Interview with writer M.D. Neu

Writer M.D. Neu joined me to talk about his upcoming novella, The Reunion, and writing gay fiction.

MDNeu pic

You have a novella, The Reunion, coming out later this month – a creepy tale for October. Tell me about your story.

The Reunion came about several years ago based on a larger game some friends and I played.  After the game ended I decided to write a reunion with a majority of the characters coming together one last time. The story takes place twenty years after the events of the game and was only meant to be a final goodbye.

Originally the story started out as a small 3000 word short that I got accepted to (you can hear the short here: ) but as I played with it over time the story got larger and more detailed.  I continued to work the story expanding and changing the characters.  Also, I added some new elements to round out what happens and make it creepier.  The one thing I never changed was the paranormal and ‘creepy’ aspect. In fact I amped it up. When the novella comes out on Oct 23rd (thank you to NineStar Press for accepting the story) it will be a full 21,000-word short story. You can pre-order it here: . I’m proud of the final product and I hope folks enjoy it.

Here is the summary of the story:

It’s been twenty years since the quiet Midwestern town of Lakeview was struck by tragedy.  But every year on the anniversary of the event Teddy returns home for ‘The Reunion’. Lakeview, like Teddy, has secrets and not all mysteries should come to light.

TheReunion cover

You have a passion for speculative and paranormal fiction with gay characters. Is representation a big motivating factor for your writing?

As a gay man who grew up with little queer representation in media I wanted to change that as a writer.  When I was a kid if you saw a gay character on TV or in the movies they were always there for shock value (remember the lesbian kiss on Roseanne, or Ellen coming out on her show, the media and people went nuts) or they were tragic characters (Philadelphia ring any bells) or campy fun.  Don’t get me wrong.  I love campy.  I love over the top gay. I love Drag Queens.  I love, as Harvey Fierstein once said, ‘Sissies’.  And I love the beautiful gays we see on TV now. But that isn’t only who we are.  We’re everyone.  We’re everywhere.  We’re from every walk of life, and I wanted… no I needed to show that in my writing.

In ‘The Reunion’ the main character, Teddy, dresses in drag and he lived with his partner, Lane.  They have a son, Nate, as well. Teddy is also a hairstylist. Did I hit some stereotypes, yes, but what I want people to know is that wasn’t the intent.  Teddy is based on two people from my life, a friend who passed away (hairstylist and drag performer) and my mom who also passed away (she was a hairstylist).  That is where Teddy comes from so he may be a bit of a stereotype, but for me that’s okay because I’m honoring two important people in my life.

Also, in this story I wanted to introduce a trans character. Issues of acceptance are so important these days that I absolutely wanted to include a member of the trans community and I hope I do her justice.

Lastly, why I think representation is so important is I remember reading Anne Rice’s ‘Interview with a Vampire’ in the 80s  (the book came out in the 70s) and for it’s time the gay undertones were very much there.  However, it was never mentioned and it kind of hurt, because I got to see two men raising a daughter.  Sure it was all shades of messed up, but think about it, had anyone every done anything like that before in a high profile wildly successful novel. I don’t think so.

Sorry, I know I got on a bit of soapbox, but your question was important and I wanted to really explain things.

Do you have any recommendations of things you’ve enjoyed reading that have done this well?

I mentioned Interview with a Vampire. I think did a good job for its time.  There is a lot of new stuff coming out that I think approaches the subject well, however, a lot of it is romance and erotica, which is great, but for me I want to read things that aren’t romance or erotica. I want adventure and to be frightened.  I don’t mind aspects of romance, but I don’t want that to be the focus. There is another author I know. JP Jackson’s new book, Daimonion, is excellent. The queer undertones are there and it’s not a romance, which makes it a nice change.  I’m sure there are tons of others, I’m just not thinking of any at the moment.

Like me, you’re a fan of vampires and I think you have a vampire book coming up too. What’s appealing about vampires for you?

Oh, my gosh I love vampires. Yes. My debut novel, The Calling, is all about vampires, as well as a nerdy shy, not very attractive gay man.  It comes out Jan 1st 2018.

For me vampires represent the fringe of society.  Some can pass as ‘normal’, but they don’t fit in and they never will.  Vampires had to learn to work within the confines of society, but because they are different they have to live in the shadows and hide.  Throughout history they’ve always been there, but for most people they have no clue.  Vampires either hide or fit in and hide that way.  You see where I’m going with this, right? Vampires are the perfect metaphor for queer society.  The other thing about vampires I find so appealing is, of course, they are sexy as hell (well at least mine are).

What are your biggest writing influences?

My biggest writing influences, wow I have a lot.  I love Gene Roddenberry, George Lucas, Stephen King, Alfred Hitchcock, Harvey Fierstein, Anne Rice and Kim Stanley Robinson. All these people have shown us various worlds that I find exciting and appealing.  I can only hope that my works can stand in their company.

Thank you for having me.

M.D. Neu is a LGBTQA Fiction Writer with a love for writing and travel. Living in the heart of Silicon Valley (San Jose, California), he’s always been fascinated with what could be. Growing up in an accepting family as a gay man, he always wondered why there were never stories reflecting who he was. Constantly surrounded by characters that only reflected heterosexual society, M.D. Neu decided he wanted to change that. So, he took to writing, wanting to tell good stories that reflected our diverse world.

 When M.D. Neu isn’t writing, he works for a non-profit and travels with his biggest supporter and his harshest critic, Eric his husband of eighteen plus years.


Gothic/Horror Month Guest Interview: Ian Andrews

the-pearls-that-were-his-eyes-coverAuthor Ian Andrews took time out to talk to me about his novel, The Pearls That Were His Eyes, the Cthulhu Mythos and the King in Yellow. If you like weird fiction, flooded gothic cities, and cosmic horror, you’re in for a treat.

Tell me about The Pearls That Were His Eyes.

Pearls is at its heart a story about unconventional love, and about the masks we wear. Almost every character in the novel undergoes a journey dictated and coloured by their loves; for some it’s a less pleasant journey than others. Passion isn’t always a positive emotion. I have always been fascinated by the act of wearing a mask and the potential significances that can have; the putting on of a game face to deal with a situation that our truer, naked selves may not want to face.

On the surface of it, it’s a political whodunit set in a mysterious, partly flooded city against a backdrop of upheaval and occult menace. I have heard readers say that they struggle to pin down the genre; there’s elements of clockpunk fantasy, historical thriller, murder mystery and a number of other themes all jostling to be heard.

But at its heart, it’s a love story. A story about the terrible, dreadful things that love can make you do.

It’s also, lest we forget, a story about the unconditional love of a man for his giant albino ape. Bisociation is both big and clever, and complexity is not a vice….

What were your major inspirations for the book?

The story wears its Shakespearean pretensions on its sleeve, though there’s a little mischief-making with the naming conventions too; our Miranda is clearly an Ariel, and Prospero bears more resemblance to the prince of Poe’s story than the Duke of Milan. Carcosa, obviously, is a key inspiration for Cittavecchio; the work of Bierce, Chambers, Wagner and latterly Detwiler and Tynes was foremost in my mind when I was putting together the backstory of the city and its inhabitants. There’s a lot of Venice in there too – predictably – much of the writing of the key sequences was done while in Venice for Carnevale, and I took a lot of late night walks along narrow, foggy canal side paths looking for the war of frogs and mice. But not perhaps as much as one might think to begin with – there’s a lot of old London in there too, especially in the Rookeries, and Amsterdam, and Thomas Ligotti’s City of Bells and Towers.

I have been reading a lot of Borges and Ligotti recently; it’s good brain food and good discipline for a writer.

I’ve always been fascinated with the commedia dell’arte; the almost cultish rituals and secrets that surround it and the idea of mask as character.

But as per the chapter headings, the real inspiration behind it is Eliot’s magnificent, enigmatic Waste Land – trying to recapture the sense of unfocussed background menace that Elio seems to just find lying around in the street. One must be so careful these days.

What is it about The King in Yellow and the Cthulhu Mythos that attracts you?

A deceptively complicated question. The Carcosa mythos appeals to me for many reasons – but if I had to pin down one for sure it’s the ambiguity. The recent upsurge of popularity in old Howard Phillips’ cosmology – especially the roleplaying games that have come out of his work – have led the Cthulhu Mythos, for better or for worse, down a road where there’s little mystery or awe left in it. Encyclopaediae and rulebooks capture, quantify and pin down like butterflies the creatures, mysteries and magic of the Cthulhu Mythos and I wonder if in doing so they have missed its fundamental point.

The Carcosa cycle, the so-called Hastur Mythos, is harder to pin down. It’s impressionistic, almost, in that it is far more open to the reader’s interpretation. It’s not about monsters and agendas and cults and pulp good versus evil – or not just about that anyway, once you scratch the surface. It’s far more about mood, emotions, sensation. When all is said and done, there’s a few fragments of a play, some character names and implicit assumed relationships, an occult threat, a sense of foreboding, a city that may or may not be lost and a handful of locations. The very paucity of detail means it’s easier to hang a story, a sense of menace and ambiguity, onto the skeletal framework. It’s not so tied to a single period as Lovecraft’s work; some of the best Carcosa fiction I have read has been modern.

There is a formality to the structure of the source material; like the commedia there are roles, defined by titles. The Last King. The Phantom of Truth. Cassilda and Camilla. They spark the imagination, encourage you to make your own connections. To wear the masks and try them out for a while.

Back in the Nineties, John Tynes wrote a number of essays (found in the excellent Delta Green: Countdown and elsewhere) about his take on the Hastur Mythos; about it being to do with the concept of entropy as expressed through civilisational and social models rather than Lovecraft’s blind idiot chaos. I find the idea of the King in Yellow as an anthropomorphisation or avatar of a universal principle of entropy expressed in human terms and working on human constructs profoundly more unsettling than any number of tentacle faced kaiju, for all I love them. Things fall apart. The centre cannot hold.

Tell me brother; have you seen the Yellow Sign? If you have not, I lack the words to explain. If you have, I do not need to.

Do you have any recommendations of other modern Carcosa Mythos or Cthulhu Mythos fiction?

It’s impossible not to start with the first season of True Detective. A triumph of storytelling and I admire the restraint of the director and the writer in not feeling it necessary to explain everything. That’s the essence of the Carcosa Mythos right there. There’s a short scene in episode five where the two leads are interviewing an old woman in a nursing home, and Rust Cohle shows her some of his sketches. Her reaction and her little speech is so chilling, so on the nail, that just recalling it now has made the hair on the back of my neck stand up. You know Carcosa? You know Carcosa? Him who eats time. Him robes. It’s a wind of invisible voices. Brrr… Civilisational entropy; the rot setting into the soul. It’s all right there.

I’ve referenced John Tynes’ work above; there’s both his work for Delta Green and his writing in the Unspeakable Oath fanzine if you can get hold of it. He also released three chapbooks – Ambrose, Broadalbin and Sosostris – which shaped a lot of my early thinking about the Carcosa Mythos. His sometime writing partner Dennis Detwiler has done a lot of rpg-based work on Carcosa themes too – I’d recommend hunting down Don’t Rest Your Head and Insylum.

Even though it’s not overtly associated with the Carcosa Mythos I have to give a nod to Mark Z. Danielewski’s House of Leaves. It’s a difficult book, and a lot of the themes of alienation, loss of perspective grasp and what happens when the horror comes to you fit very well into the overall themes of the mythos. And also, once it has momentum, it’s un-putdownable.

There are some excellent recent collections of short stories on a Carcosa theme – Rehearsals for Oblivion Vol 1 springs immediately to mind – that gather both new takes on old themes and some of the classics like Karl Edward Wagner’s River of Night’s Dreaming and James Blish’s seminal More Light.

Last of all, I’d like to flag a recommendation for an episode of the TV anthology series Masters of Horror. Various luminaries of the horror genre each do an episode – and while some of them are genuinely awful, the episode of the second season written by John Carpenter called Cigarette Burns is well worth a look – the effect of watching his lost film and a lot of the story surrounding it is an elegant updating of Chambers’ lost and banned play.

Gothic/Horror Month Guest Interview: Ashley Capes

cover-whisper-of-leavesAuthor and poet Ashley Capes took some time out to talk to me about his ghost story, A Whisper of Leaves.

Tell me about A Whisper of Leaves.

Whisper is a ghost story set in Japan, where an Australian English teacher finds herself being haunted when she takes an old journal home from the forests beneath Mt Fuji. Aokigahara is known, informally as the ‘suicide forest’ but I decided to steer away from that theme for the most part – and instead focus on the creepiness of the place as a setting.

What were your major inspirations for the story?

Aside from the forest itself, I delved into Japanese folklore and spirits – like the shinigami (death spirit) or the use of wards and talismans (omamori) but I also tried to incorporate classic ghost story elements recognisable from any culture, like having a main character alone in a place, questioning whether she’s really experiencing the haunting or whether she’s imagining it all. I think mystery stories have influenced me with this novella too, I like the slow unravelling of a good mystery and wanted to have that aspect here too.

What do you look for in a ghost story?

Usually I want to learn about the history of the ghost(s) – why do they linger? Aside from that, the setting is key. It can be a big old mansion or a howling mountaintop etc, but I think setting is vital to selling the ‘on edge’ feeling I want from a ghost story.

Any recommendations?

Yes! Though I’m guessing most folks would have read these – still, they’re probably my favourite three. First is The Shining (Stephen King) which has it all, from the disturbing hotel to possession to a dark history slowly revealed. Second is The Graveyard Book (Neil Gaiman) which is probably not a ‘ghost story’ strictly but certainly features them heavily and is heaps of fun. Finally, Dickens’ A Christmas Carol which is a classic, such a wonderful premise (although, I probably saw the Bill Murray film Scrooged before reading the book).

When I was a kid, people used to tell ghost stories about my school and neighbourhood. Did you have the same experience, and if so, do you remember any good ones?

I’m sure we did but my memory is failing me – though I did used to live across the road from the town cemetery, when I was a kid. It was probably only 30 paces from my bedroom window, through the front yard, across the road and to the cemetery fence, but I never found it scary for some reason. I guess it was just part of the routine; get up, have breakfast, walk to the bus stop and pass the cemetery along the way.

Ashley is a poet, novelist and teacher living in Australia. He teaches English, Media and Music Production, has played in a metal band, worked in an art gallery and slaved away at music retail. Aside from reading and writing, Ashley loves volleyball and Studio Ghibli – and Magnum PI, easily one of the greatest television shows ever made.


Whisper Amazon Link