Letters From the Labyrinth 400
Letters From the Labyrinth 400
For Hundred Issues Later...
Last week, I promised you a Q&A. But before we get into that, I want to let you know that this coming Tuesday, October 29th, Richard Chizmar and I will be doing an in-person Q&A and signing at:
Park Books
555 Baltimore Annapolis Blvd
Severna Park, MD 21146
I’ll be chatting with Rich about his new novel, Memorials. You’re welcome to ask questions, too. When we’re done, we’ll sign books. (The store will have copies of ISLAND OF THE DEAD on hand, as well). This will be my last appearance of 2024, and I have drastically cut down my appearances for 2025.
Also, I want to remind all of you about the Pandi Press Kickstarter. Note: My box is part of the 3 Box Tier, so you want to pledge for the ‘Three Themed Pandi Packs’ tier There are only 12 days to go on it.
Okay. Let’s get down to your questions.
Andrew Carey-Freeland asks “How nervous were you and Chris Golden pitching “The End Of The World As We Know It.” to Stephen King? What was his initial reaction to the idea and how does he like the almost finished product?”
I can’t speak for Chris, but I can tell you that I wasn’t nervous. I don’t think Chris was either. See, we’d been talking on the phone about how cool such an anthology would be, and how, as fans, we’d love to see one. Then we decided to email Steve and ask. The worst he could say was “No” right? And in truth, we fully expected him to say no, given that he’s never allowed anybody to do anything like this before (at least in prose form). We were both surprised when he said “DO IT!!!!”
So, no, not nervous. Surprised, though. Definitely surprised. And very humbled.
As for Steve’s thoughts on the finished product, I’ll let him tell you that himself in his Introduction to the book (which is worth the price of admission alone).
I will add that it is not lost on either Chris or myself just how special this project is to so many of you, and how historic it is for the genre. We are forever grateful to Steve for entrusting us with it.
James asks “Hey, Brian I am just curious if and when you do anymore book signing would you be stopping in Minnesota? I would like to someday make it out to Vortex.”
I was just saying on Instagram last week that I would dearly love to get back to CONvergence — one of my favorite conventions, held in Minneapolis/St Paul each year. I don’t know that it will benext year, though.
However… I haven’t mentioned this publicly yet, but I’m told that there may be a fully staged theatrical production of TERMINAL (which you might remember was adapted for the stage years ago) in Minnesota next year. If so, then I will absolutely make it out for that, and will set up a signing somewhere nearby. But I don’t think that production is carved in stone yet. Theater, like filmmaking, can change on a dime.
But I am hopeful it will happen.
In the meantime, if you do make the pilgrimage to Vortex, here’s a handy page I put together with nearby hotel listings and other travel info.
Austin Appleby asks “Your work ethic has always impressed me. What are the most projects you’ve tackled at any given time?”
If I remember correctly, in 2006 I wrote GHOUL, DEAD SEA, CLICKERS II (with Jesus), and KILL WHITEY, along with JACK’S MAGIC BEANS and a ton of short stories, and a few comic scripts. That’s four novels, one novella, and a bunch of other stuff. That was an exhausting and busy year, and if I tried that pace now, I’d probably die.
But it was rewarding, too. Those all day and into the night writing sessions had a magic all their own.
Seth Tucker asks “Of all the apocalyptic scenarios you’ve written, which one would you prefer to face and why?”
That’s a great question. I gave it some thought this week, and I decided it’s the scenario from THE COMPLEX. Now, granted, the novel never spells out that it’s happening on a global scale. All we know is that it’s happening in Red Lion, PA. But if we assume it’s happening on a global scale, that’s the one I’d pick, because it’s one I could possibly survive. We know what happens in THE RISING series. Eventually Earth is gonna get fried. And we know what happens in the EARTHWORM GODS series. Eventually, the Earth is going to be absorbed by the Great Deep. The world of TAKE THE LONG WAY HOME would suck, because who wants to go on living if half your loved ones are gone? (Even though, I suppose, an argument could be made that I;m doing that very thing these days). JACK’S MAGIC BEANS would be no good, because eventually, you’d run out of meds. So yeah, I’m going with THE COMPLEX.
Fernando Ticon asks “Can you share any tips on how to stay consistent at writing?”
I write almost every day. I did this when I was first starting out. I did it when I went full time. And I do it now. It is, however, important to note that “writing” doesn’t always mean the actual process of forming words in an orderly fashion to deliver a narrative. Some days, particularly days when I’m at Vortex, writing may constitute the editing of a manuscript or revising a story or answering a ton of emails. That all counts as writing. I would also argue that promotion and marketing and signings count as writing, however — you must be honest with yourself about promotion and marketing. If what you’re really doing is just dicking around on social media, that’s not promotion and marketing. I don’t think there’s a worse productivity blocker and creativity stifler than social media. It’s worse than video games.
You’ll have days where you just don’t feel like writing. And that’s okay. Hell, even Joe R. Lansdale and Stephen King take an additional day off. But by and large, the folks who become successful in this business (and my personal definition of successful is “Make enough money as a writer to support yourself and your loved ones based solely on your writing income”) are the folks who stay consistent, and who try to produce almost every day.
When I worked in a foundry, I had to make a certain number of molds every day or I didn’t get paid at the end of the week. I tackle writing with the same outlook. I set myself word count goals or page count goals, and if I don’t stick to them, then I don’t get paid I(because the book or story doesn’t get turned in).
Kit Power asks “Can you offer any insight into how you mange your writing schedule? I'm thinking particularly of how you incorporate weekly tasks (like this newsletter) and daily tasks (like Patreon posts) with producing longer form pieces - and running two businesses (publishing and Vortex). Aside from 'I get up at 4am', what tools/processes do you follow to just keep track of all the spinning plates? I know it's a bit inside baseball but any tips would be hugely appreciated (it's a huge challenge for me and my plate's nowhere near as full as yours).
This is going to sound cold, but too many people have my phone number, too many people can message me on social media, and far, far too many people have my email address. So, the first thing I do is ignore all of that. Right now, I’ll bet you I have over 500 direct messages on Instagram. In the entire time I’ve had Instagram, I think I have responded to a total of 2 messages on there — Robert Ottone and Keith Giffen’s son-in-law. That’s it. I remember those two because I simply ignore all other messages. And I ignore most text messages. And I ignore most emails. I receive, on average, 120 to 200 emails per day. I answer 12 to 24 every day, regardless of who it is. And you know what? The world hasn’t stopped turning just because I didn’t answer emails.
I have my Whiteboard of Doom, which I’ve posted pictures of here in this newsletter and on Patreon. Here is what it currently looks like as of one second ago.
This helps me keep everything sorted. For example, MONSTERS OF SAIPAN, the novel Weston Ochse and I were working on, got moved over to the Back Burner column when he got sick. It has now, as of this month, been moved over to the Edits/Pre-Production column. (And I realized after posting the picture here that I forgot to erase SAIPAN from the Back Burner column). BENEATH THE LOST LEVEL, having been turned in to the publishers, has been moved over to the Post Production column.
I try to keep a routine. I get up most mornings at 5am. I exercise, do my yoga, and shower. thenI head over to my ex-wife’s house. I make my son’s lunch, and I have coffee with her until he goes to school. If it’s a Monday, Tuesday, or Thursday, I then come home and write until 4 or 5pm (with a lunch break and a short walk). After 5pm is time spent with Mary. I go to bed around 10pm or 11pm. If it’s Wednesday, Friday, Saturday, or Sunday I’m at the store by 7:30am, and any writing I get done is in between customers. those days are usually focused on edits, revisions, answering email, etc. On those days, I get home at 7:30pm and spend time with Mary and still go to bed around 10pm or 11pm. So… these days, the more creative parts of writing — the writing writing — are for Monday, Tuesday, and Thursday. The editorial and business parts of writing are done Sunday, Wednesday, Friday, and Saturday.
But mostly Kit — and this is something you’re gonna have to learn to do — I simply refuse to let others dictate my time with email, calls, texts, or messages. No matter who they are. Other than my kids, there are probably eight people total whose texts, messages or calls I will immediately take, no matter what is going on. Everyone else has to wait sometimes.
And you find out who your real friends are, when it’s like that. Chris Golden, for example. If there’s an email that requires my immediate response, he’ll text and let me know. He doesn’t berate or guilt trip me about not responding, because Chris gets it. He simply let’s me know it’s there.
Don’t let people monopolize your time, no matter how well-intentioned they may be or no matter what the subject matter is. YOU decide what’s important and what your priorities are.
Dave Rawlins asks “If time, distance, cost, family obligations, etc. were not an issue, what awe-inspiring location would you choose to visit in order to create a one of a kind, in depth story connected to those surroundings? (For example: rural Japan for a samurai themed horror novel or Egypt for a mummy/zombie book.)”
That’s easy. Scotland for a Loch Ness Monster book, and Antarctica. I’ve been all over the world. Literally all over the world. But I’ve never been to Antarctica and my time in Scotland was limited to passing through on the way to somewhere else. I’ll probably never get to Antarctica but I would dearly love to see Loch Ness before I die. I’ve been asking Mary to get her passport for a few years now, in the hopes that we can do that. I’m told it’s on her To-Do list, which I envision as being similar to my Whiteboard of Doom, except with even more weird shorthand than mine.
Steven Thayer asks “Will you talk about more of your book origins when The Horror Show with Brian Keene returns? I really enjoyed those.”
I’m sure I will. My intent with the show is to just return to the mic as if he show never ended. Our last episode was number 279. The first of the new episodes will be number 280.
Some things will be very familiar to original listeners. Mary and Matt will still be in studio as co-hosts. Lombardo and Dungeonmaster 77.1 will still occasionally join us. (The latter is now 16 and taller than me and has a voice deeper than mine). And Dave will still be there, in spirit. (And we’ll have his ashes in studio). Some things, however, will be different. Coop has a very busy life now, so while he may be on once or twice, I doubt his schedule will allow him to be a regular. Phoebe will, of course, be welcome on the show any time she likes, but she is also trying to build her life, post-Dave, and we intend to respect that and give her all the time and space she needs. As for the other occasional co-host (the one I did not name here) — she will not be included. We will also have some new voices in the studio. Interviews will still be very much the thrust of the show, as they were in the past. (Indeed, it was asking process questions of Laurel hightower and Todd Keisling that made me realize just how much I’d missed that part of the show in the first place, and ultimately led to this decision to bring it back). And we’ll also get into important news stories, such as the DarkLit press thing (if it hasn’t been satisfactorily resolved by then), and the allegations regarding the SFWA’s involvement with former science-fiction author Patrick S. Tomlinson.
Right now, we’re experimenting with a few things. My hope is to record the show live every week, complete with an in-studio audience made up of the public, as well as taking questions from folks watching the stream and a toll free request line. But that is still very much experimental, and we may ultimately not go through with that. If we do, each episode would go up on podcast platforms the day after it streams live. Another idea I am mulling over in my head is having Nick Mamatas call in live once a week and do a segment in which he reports on — in his own inimitable style — whatever writing drama occurred that past week. I got this idea after Nick expressed a desire to be a cohost. That’s an idea I dearly, dearly love, but sadly, he lives on the West Coast and — as long-time listeners know — I insist on everyone being in studio together. I think magic is lost when you’re doing things like this via Zoom, but I think if we kept it to a format where Nick joined us by phone for 10 or 15 minutes each week, that would work well.
Of course, I also haven’t talked to Nick about this yet. His first time hearing about it will be right now, as he reads this. You in, brother?
Shelly Pezoulas asks “What are five things you most want to be remembered for? Not because death is near, but because I feel you don’t toot your own horn near enough. Also, what would your perfect meal be? Dessert and starter included.”
I’ll answer in reverse order. My perfect meal would consist of:
Mary’s sister’s baked ziti.
My ex-wife’s meatloaf and mashed potatoes.
My mother’s cornbread.
My grandmother’s blueberry pie.
As for five things I want to be remembered for, I’m assuming you mean within my professional field rather than “What I want my kids to remember me for” so I’ll keep my answers in line with that.
END OF THE ROAD. I wrote that for you, my readers, and for the others among you, my peers. It’s a goodbye letter via time travel. I hope that if you haven’t read it yet, you will read it now. And I hope that when I eventually leave, all of you will sit down and read that book again. It may have hit you the first time you read it, but it is designed to hit you even harder after I am gone. And to give you hope…
That I tried to help those coming up behind me the way I was helped when I was coming up.
Being one of the voices who pushed and succeeded in getting professional rates raised from three cents per word to five cents per word (and now, decades later, if any of you younger folks would like to start a push to get them raised to ten or twelve cents per word, I will gladly lend you my voice. You can count on my sword).
The time myself, J.F. Gonzalez, Bryan Smith, and Mary went to war with Dorchester Publishing — America’s oldest mass market paperback publisher — in an effort to get paid what they owed us and get our rights back. It ended up being a seachange moment for this industry, and reshaped a lot of things for everybody going forward. At first, the four of us thought we’d stand alone, but we were soon joined by a 10,000 strong army of romance writers, western writers, crime writers, and fellow horror writers.
Being one of the first journalists/writers to look into the allegations surrounding Edward Kramer at a time when 95% of the people in our industry were too nervous or cautious to speak up about it. That was in the days of JOBS IN HELL, a precursor to THE HORROR SHOW WITH BRIAN KEENE.
Bruce asks “You have expressed your interest in Shortwave radio. Have you considered getting a ham radio license.”
Oh, absolutely. I was a radioman in the Navy. And I worked in radio off and on in the civilian world, before making it as a writer. I’ve got a deep love of radio in all forms. (If you look in the left corner of the picture above — you’ll see my grandfather’s Shortwave license just to the side of the Whiteboard of Doom, and part of one of my radios right beneath it).
However, getting a transmitter and a license are things I’m saving for actual retirement. Were I to get them now, I really would get no work done. I’d instead be crank calling people via ham and hosting my own weird little shows.
Kimberly Ann Mitchell asks “Have your tastes in the types of horror you enjoy watching or reading changed as you get older? I find myself being interested in horror tropes I’ve never delved into as I get older, was just curious how you felt about it.”
Absolutely 100%. I read and enjoy a lot more quiet horror these days than I do any other part of the genre (Thomas Tessier, Steve Tem, Charles Grant, TM Wright, Peter Straub, Joyce Carol Oates, etc). I mean, I have always read these folks, but usually it was in between a Splatterpunk novel or a cosmic horror story. Now the Splatterpunk seems to come in between works of quiet horror, if that makes sense?
And when it comes to film, I don’t watch much horror at all anymore, because I find myself invariably disappointed with it. Longlegs. I Saw The TV Glow. Late Night With the Devil. Skinamarink. All started out great. All had promise. And all of them ultimately fell flat for me. And extreme horror films? Even more so. My kid and his friends LOVE The Terrifier movies, and if I was sixteen, I’d probably love The Terrifier movies, as well. But I’m not sixteen and for me, they get boring really quickly. The only recent extreme horror movie I’ve really, really, REALLY enjoyed is The Sadness (which borrows a lot from Garth Ennis and Jasen Burrows’s Crossed and my own THE COMPLEX, but I don’t care because it’s just so damned good).
I still read horror (see above) but I’m also reading a lot more crime and literary fiction these days. And I seem to watch a lot more crime movies and romantic comedies and surreal unclassifiable stuff like The Platform.
Joe Kucharski asks “We all know of your love of 70s era Marvel: Defenders, Son of Satan, Devil Slayer, Man-Thing, and Kirby's Cap. But what about concise stories? What is one of your other favorite comic storylines from the 70s-80s? The kind that you would put on a pedestal? Or at least tack to a wall?”
“Oh, that’s an easy one. Here’s my Top Six:
The Headmen/Nebulon/Nighthawk’s Brain Saga from The Defenders
Satan Conquers Earth from The Defenders
The Madbomb Saga from Captain America and The Falcon
The run of Amazing Spider-Man that featured Doctor Octopus at war with Hammerhead but also Stegron, the Lizard, and J. Jonah Jameson figuring out who Spidey really was.
Two particular Man-Thing stores — Fear issue #12 and Giant Size Man-Thing issue #4
The City of Toads storyline from The Eternals.
JD Buffington asks “This may be a loaded question: personal thoughts on the HWA going forward? I know you resigned for Vortex and other goings on, but given the hubbub around generative AI, and social issues over the years, do you still endorse the HWA? Will you remain a member? I want to believe the statement recently released was satisfactory because I felt my concerns and understanding were acknowledged, but there’s still some negative public sentiment and I’m not sure what to parse as bad faith vs growing pains.”
Not a loaded question, but one I’m going to hold off on answering here in this space, because I’m actually in the process of writing a much longer essay about these very questions. I should have it up on my Patreon next week, so look for it there.
Victoria Timpanaro asks “Is there a genre or style you haven't gotten to work in yet that you would still like to try?”
Mary gets frustrated that she’s never been nominated let alone won a Shirley Jackson Award (and she had very valid reasons for that frustration). I tease her that I’m writing a quiet horror novel called THE NAPKIN and the entire thing is a guy sitting alone in a diner and contemplating the dread and existential horror of an improperly folded napkin, and that when it’s published I’ll win a Shirley Jackson Award. And then she usually throws something at me.
But the truth is I’m working on a quiet horror novel called THE NAPKIN and the entire thing is a guy sitting alone in a diner and contemplating the dread and existential horror of an improperly folded napkin, but what it’s really about is growing old and cats and different kinds of love.
I’ve done quiet horror before, but never at novel-length. The closest I’ve ever come is the novella-sized ALONE and THE GIRL ON THE GLIDER, and that latter was more metafiction than it was quiet horror.
THE NAPKIN, if I finish it, will be a full-length novel.
My 16-year old and I are also in the early stages of writing a Bizarro novel together.
Paul Crider asks “Been a Keene writer since i saw a copy of the Rising at the grocery store. I have never been disappointed in any of your works which has its own bookcase in my office. Now a lot of your books have sequels which continue the epic stories, but there is one book of yours that i have always loved and read multiple times, but we have never encountered that world again. The Ghoul. Is there any chance that we could revisit a certain cemetery?”
There’s a sequel in my head. It’s been there since the first novel was finished. It would be set now, and Timmy would return home for his father’s funeral. And we’d see what became of Barry. And we’d also learn that the Ghoul did have an offspring, and the creature was in a facility after its birth, but then escaped, and has been living in the cemetery. And I know that sounds very bare bones, but in my head, it’s fully fleshed out.
I don’t know that I’ll ever write it though. The thing is, I was Timmy. I put a lot of myself into that character. A lot of my childhood. And to write about Timmy as an adult? Well… I’d like him to have had a better life than I’ve had, if that makes sense? I’m not sure I can put myself back in that headspace. I have the same problem with a long unfinished novel called LOVE AND WORMS.
The other problem is that the book doesn’t really need a sequel. I worry it would look like a cash grab ya know?
I’ll never say never. Stephen King eventually wrote a sequel to The Shining, and Edward Lee wrote a couple sequels to The Bighead years later, but… there are no definitive plans at this point.
However, if you look closely, there’s an Easter Egg in GHOST WALK that fills in some of that sequel I just talked about, and sets it up. And there’s another Easter Egg in SCRATCH that shows you what Timmy is up to as an adult.
* * *
And that does it for this week. Thanks, as always, for reading the previous 400 issues. I’ll see you back here again next Sunday.
— Brian Keene
Full production of Terminal in MN?? And this is the first i'm hearing of it? :) Sounds cool.
Thanks Brian, I appreciate all the insight