror Hostess: Emerian Rich Monster Music by: SpekrFreks Featured Author: A. Craig Newman, Read by Emerian Rich and Edward G. Talbot --------------------------------- Intro Bumper: Edward G. Talbot Movie: Thir13en Ghosts, 2001 http://www.imdb.com/title/tt0245674/ Review: KnightMist Reviews / events / forum topics can be read at: http://www.emzbox.ning.com Events: Baycon 2009 / May 22-25 World Horror Convention 2009 / April 30-May 3 SL Bookstacks Paranormal Book Discussion April 25th, 2009 Kelly Armstrong's Bitten Montreal Fetish Weekend 2009 / Sept 4-6 NJ Writers Conference 2009 / Sept 11-13 New members: Secret Fan Quiz Contest re: Night's Knights: http://emzbox.ning.com/forum/topics/guess-who-and-win-a-prize HA Season 3 contest!!  ~Send entries to emzbox@sbcglobl.net Writers for next season announced & contest with Wicked Women Writers. What type of vampire are you? ~ Knightmist Thank you to all the writers on emzbox ~ Knightmist Queen Mary ~ Audrey Grave Concerns Announcements: http://www.graveconcernsezine.com Band: Wolverine Ensemble ~ http://werwolfensemble.org/   Movie: Dark Passages ~ http://www.outworldentertainment.com Movie: CLARE ~ Willo Hausman ~ www.gryphonpictures.com Interview: Simeon & Kghia from Bookstacks group on Second Life Bookstacks SL landmark ~ http://slurl.com/secondlife/Awen/118/157/25 Caledon SL landmark ~ http://slurl.com/secondlife/Caledon%20Oxbridge/194/123/27 Library Thing ~ http://www.librarything.com/ Book Mooch ~ http://www.bookmooch.com/ Off The Shelf itunes link ~ http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=307741972 Bookstacks Website: ~ http://thebookstacks.org/ Caledon Library ~ http://www.thelibrarymilitant.net/blog/ Off the Shelf Podcast ~ http://thebookstacks.org/off-the-shelf/ London School Of Journalism ~ http://www.lsj.org/ Nameless Isle SL landmark ~ http://slurl.com/secondlife/The%20Nameless%20Isle/26/210/171 Crimson Shadow SL landmark ~ http://slurl.com/secondlife/Crimson%20Shadow%20Rezzable/146/151/37 Mark Eller and The Write Stuff TV show http://thewritestufftv.com/ Fan Feedback: Rye bread fungus? Promo: M.J. Hahn ~ http://bellefairepodcast.com/ Featured Author: A. Craig Newman, Circe's Music Shop Sound effects for this story: By Erdie (http://www.freesound.org/usersViewSingle.php?id=118241) ~ bee-colony.flac (http://www.freesound.org/samplesViewSingle.php?id=35089) By Sonic (http://www.freesound.org/usersViewSingle.php?id=2304) ~ Sonic Valley Productions-20 Gauge - 3 Single Shots.wav (http://www.freesound.org/samplesViewSingle.php?id=7060) By EcoDTR (http://www.freesound.org/usersViewSingle.php?id=181367) ~ muffledpop.wav (http://www.freesound.org/samplesViewSingle.php?id=27498) muffledsnap.wav (http://www.freesound.org/samplesViewSingle.php?id=27499) By kpaul (http://www.freesound.org/usersViewSingle.php?id=8369) ~ Chime1.aiff (http://www.freesound.org/samplesViewSingle.php?id=31905) Leave a review on itunes for Horror Addicts http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=286123050 Contact us at: http://www.horroraddicts.net Horror Hostess: Emerian Rich http://www.emzbox.com emzbox@sbcglobal.net Monster Music by: SpekrFreks http://www.myspace.com/spekrfreks Horror Addicts Staff Macabre Movie Man: Knightmist Radioactive RPer: Millie Spookiness Locator: Audrey Ghoul On The Street: Johnny Ghoul Reviews can be read at: http://www.emzbox.ning.com Join emzbox/horror addicts mailing list: http://groups.google.com/group/emzbox Movies in this Season: #013 12/18/08 The Nightmare Before Christmas, 1993 #014 12/25/08 Fido, 2006 #015 01/08/09 Special Episode, No Movie #016 01/22/09 Nosferatu, 1922 #017 02/05/09 Brotherhood Of The Wolf, 2001 (Pacte des loups, Le) #018 02/19/09 Vampire Journals, 1997 #019 03/05/09 Blood & Chocolate, 2007 #020 03/19/09 From Dusk Till Dawn, 1996 #021 04/02/09 Thir13en Ghosts, 2001