Saturday, December 19, 2020

The Anti-Claus

 


Here's a horror story to fill you with holiday fear . . . I mean cheer. Enjoy!


THE ANTI-CLAUS

BY TIM WAGGONER

 

Jessica had one bad habit: she always ran late in the morning. She was on time for everything else the rest of the day – never missed a meeting at work, never showed up late for drinks or dinner with friends. But whatever the first thing she had to do in the morning was, she was late for it. Always. She’d tried all kinds of things to break this habit. She went to bed early, set multiple alarms on her phone, got up early, drank stronger coffee in the morning, exercised, ate a good breakfast . . . But nothing helped. It was like her brain was unable to adjust to living by the clock until she was out in the world and doing things.

 

Today was no exception. She worked as a financial advisor, and she had an appointment with a client at nine a.m. Her Lexus’ dashboard clock told her it was 9:18, and she wasn’t even halfway to work yet. Lila – her supervisor – was going to kill her. Lila had lost patience with her tardiness and she’d taken to recording the precise time of her arrival each day. Jessica thought Lila was creating a paper trail so she’d have the documentation necessary to fire her. But Lila had it in for her for personal reasons, too. She resented the fact that clients preferred to work with her, which was only natural considering what a tight-ass, humorless bitch Lila was.

 

Rush hour traffic was bad enough, but it didn’t help that today was December 24th, Christmas Eve. The traffic was a nightmare, the streets clogged with vehicles as people rushed around making last minute preparations for tomorrow or heading for the airport to catch a flight to visit family in some other part of the country. Why the hell did people wait until the day before the holiday to get shit done? Why didn’t they –

 

Jessica saw the crimson flare of brake lights ahead of her, and she jammed her foot down on her own brakes. But she’d been going too fast, had been riding the ass of the car ahead of her, and the front end of her Lexus collided with the back end of the other vehicle with a jarring whump.

 

Shit! she thought. Shit, shit, shit!

 

She put her car in park and activated the hazard lights. She checked the rearview mirror to make sure the traffic was giving her car a wide enough berth so she wouldn’t be hit the instant she got out of the car. It looked safe enough, so she opened the door and stepped out into the cold morning air. It was a gray day – cloud cover, but no snow – and a sharp, biting wind was blowing from the east. Jessica wore a light jacket. She hated the way she looked in bulky winter coats, but now she wished she’d dressed for practicality instead of vanity. The wind hit her exposed skin like tiny daggers of ice, and she would’ve killed for a nice thick parka right then.

 

The car she’d hit was a big beast of a vehicle, a Cadillac, maybe, but there was no metal logo affixed to the back of the car to indicate its make. Maybe the logo had been knocked off in the collision? The vehicle was black, blacker than black, so dark that it seemed to swallow light instead of reflect it. The blackness seemed to pull at her, to demand she keep her gaze fixed on it, to step closer, touch it . . . She took a step forward, raised her hand, but then she realized what she was doing. She squeezed her eyes shut, dropped her arm, and gave her head a quick shake to clear it. When she opened her eyes, the blackness of the car still pulled at her, but not as strongly as before, and she was able to resist it. Shivering – only partially due to the cold – she stepped to the front of her vehicle to assess the damage.

 

She hadn’t been driving too fast, or else her car’s airbags would’ve activated, and she expected the damage to her Lexus to be relatively minimal. So she was shocked to see the entire front end of her vehicle had been pushed in, as if she’d hit a brick wall going sixty miles per hour.

 

Fuck, she thought. She’d had the car less than a year. Sure, it had been “certified pre-owned” instead of brand new, but it had been new to her, a symbol of how hard she’d worked and how much she’d accomplished. And now it looked as if that symbol was totaled.

 

Merry goddamned Christmas, Jessica.

 

She looked at the black car then and saw that it didn’t have so much as a scratch on it. What the hell was the thing made of? Granite?

 

She heard a car door open, and she turned to see a man getting out of the front passenger side of the big black car. He was tall and thin, with stick-like limbs that seemed longer than they should’ve been. His head was oddly shaped – kind of like a light bulb with an unkempt mass of dingy gray hair on top – and his neck was so thin Jessica didn’t see how it could possibly support his head. His features were overlarge and prominent – eyes, nose, mouth, and ears bigger than they should’ve been – and he had a mustache and goatee that were the same dishwater-gray as his hair. He was dressed in what she thought of as a mortician’s suit: black jacket, white shirt, black tie, black slacks, black shoes. His clothing wasn’t as dark as his vehicle’s paint job, but it was close.

 

He started toward her, moving with a surprising grace for a man who was all straight lines and angles, and his light bulb-shaped face broke into a smile, as if he was about to greet a long-lost friend instead of the driver of the car that had rear-ended his vehicle.

 

“Are you injured?” the man asked as he reached her.

 

She’d expected his voice to be as strange as the rest of him, but it was a pleasant baritone, the sort of voice a radio or TV announcer might possess.

 

“No, I’m fine.”

 

He pursed his lips as if in disappointment.

 

“Ah, well. Maybe next time.”

 

She couldn’t believe what he’d said, thought she’d surely misheard, but he continued before she could say anything,

 

“I apologize for my driver braking so abruptly. His eyesight isn’t what it used to be, and he thought he saw an animal dash across the road in front of us. He has a . . . reluctance to kill an innocent creature.”

 

He chuckled, as if amused by the notion. He then turned his gaze to the crumpled front end of her Lexus.

 

“My, my, my. This looks rather serious.”

 

He bent to examine the front end of her car. After several seconds, he straightened and smiled.

 

“You can’t drive for shit, can you?”

 

Jessica’s mouth dropped open in shock. This was followed by quick, hot anger.

 

“I’m not the one who slammed on the brakes in heavy morning traffic,” she said.

 

Ignoring her, the man examined his vehicle. He ran long, thin fingers across its trunk, and she thought she heard soft clicking sounds as they moved, as if his hand were a crab skittering across the metal.

 

“I think you may have actually scratched the paint. You must’ve hit us harder than I thought.” He looked at her, smile widening, revealing crooked, yellow teeth. “Good for you!”

 

He clapped his hands together as if the slight damage to his car delighted him.

 

It was then she realized his vehicle had no license plate. She hadn’t noticed in the post-accident confusion. Had the plate been knocked off by the impact of her Lexus striking his car? She didn’t see any place where a plate had been attached to the vehicle, though. Did that mean it had never had one?

 

The man rubbed his crab hands together.

 

“So . . . what would you like me to take?”

 

Jessica stared at him, unable to process his words. She understood them, of course, but she had no idea what they meant.

 

“I . . .” She frowned. “What?”

 

The man released a breathy bark of a sound, which she thought might be a laugh.

 

“My apologies! I should introduce myself. My name is Arland Merriman, and I am the Anti-Claus.”

 

He extended one of his skeletal hands for her to shake, but when she made no move to touch it, he lowered his hand and continued speaking as if nothing had happened.

 

“Please don’t feel awkward for never having heard of me. I don’t enjoy the fame of my opposite number.” He leaned forward, as if to impart a secret. “It’s all part of the ‘anti’ thing, you know. He’s famous, I’m anonymous. But don’t worry. I like it that way.”

 

Jessica was beginning to regret getting out of her car, and she definitely regretted leaving her phone in her purse on the passenger seat. Whoever this odd man was, it was clear there was something wrong with him mentally, and she wanted to call the police.

 

Merriman went on.

 

“My opposite has a list and checks it twice, but I only visit with those I meet by chance. Like someone who rams the back of my car on Deprivation Day.”

 

She looked at him blankly.

 

“You know it as Christmas Eve. But it’s a special day all its own, I assure you. After midnight, my opposite will begin bringing so-called gifts to the deserving people of the world. Usually useless junk that no one really needs, but which inject a small amount of temporary joy into their otherwise meaningless, empty lives. The universe exists in a state of carefully maintained balance. So if my opposite gives . . .”

 

He stressed this last word, urging her to complete the thought. She didn’t think she could speak, but she was surprised to hear herself say, “You take.”

 

“Exactly!” He grinned in delight. “And where my opposite selects what to give you, I give you a choice of what you want to lose.”

 

He reached into the inner pocket of his jacket, withdrew what looked like a business card, and held it out for Jessica to take. She didn’t move at first, so Merriman took hold of her wrist. She expected his fingers to be ice-cold, but his touch burned and she drew in a hissing breath of pain. Of course he’s the opposite of cold, she thought. He’s the Anti-Claus. He lifted her hand and deposited the card on her palm. She was grateful when he let go of her wrist. The skin still hurt, but it no longer felt as if her flesh was on fire.

 

She looked down at the card and saw it was blank. She turned it over and saw it was also blank on the other side.

 

“You have until midnight – when my day ends and his begins – to decide what you’d like me to remove from your life. The only rules are that it must belong to you and you must write the name of it on this card. Either side will do.”

 

The unreality of this encounter was getting to her, and although on some level of her mind, she knew what was happening was absolutely, undeniably real, she needed to believe that Merriman was crazy, or that this was some kind of elaborate prank. Anything, just so long as she could tell herself that there was no such thing as the Anti-Claus and that the card he’d given her was just a plain, ordinary blank piece of cardstock, nothing more.

 

She looked into his oversized eyes, which were the same color as his hair and beard, the same color as the overcast sky above, and smiled as if she was in on the joke and intended to play along.

 

“What happens if midnight comes and I haven’t written anything on the card?”

 

Merriman’s smile – already wider than a normal person’s – stretched even further until the tender skin at the corners of his mouth split and blood trickled forth.

 

“Then I choose something of yours to take. And believe me, you don’t want that to happen.”

 

Jessica’s smile faded and despite her attempt to make herself believe this was nothing but a bizarre practical joke, she felt a hot flush pass through her body. Not a chill, not from the Anti-Claus.

 

The driver’s door of the large black car opened and a figure emerged. The driver wore a chauffer’s uniform, but while his body appeared human, his head was that of a stag. It lolled to the side, antlers broken and short, tongue protruding from the side of a blood-flecked mouth, eyes milky white.

 

Like roadkill, she thought. Her stomach lurched, and she thought she was going to vomit.

 

The driver walked to Merriman, head flopping bonelessly as he came. When he reached his employer, he raised his arm and with the opposite hand – which possessed a hoof instead of fingers – he tapped the face of the wristwatch he wore.

 

“Ah, yes. Thanks for the reminder, Hobart.”

 

The hideous thing turned and headed back to the car without saying a word. Jessica was profoundly thankful the creature hadn’t spoken. She didn’t want to hear what sort of voice would issue from the thing’s throat.

 

“I’m afraid I must take my leave,” Merriman said. “I have many other cards to pass out before midnight, after all. I wish you a most lamentable Deprivation Day, Jessica.” He nodded goodbye, turned, and started walking toward his vehicle. When he reached the front passenger door, he opened it and started to climb inside. But then he stopped and turned back to look at her. “Remember to fill out your card. If you don’t, I’ll be paying you a visit later.”

 

He grinned so wide this time that the skin of his face tore from the edges of his mouth all the way to his ears. Blood flowed from the wounds, but she could still see his teeth. All of them.

 

* * * * *

 

Jessica watched the blacker-than-black car drive away, its engine eerily silent. She then returned to her Lexus, got in, gripped the steering wheel, and sat for several moments, breath coming in rapid huh-huh-huh-huhs, heart keeping time with the rhythm. When she’d calmed down a little, she turned off the car’s hazard lights. She’d left the engine running as she’d spoken to Merriman, and she now put the Lexus in gear and started driving forward. The engine didn’t sound good, and the steering was wonky, but the car moved, and that was all she cared about now.

 

She’d put the blank card on the passenger seat when she’d gotten in, and she glanced at it quickly, as if to make sure it was still there, still real. It was. She reached over, picked it up, and slipped it into her purse.

 

If she didn’t want Merriman to pay her a visit later tonight, she had to write something on the card. Something she wanted to be rid of. She didn’t bother telling herself that Merriman and his grotesque driver hadn’t been real, that they’d been hallucinations, that she’d gone crazy. The damage to her car was real enough, and even if Merriman wasn’t the Anti-Claus and no harm would come to her if she didn’t write something on the card, she wasn’t going to chance it. She’d do anything to avoid seeing Merriman and his deer-headed driver again.

 

Could she write something innocuous on the card? There was a bland painting in the reception area where she worked, a water tower surrounded by bright blue sky and fluffy white clouds. She didn’t like the thing, hated having to look at it whenever she passed through the reception area. Maybe if she wrote Ugly-ass water tower painting in Reception on the card, it wouldn’t be hanging on the wall when she returned to the office after Christmas. She wouldn’t have to see Merriman again, and the workplace would be improved, at least for her.

 

No, that wouldn’t work. Merriman had said that whatever she chose had to belong to her. She didn’t own the painting. It belonged to the office.

 

She wracked her brain, trying to come up with something to write on the card, but she couldn’t think of anything. She feared there was some sort of catch to what Merriman had told her, that if she didn’t choose something important enough, he’d come to visit her anyway. Say she wrote My old toaster on the card. She could imagine Merriman coming to her apartment sometime before midnight. He’d knock, she’d open the door, and he’d say something like A toaster? It’s called Deprivation Day, Jessica. Do you think losing a toaster really qualifies as you being deprived?

 

And then he’d reach for her with his blazing-hot crablike hands, while behind him in the hall, his driver with the dead deer head – Hobart – would let out a wet, snuffling laugh.

 

She began trembling then, and she continued to do so the rest of the way to work.

 

* * * * *

 

 “I’m used to you being late, but this is a personal worst for you.”

 

Lila Robinson was waiting inside Jessica’s office when she’d arrived. She sat at Jessica’s desk, a small notebook open in front of her. She checked the time on her phone and then, using one of Jessica’s pens, she noted the exact time.

 

Lila was a petite woman in her late fifties, with short brown hair. She wore a bit too much makeup in a futile attempt to make her look a few years younger. She wore a navy-blue blazer over a white blouse, and while Jessica couldn’t see them at the moment, she knew the woman also wore navy-blue slacks and sensible black shoes. She’d never worn a skirt to the office the entire time Jessica had worked here.

 

She’d considered calling off sick and going home, but she didn’t want to be alone right now, wanted to be around other people. Now she regretted her choice.

 

“Sorry. I got into an accident on the way here. Slowed me down.”

 

Her voice was toneless, matter-of-fact. After seeing Merriman and Hobart, Lila didn’t scare her anymore.

 

Lila seemed put out by Jessica’s lack of reaction to her words. She threw the pen down on the desk, grabbed the notebook, closed it, stood, came out from behind the desk, and walked over to Jessica until they were practically standing nose to nose.

 

“I’m sorry you were in an accident.” Lila sounded doubtful, as if she didn’t believe Jessica’s story. “But you could’ve called to let us know. Instead you come strolling in over an hour late. Your client got tired of waiting for you and left. I tried to convince him to speak to another of our financial advisors, but he declined. ‘I think I’ll take my business elsewhere,’ he said and then left. This is your last warning, Jessica. If you come in late again, for any reason, I will fire you. Do you understand?”

 

Jessica had heard every word, but she was so preoccupied by her experience with Merriman that she couldn’t bring herself to care. Lila’s face reddened with anger.

 

“Aren’t you going to say anything? No? I’m your supervisor, Jessica. The least you could do is give me the courtesy of a response.”

 

Jessica looked at Lila as if noticing her for the first time since entering the office. She smiled slowly.

 

“You are, aren’t you?”

 

Lila frowned. “Are what?”

 

“My supervisor. Mine.

 

Lila took a step back from Jessica, as if disturbed by something she saw on the other woman’s face.

 

“Just remember what I said.”

 

She walked past Jessica. She paused at the doorway, glanced back briefly, then left.

 

Jessica, still smiling, put her purse on top of her desk and sat down. She picked up the pen that Lila had used to record her time of arrival, then reached into her purse to withdraw the blank card Merriman had given her. She placed it on the desk in front of her, held it still with the tips of her fingers, and began to write.

 

Happy Deprivation Day to me, she thought.

Wednesday, November 25, 2020

Writers' Negative Self-Talk

 


I have two dachshunds – Lucy and Bentley. Bentley is five years old and is a sweet, lovable goof who gets into trouble quite often. My wife calls him a “menace without malice,” which is an apt description. Lucy is fifteen. She was a rescue when we got her about a decade ago, and her health wasn’t the best at that point. We’ve taken good care of her since then, but she has enough physical issues now that the vet told us last March that she might have as little as two weeks to live. It’s almost December as I write this, and Lucy is still chugging along, acting like a puppy more often than not (although a puppy who gets aches and pains and needs to sleep a lot). Lucy wakes me up at four a.m. every morning, demanding to be fed, and of course, Bentley gets up too. Once I’m up, I’m up, so after the dogs are fed and have returned to bed to cuddle with my wife, I head into my home office to write. The other day I’d been writing from around 5:00 a.m. to 10:00 a.m., when my lack of sleep caught up with me and I began nodding off at my keyboard. When this happens, I have micro-dreams that last only a few seconds until I can force myself awake again. There’s nothing particularly special about these dreams. They consist of strange images and thoughts mostly, stuff that vanishes from my mind the instant I manage to haul myself back to consciousness. But this day, when my eyes closed at one point, in my mind I heard a derisive voice say, Your words are tiny words.

 

I woke, thought, That was weird, wrote down the sentence in case I might be able to use it sometime, and returned to writing the novel I’m currently working one (another horror/dark fantasy book for Flame Tree Press titled A Hunter Called Night). Unlike my other micro-dreams, I remembered this one, and I thought about it a lot over the next couple days. During the time I dreamed it, I didn’t think the voice was addressing me specifically. It seemed more like it was the voice of a character speaking to another in a story. But the more I thought about it, the more I wondered if the voice wasn’t my old friend self-doubt rearing its ugly head. Your words are small words.

 

Regardless of what the origin of this phrase was (let alone its true meaning, assuming it had any), it got me thinking about all the negative things that writers and other creatives tell ourselves. “You know,” I said to myself, “there’s probably a blog entry in this.” And lo and behold, I was right.

 

The first time I remember encountering the idea of negative self-talk as a psychological issue that could be dealt with was when I read Write for Your Life by mystery writer Lawrence Block. In the 80’s, Block and his wife conducted writing seminars around the country, and Write for Your Life was a self-published book he created to go along with the seminar. I’d read about the seminar in Block’s fiction-writing column in Writer’s Digest, but I was a poor college student at that point in my life and couldn’t attend. I desperately wanted to get hold of the book somehow, but there was no Amazon or eBay in those days, and it wasn’t until some years later that I ran across a copy of the book in a Half-Price Books store. (Block has since self-published a new edition of the print book as well as an ebook edition which you can order here: https://www.amazon.com/Write-Your-Life-Lawrence-Block-ebook/dp/B000GCFX9U/ref=sr_1_2?dchild=1&keywords=lawrence+block+write+for+your+life&qid=1606242259&s=books&sr=1-2)

 

 

Among the many topics Block discussed in the book was the idea of negative messages that writers regularly tell ourselves, and how they could be countered and overcome by creating an affirmation. For example, if your negative message is My characters are dull two-dimensional caricatures your affirmation might be My characters are well developed and interesting. Once you’ve identified a negative message and created a corresponding affirmation, you write the affirmation down in a notebook (or type it) over and over again. You do this each day, maybe several times a day, and perhaps before each writing session. The idea is to replace the negative message with a positive one. My ex-wife is a psychologist, and when I told her about Block’s idea, she said it was basic cognitive therapy. So I decided to try it.

 

It took me a while to identify a negative statement (or rather select one since I told myself so many), but eventually I came up with I’m not good enough. It was easy to develop a countering affirmation: I am good enough. And I could capitalize am for good measure. I AM good enough. So I did as Block suggested and wrote my affirmation in a notebook many, many times over the course of several days. Did it help? Hard to say. I remember feeling better after my affirmation-writing sessions, but I don’t recall any specific effect on my writing. (I don’t think it made things worse though – at least I hope so!)

 

You might give Block’s technique a try and see what it does for you. Identify a negative statement you tell yourself about your writing, create an affirmation to counter it, then write the affirmation a number of times before you start writing as a kind of combination pep talk/warm-up. How many times you write your affirmation is up to you. I suggest at least twenty, but maybe no more than a hundred. Don’t waste your entire writing time for the day writing your affirmation!

 

During my years of teaching writing, along with my years on social media, I’ve encountered a number of negative things people tell themselves about their writing. Let’s talk about the most common, in no particular order.

 

My writing isn’t good enough to . . .

 

There are a lot of ways to fill in the blank here. Good enough for people to read it. Good enough to get published. Good enough to help you land an agent. Good enough to make money. Good enough to win awards. Good enough to be adapted for movies or TV, and so on. This negative thought focuses on the perceived quality of your writing (or what you fear is the lack thereof). Your writing is as good as it’s going to get today, but not as good as it’s going to get tomorrow, assuming you keep writing, learning, and growing as the years go by. You need to peace with the fact that your writing probably will never feel like it’s good enough to you. Terminal dissatisfaction is not only normal for an artist, it’s likely one of the main drives that keeps us producing our work. It’s a given that we will die without achieving all of our goals (unless we’re extremely fortunate), and that’s okay. We need to take our writing as far as we can in the time that we have, and in the end that has to be enough, because that’s all we’re going to get.

 

People won’t like my writing

 

This is true – but only if you add the word Some to the beginning of this sentence. There isn’t a single thing in this world that is liked by everyone. Hell, there are probably people who even hate breathing and eating and would stop if they could. And the more limited your writing is in its appeal, the fewer the people that will like it. Just by choosing a genre to write in, you’ve narrowed your audience. Not everyone likes romance, westerns, mysteries, science fiction, fantasy, and even horror (hard to believe about this latter, but it’s true). Then the specific subject matter might not appeal to certain readers. This story takes place on a train? Ugh, I hate trains. And some people might not like the way you told your story. I just can’t get into first-person stories. There’s way too much description in this book. This is too literary. This isn’t literary enough. Writing is, in many ways, nothing but a series of choices, one after the other, and for every choice we make, some people will respond positively, some negatively. We hope more people will like our choices than not, but it’s guaranteed that at least some won’t, and that’s okay. Not everyone likes Italian food, but that doesn’t mean there’s anything wrong with the food itself. It’s simply a matter of personal taste. And if people aren’t responding well to your writing because it needs improvement, every day you continue to write will help you improve.

 

People will think I’m weird

 

You are weird, and what the hell is wrong with that? Weird to non-writers, anyway. Odds are that to other writers, you’ve perfectly normal. Your family and friends might not understand you. They’re probably not artists, or readers for that matter, and if they do read, they probably don’t read the kind of thing you write. What’s the point of a romance novel? I mean, they all end the same way. We spend a lot of time in our heads (maybe most of the time), and we get excited about stuff that most people don’t. I wrote this really cool descriptive passage this morning, and I debated whether to use a dash or semicolon in one sentence for fifteen minutes, then I said to hell with it and used a colon instead. It worked great! And if you write horror or erotica, people will think you’re a burgeoning serial killer or a ravening sex addict, simply because they don’t understand the difference between imagining something, wanting to do something, and actually doing it in the real world. Whatever. Let people think what they want and forget about them. Being normal sucks anyway.

 

My writing will get rejected

 

If you’re doing traditional publishing, you bet it will, and probably a lot (at least when you first start out). If you worked as a salesperson on a car lot, would you expect every potential customer that strolled in to leave with a brand-new vehicle? Of course you wouldn’t. You’d know from your own experience as a buyer of goods that you don’t purchase every item you look at. That doesn’t necessarily mean that there’s anything wrong with the item, only that you’ve determined that – for whatever reason – it doesn’t meet your needs at that moment. Same with editors. It’s not personal. The more your writing improves, the more you continue to send the send piece out to editors or agents, the more familiar you become with specific markets so you can more effectively target your submissions, the fewer rejections you’ll receive. And no matter how advanced your writing career is, you’ll still get them (if not as many). Rejection stinks, but it’s part of the game, and one rejection isn’t an all-encompassing statement on your writing or you as a person.

 

I won’t get any readers

 

This fear affects those seeking to publish traditionally as well as those doing indie publishing. Once a story or book is finally out, we worry that no one will read it. The truth is, even bestsellers are read by only a small portion of the human race, because most people on the planet do not read for pleasure. The biggest flop of a movie is seen by millions more people than ever read most books. And there are so many other books out there – including ones written by authors long dead – for readers to choose from, that the odds of one of our books being selected are slim indeed. One thing’s for certain, though: If your book/story/essay/article/poem isn’t published, you are guaranteed to get a sum total of zero readers. The better your work becomes over time and the more you learn about marketing your work, the more readers you’ll get.

 

No cares about what I write

 

This is kind of true. No one has an intrinsic reason to care about what you write. You have to give them a reason, have to make them care. You can do this through the genre you select, the specific plot of your story, the characters, the style, the pace of the story, the language you use . . . Use any and all the tools available to writers to give readers a reason to give your work a chance. And (as I keep saying) the more you improve over time, the more readers will be drawn to your work.

 

My writing will have no impact

 

In the grand scheme of things, like on a universe-wide scale, nothing anyone does anywhere has any truly meaningful impact (unless you’re a cosmic being like Galactus, I suppose). And what sort of impact do you want your work to have anyway? Do you want it to bring about world peace? Unlikely. But your work can change the life of individual readers, maybe only in some small ways but those ways can be pretty damn important. Maybe a story of yours entertained someone for a bit and gave them a break from something hard that they’re currently going through. Maybe your poem made them feel less alone. Maybe your essay inspired them. Writing and sharing your writing is a community-building act. Making connections with our fellow humans is vital for our species and should never be minimized.

 

I’m just a hack

 

None of us are likely going to be the next Shakespeare, but that doesn’t mean our writing is worthless. A hack is someone who cranks out writing as fast as possible so they can get paid. (There are far easier ways to make money, though, so I don’t know why anyone would choose being a hack as a financially sound career.) And so what if you do write fast and do write for money? Your reasons for writing are your own, and it’s okay if you have different reasons for writing different projects at different times. Sometimes I write for art, sometimes for money, sometimes for both. I’m always writing for myself and readers, though, regardless of the particular project I’m focusing on. As long as I choose to write it and I’m enjoying myself (even if I’m just enjoying anticipating a paycheck), it’s all good. Hack is a meaningless term for me. All it does is tell me that the person using it has contempt for other people who make different writing choices than they would (assuming they write at all). Don’t have contempt for yourself.

 

I’ll never be able to make a living with my writing

 

It depends on what you mean by living, but in general, you’re probably right. Very few artists in this world make enough money from their art to survive. They usually have day jobs of one kind or another, or they teach writing (like I do), or they write different kinds of writing at different times. Poetry to satisfy their artistic side, tech writing to put food on the table. Don’t listen to anyone telling you that writers who make all their money from their artistic writing are the only real writers. It is possible to live just off your writing money if you live in an area with a low cost of living and live as simply as possible – and if you don’t mind dealing with the stress of your income fluctuating throughout the course of a year, with no way to predict for certain if you’ll be able to pay your bills from one month to the next. I’ve never had a goal solely of making money from my writing. I’d get bored if all I did was one thing (no matter how much I love that thing), and if I struggled to pay bills each month, I’d be so stressed that I’d find it difficult (maybe even impossible) to write. I love teaching, but I have a day job in order to support my writing life, to ensure that I can continue to write without interruption until the day I die. However you want to (or can) arrange your writing life, as long as it works for you, that’s all that matters.

 

People online will tell me I suck as a writer

 

I’ve been lucky. I’ve gotten mostly good reviews for my books over the years and good responses from readers on social media. But I’ve had people tell me they didn’t like my work. The best was an anonymous person who sent me an email that read, in all lowercase letters you write badly. I wanted to reply no, i write goodly, but I restrained myself. I read all the reviews I can find of my work because I want to see if I managed to accomplish what I attempted with a given book. I hope to learn from the reviews and improve as a writer. But if people do give your work negative reviews or trolls harass you on social media, do your best to shut them out. Don’t read reviews, block trolls. It’s your choice how much online suckitude you want to put up with, and don’t put up with any that makes it harder for you to write. And for everyone who posts something negative about your writing, they’ll be someone who has something positive to say about it. Focus on those comments. Do whatever works for you to keep you writing.

 

I’ll never be published

 

It’s possible. I’ve known people who’ve tried for decades to publish traditionally and have had made little to no headway. But I’ve known far more people who’ve continued working hard and persisted and who did eventually get published, whether in the small press or in mass market. There are no guarantees that you’ll ever get your work published, and if you do, that you’ll continue getting it published. But there are a hell of a lot of venues available to you to help get your work in front of an audience these days, and one way or another, you should be able to find some readers.

 

I’m just repeating myself

 

Maybe you’ve been writing and publishing for a while, and you fear that you’re repeated the same kind of characters, plots, and narrative style in your work. You probably are. These a reason why critics laud first novels and often ignore a novelist’s subsequent work. The first one is new and fresh. The follow-ups are often more of the same, and even if they’re good, they are no longer novel (see what I did there?). Part of this is a natural tendency of artists, but a lot of it is due to consumer culture telling you to put out the same product over and over, to brand yourself as a particular type of writer who writes a particular type of book to make your work easier to promote and sell. If you do start repeating yourself, you can purposely try to mix things up in your work – try a different type of story or narrative approach. Figure out what your most commonly used elements are and consciously avoid them in new work. Years ago, I realized that most of my short fiction occurred on two timelines, the past and the present, and I alternated between past and present scenes throughout the story. Once I knew I did this, I stopped using that narrative pattern in my short stories for years, forcing myself to come up with different ways to organize my stories. Now I’ll use the pattern whenever I feel a story needs it, but I’m careful not to fall back on it all the time.

 

I’ve plateaued and can’t go any further

 

I’m going to be 57 in March. I recently spoke with an editor friend about ways to possibly take my writing career to the next level, and he described me as a “reasonably successful author.” Nothing wrong with that, but I do fear that’s as far as I’ll be able to take my career, especially given that I’m no spring chicken. Honestly, I’m a little afraid to try to take my career to a higher level. It’s easier to stay where we’re most comfortable in life, where we feel safe. I’m still going to keep trying, but if I were to drop dead tomorrow, I’d be satisfied with the knowledge that I had the courage to chase my dream and I got as far as I did in the time that I had. How much more can any of us hope to get out of life?

 

I’m writing the wrong stuff

 

I think this from time to time. My wife says I go through cycles that last around a year, and at the end of each cycle, I start to think that I’m writing the wrong kind of fiction for my career. Why am I writing weird horror for the small press for almost no money? I should focus on writing tie-ins from now on. They won’t make me rich, but at least they pay better advances and have more readers. There’s no way to advance my career by writing tie-ins. I should write in a more popular, mainstream genre, like thrillers. Fuck it, I should just ghost write for money. It’s not like anyone cares what I write about anyway. I’m tired of writing entertainment-based fiction. What I really need to do is focus on producing more artistic, literary work. I’m sick of writing artsy stuff. I think I’d really like to get back to writing my weird small-press horror. That’s what I love doing the most (I think). And so on . . . Each time I reach another shift in the cycle, it’s a huge existential crisis for me. My wife says it’s just me being me, and she’s right. There’s no way to predict what type of writing will be most successful for you. So much of this business is a complete and total crap shoot. I can tell you to write what you love, write for money, write for art’s sake, etc. But there is no wrong stuff to write. There is no right stuff to write. There’s only what you choose to write or feel drawn to write or have contracted to write at any given point in time. Right now I’m writing this blog. And as I told you earlier, I’m also working on A Hunter Called Night. Today I’ve spoken with two different editors, one about breaking me out as a big-name horror writer (perhaps under a pseudonym) and another about doing a horror-focused media tie-in novel. I’ve also applied to work with a ghostwriting firm because I’m curious what that might be like (and also because my wife and I have spent $20,000 on back surgeries for Bentley this year, and there’s a chance he may need additional surgery on down the line, and ghostwriting pays pretty decently). My agent has well over a dozen novel proposals circulating with various publishers, some horror, some fantasy, some science fiction, some cross genre, some artistic-focused, some pure entertainment-focused. All of this is likely at least part of my I Should Be Writing Something Else cycle. I’ve accepted it about myself, and I do my best not to let it tempt me to abandon one project and go chasing off after another. So far, it’s worked fairly well (although there are a number of unfinished short stories on my hard drive that are likely to stay unfinished.)

 

I’ll never be as good as That Writer

 

I don’t remember where I first heard this, but I pass it along to writers whenever I can: Envy is the writer’s disease. One way we learn is to compare ourselves and our actions to those of other people. But when we start to compare ourselves negatively to others, that’s when we can get into trouble. It’s too easy to read something wonderful – a book, a paragraph, a single line – and believe that we could write every hour of every day for the rest of our lives and never come close to equaling it. Or we compare our careers to those of other, far more successful writers. There’s no way I’ll ever be as famous, rich, or well-loved as FILL IN THE BLANK. The hell of it is, all of these feelings are true. We’ll never be able to replicate someone else’s work because we can never be someone else. We can only be us. And we can’t replicate someone else’s career because a writing career is fashioned from a lot of elements – talent, hard work, and luck chief among them. We can hone our talent and do our best to work hard, and we can try to put ourselves in a position where we can take advantage of luck when it (hopefully) arrives, but all of this is still no guarantee of any kind of success, let alone multiple New York Times bestseller, multi award-winning, millionaire-level of success. Learn from other writers, but don’t compare yourself negatively to them. Don’t use other writers’ work as a weapon to beat yourself up with.

 

I should quit writing

 

I started writing seriously with the intention of making it my life’s work when I was eighteen. As I said earlier, I’m almost 57 now. I’ve traditionally published over 50 novels, seven collections of short stories, and a half dozen or so novellas. I’ve won and been nominated for several awards. How often do I think about quitting writing? Shit, maybe once a month, if not more frequently than that. So far I haven’t quit, although I’ve taken short breaks here and there over the years. I suffer from depression, and thanks to therapy and meds, I handle it pretty well. I know not to give my depression any more power over me than it already has, and I do the same with my feelings that I should quit writing forever. I wait them out the same way I wait for a storm to pass. It might take hours or days, but the sun will come out again eventually. I also know that quitting is so tempting because it’s 100 percent under our control. So many things about a writing career – maybe most things – are beyond our control, but stopping isn’t. And if we blame our writing – or more accurately, our desire to write – for the pain and frustration trying to establish or grow a career is causing us, quitting is our way of striking back at it, making it pay for what it’s done to us. But it’s cutting off our own nose to spite our face. We’ve taken action! We’ve purged our dark emotions! But from now on, we’re going to make a hell of mess when we have a cold and sneeze. I let myself feel whatever feelings I have about my writing whenever I have them, but I know that deep down, my writing is as important and necessary to my existence as breathing. The only reason I would actually quit is if I wanted to hurt myself deeply and kill off a vital part of myself – and I won’t allow myself to do that.

 

In the end, be good to yourself

 

In the end, negative self-talk gives power to our fears and insecurities, and it’s a way we self-harm. Regardless of whether you try to use affirmations to counter negative self-talk or not, I think it’s important to identify and come to terms with the negative things we tell ourselves about our writing. By doing so, we’ll recognize them for what they are when we start saying them, and hopefully we’ll be able to prevent them from keeping us from doing what we love: getting our words down on the page for others to enjoy.

 

DEPARTMENT OF SHAMELESS SELF-PROMOTION

 

Website Update

 

I’ve updated the Interviews section on my website with links to articles on writing I’ve recently published, as well as new podcast appearances and other interviews. You can check them out here: https://timwaggoner.com/interviews.htm

 

Your Turn to Suffer

 

My next horror novel from Flame Tree Press, Your Turn to Suffer, comes out March 23rd and is available for preorder.

 

Lorelei Palumbo is harassed by a sinister group calling themselves The Cabal. They accuse her of having committed unspeakable crimes in the past, and now she must pay. The Cabal begins taking her life apart one piece at a time – her job, her health, the people she loves – and she must try to figure out what The Cabal thinks she’s done if she’s to have any hope of answering their charges and salvaging her life.

 

Amazon Hardback: https://www.amazon.com/Your-Suffer-Fiction-Without-Frontiers/dp/1787585182/ref=tmm_hrd_title_0?_encoding=UTF8&qid=&sr=

 

Amazon Paperback: Link still to come.

 

Amazon Kindle: https://www.amazon.com/gp/product/B08CVSNW16/ref=dbs_a_def_rwt_hsch_vapi_tkin_p1_i0

 

Barnes and Noble Hardback: https://www.barnesandnoble.com/w/your-turn-to-suffer-tim-waggoner/1137330372?ean=9781787585188

 

Barnes and Noble Paperback: https://www.barnesandnoble.com/w/your-turn-to-suffer-tim-waggoner/1137330372?ean=9781787585164

 

Barnes and Noble Nook: https://www.barnesandnoble.com/w/your-turn-to-suffer-tim-waggoner/1137330372?ean=9781787585201

 

Flame Tree Press: https://www.flametreepublishing.com/your-turn-to-suffer-isbn-9781787585201.html

 

Wendigo Tales Vol. 1

 

My novella, Raiders of the Poisoned Planes, appears in this hardcover anthology. It features stories set in the various Deadlands RPG worlds. My story takes place in the Deadlands: Hell on Earth setting. It’s a weird western yarn in a post-apocalyptic America.

 

Amazon Hardcover: https://www.amazon.com/Wendigo-Tales-One-Adventure-S2P93003/dp/1950082342/ref=sr_1_2?dchild=1&keywords=pinnacle+entertainment&qid=1606348709&s=books&sr=1-2

 

Pinnacle Entertainment: https://www.peginc.com/store/wendigo-tales-volume-one/

 

Award News

 

My novella Some Kind of Monster and my how-to-write horror manual Writing in the Dark have both gotten some recommendations for the Bram Stoker Awards. This is just the first step in getting onto the final ballot, but it’s still exciting. Here are links if you’d like to check out either book:

 

Some Kind of Monster

 

Apex Book Company

 

All formats: https://www.apexbookcompany.com/products/some-kind-of-monster?variant=34275237855369

 

Amazon Paperback: https://www.amazon.com/Some-Kind-Monster-Tim-Waggoner/dp/1937009823/ref=sr_1_7?Adv-Srch-Books-Submit.x=36&Adv-Srch-Books-Submit.y=14&dchild=1&qid=1595093850&refinements=p_27%3Atim+waggoner&s=books&sr=1-7&unfiltered=1

 

Amazon Kindle: https://www.amazon.com/Some-Kind-Monster-Tim-Waggoner-ebook/dp/B08D6RYQRX/ref=sr_1_6?Adv-Srch-Books-Submit.x=36&Adv-Srch-Books-Submit.y=14&dchild=1&qid=1595092355&refinements=p_27%3Atim+waggoner&s=books&sr=1-6&unfiltered=1

 

Nook Book: https://www.barnesandnoble.com/w/some-kind-of-monster-tim-waggoner/1137349308?ean=2940162841401

 

B&N Paperback: https://www.barnesandnoble.com/w/some-kind-of-monster-tim-waggoner/1137349308?ean=9781937009823

 

Writing in the Dark

 

Want to learn how to write horror or improve the horror you already write? Then this book’s for you!

 

Raw Dog Screaming Press

 

Both hardcover and paperback: http://rawdogscreaming.com/books/writing-in-the-dark/

 

Amazon

 

Hardcover: https://www.amazon.com/Writing-Dark-Tim-Waggoner/dp/1947879235/ref=sr_1_1?keywords=tim+waggoner+writing+in+the+dark&qid=1598056385&s=books&sr=1-1

 

Paperback: https://www.amazon.com/gp/product/1947879197?pf_rd_r=CV72R8B4GT0MWK71FX4S&pf_rd_p=edaba0ee-c2fe-4124-9f5d-b31d6b1bfbee

 

Kindle: https://www.amazon.com/Writing-Dark-Tim-Waggoner-ebook/dp/B08GCZ6GK9/ref=sr_1_3?dchild=1&keywords=tim+waggoner+writing+in+the+dark&qid=1598056446&s=books&sr=1-3

 

Barnes and Noble

 

Hardcover: https://www.barnesandnoble.com/w/writing-in-the-dark-tim-waggoner/1137057460?ean=9781947879232

 

Paperback: https://www.barnesandnoble.com/w/writing-in-the-dark-tim-waggoner/1137057460?ean=9781947879195

 

Social Media Links

 

Want to follow me on social media? Here’s where you can find me:

 

Twitter: @timwaggoner

 

Facebook: https://www.facebook.com/tim.waggoner.9

 

Instagram: tim.waggoner.scribe

 

YouTube Channel: https://www.youtube.com/channel/UCZEz6_ALPrV3tdC0V3peKNw

 

If you’d like to subscribe to my newsletter – where I give writing and publishing tips along with all the latest, greatest Tim Waggoner news you could ever want – you can do so by signing up here: http://timwaggoner.com/contact.htm