Guest blog by Lisa Macon Wood
L. Marie Wood is the bestselling author of 2 novels and over 125 short stories. She has been published in print and online and has won several awards for her short fiction. Her 2017 short story, “The Ever After” was part of the Bram Stoker Award Finalist anthology Sycorax’s Daughters. L. Marie Wood has been recognized in The Mammoth Book of Best New Horror, Vol. 15 and is one of the authors chronicled in the100+ Black Women in Horror Fiction collection (2018).
www.audioscares.com
Introduction
Horror fiction, in and of itself, has never been regarded as an accepted genre by literary fiction enthusiasts. The content offends more practical sensibilities, the fantastical aspect to which the reader must adapt to enjoy work in this genre require many allowances. Authors in the genre have never wholly been taken seriously, and over the centuries, only a few stand out in memory. These authors, namely Edgar Allan Poe, H. P. Lovecraft, Stephen King, brought fresh ideas to the table; they made people look at horror in a new light. Stephen King, above all, brought commercial validity to a genre that had previously been regarded as pulp, influencing writers in other genres to incorporate the supernatural in their prose. As such, Stephen King is synonymous with horror and is, more often than not, the only horror author that mainstream readers can name. Largely, other authors in the horror genre go unread by the mainstream community, if they are recognized at all.
Some names are resurrected under the guise of the classics – Mary Shelley and Bram Stoker most notably. The recycling of horror movie themes helps in that vein, allowing literalists to indulge in reading the original text upon which the screenplay was based. But the group that makes up the intricate blanket of horror goes unseen. The likes of Richard Matheson, Ray Bradbury, Clive Barker, and the lesser known Robert McCammon, Douglas Clegg, and Joe Lansdale remain important to a subset of society (the horror community) but register a mere blip on the screen for most readers, if at all. Female authors suffer a worse fate. They remain unknown, in large part, to mainstream readership as well to the horror community. While a small few break out and gain notoriety for a time (Anne Rice, Tananarive Due, L. A. Banks), many write in relative obscurity (Kathe Koje, Tina Jens).
Throughout history, women have played the role of victim in horror stories written by male and female authors alike. A comfortable alcove to place female characters, writers became used to the power struggle between good and evil with a woman in the middle as the coveted prize. Rafferty stated, “…a woman’s place in horror has been pretty well defined: she’s the victim, seen occasionally and heard only when she screams” (2008, ¶ 2).
In the early 1800s, a new style of fiction aptly termed gothic horror due, in part, to the dark settings used in its prose, was written by women for women, unseating the ‘woman as victim’ trope for willing readers. Crafty escapes from diabolical antagonists were offered to women who craved an exciting read. As Leslie stated, “Most of these writers were women and the intended audience was also female, with many novels appearing serialized in ladies’ magazines,”(2013, ¶ 3). She goes on to note that, “… this early wave of Gothic fiction established many of the tropes of the genre that still exist in horror fiction today,”(2013, ¶ 3). While a woman is not credited as the original practitioner of gothic horror (Horace Walpole’s 1764 novel “The Castle of Otranto” is widely considered to be the first gothic horror novel), Ann Radcliffe has been said to have legitimized the sub-genre with works such as “The Mysteries of Udolpho” and “A Sicilian Romance”. And then came Mary Shelley’s “Frankenstein” in 1818, a text that is widely considered a gothic novel and, as such, is the most well know, but one that is also considered science fiction. Indeed, Shelley is considered a founder of the science fiction genre with this groundbreaking work. How, then, did the shift from women as victims to women as literary powerhouses, back to women as victims and under represented authors occur?
Many trace the lack of female authors represented in the horror genre to a catchall sub-genre called paranormal romance. Paranormal romance is unique within the horror genre in that its purpose is not, “…to evoke terror, but to present an impossibly romantic alternative to reality,” (Kelleher, 2008, ¶ 2). As such, this sub-genre straddles the line, belonging to both horror and romance, producing an unlikely tug of war.
Horror has been accused of sexism in the past, and with the relative exemption of female horror authors who write prose with the genre’s original intention in mind, this accusation is likely to reoccur in the future. As Rafferty indicated, “[Many female authors] don’t appear to be concerned, as true horror should be, with actually frightening the reader,” (2008, ¶ 4). Does that assertion explain the disdain with which paranormal romance is regarded? Much has been made of the nature of the sub-genre, which focuses more on supernatural romance and relationships than the horrific. The material therein straddles the line between quiet horror and romance, the aspect designed to frighten the reader downplayed or rendered impotent. For example, the vampires in Stephanie Meyer’s Twilight series are passionate and loyal, only revealing their true nature when defending a particular human or each other. The books marginalize traditional vampire characteristics, such as the need to feed (and the brutal aspects of this practice), and their status as undead (the characteristics and emotions the vampires display are alarming lifelike). While creative license is an unwritten rule in fiction when utilizing an archetype, Twilight’s vampires are so different from historic and even recent depictions that fans of traditional horror prose find the books difficult to accept. Are female authors in the paranormal romance sub-genre considered horror authors at all? The demographic it appeals to – teenage girls – suggest that they are not.
Over the years, as paranormal romance has gained steam, female horror authors of every sub-genre have been shuttled into that box. Indeed, as Barnett of The Guardian stated, “The assumption is that a woman writing in the horror genre will be writing paranormal romance,” (2009, ¶ 6). But there are many women writing other forms of horror: Sarah Langan in psychological horror and Lisa Tuttle in splatter punk, to name a few.
But is there more that affects how female authors are received than their being categorized in a cross sub-genre?
An opposing argument could be made. In a later article, Barnett suggested that, “Allegations of sexism are perhaps unfounded when leveled at the industry itself: the sheer numbers of women working not only as authors but also in the film industry and in publishing… …suggest there is no glass ceiling on the creative side,” (2010, ¶ 8). With the heightened acceptance of women in all societal roles, including industrial and military, the fact that many women are involved in the craft – writing, editing, teaching – is a feather in the proverbial cap. However, is that a product of the times? Does the need for bloggers, reviewers, and professionals in the field boost the number of women involved by necessity? Does the sheer number of women in the world compared to men – 57 million more as reported in 2010 – (United Nations, 2013, ¶ 3) make it inevitable that more women would be working in the field?
If history has anything to do with the situation women find themselves in presently, one would not be surprised. Across the literary genres, published authors are (and have always been) predominately male. According to Crossref-it.info,“ In the ancient world literacy was severely limited, and the majority of those who could write were male,” (2013, ¶ 1).
There is a theory in circulation that women have been marginalized as authors because of original sin. Eve, regarded as the reason for original sin, in essence, created the playing field for women to be treated differently. Hence male dominance seems natural because the female is somehow not to be trusted with the task. What behaviors are being expressed to boys that cause this mindset to resonate across time, subconsciously if not consciously?
References to the lesser status of women are all around. They can be found in the Bible, in ancient texts, and in literature. Women have historically been considered sexual beings and when sexuality was taboo, so were women. Many cultures maintain that a distance be between male and female; their relationships are structured so that the women are subservient to men. As went life, so went literature. Female characters were periphery – as likely to be left out of a piece as not. While this trend gradually changed over time, it was slow going. From silent, milling bystanders, women became important to the storyline because of how the men in the tale (2013, ¶ 26). It wasn’t until the eighteenth century that women created work that made society take exceptional notice. The horror genre saw the likes of Ann Radcliffe change the way that women were viewed in horror fiction: her propensity toward advocating women’s rights in her work creating a form of reform through osmosis. She joined a handful of women (notably Jane Austen) who changed the face of fiction. Did those changes make an impact on how female horror authors are regarded in present day?
The questions posed in this section lead to the supposition that while women are viewed differently in this century than in times past, gender still plays a part in how their literary work is accepted. This is shown in published statistics, industry surveys, and a questionnaire conducted as research for this paper. Respectively, women continue to write and excel in their field, however their work is not reviewed as often as males. Per The Guardian, at The New York Times Review of Books, of the number of authors reviewed, “… 83% are men (306 compared to 59 women and 306 men), and the same statistic is true of reviewers (200 men, 39 women),” (2011, ¶ 5). A survey conducted by VIDA Women in Literature reveals that female authors make less than male authors in the same genres. Ten people (five women and five men) were surveyed as part of the research for this paper. They were asked two questions, one of which was to name three authors. Some struggled with naming three, but of the three male respondents who met the criteria, only one named at least one female author.
A popular argument exists to explain the issue hand. It states that female authors are not writing in genres that appeal overwhelmingly to men, therefore, men are not buying it. As Cruz aptly pondered, “As women, are we pigeon-holing female authors and creating subgroups for them, stunting their growth as writers?” (2013, ¶ 5). The final question of the research questionnaire asked ten people to name the genre they enjoyed reading most. Romance topped the list (3 of 10 responses). Science fiction and mystery made the list as well, among other genres. There was no consensus on genre among the male respondents whereas 60% of the female respondents chose romance. None of the ten respondents chose horror as their genre of choice. These results are further legitimized by the assertion made by Penny Sansevieri as quoted by Cruz, “I really think the problem is that men are in stronger categories generally—thrillers, mystery, political thrillers, horror, suspense, etc.,” (2013, ¶ 4). These results bring another question to the forefront. If the statistics gathered by the National Endowment for the Arts report are correct, women buy and read more books than men (Table 21, p. 23). That reality should serve as a boon to genres within which female authors are predominately read, negating the subgroups created by individual interest and elevating their status in mainstream consumer markets. Why is this not occurring?
Is there a double standard? Can men and women of equal talent and similar style write about the same subject matter and be reviewed and, subsequently, received differently? The propensity for women to assume male pennames when they write in so-called stronger categories/genres begs the question. Are women relegated, in large part, to what has been termed chit lit or beach books (lighter material designed for fanciful escapism) if they are to be successful? Either that, or mask their work as that of a male? Finally, for the female author, is the horror genre too commercially unrewarding to claim? Many female authors who have written horror fiction merely dabble in it, coming to visit for a time, then moving on to greener pastures. Mary Shelley did the same as many contemporary female authors, offering a fantastic piece of work in Frankenstein and moving on to write in other genres. Gender appears to be a defining factor in the success of the female author.
Perhaps men push harder. In the mid to late 1970s, horror fiction made a surge. Authors found success in their released novel and, shortly thereafter, the film adaptation. A newcomer named Stephen King produced a different kind of horror fiction – one that was as believable as an anecdote told at a family gathering. His work resonated with people, scaring them deeper than they expected and keeping them wanting more. Many authors felt they could replicate his style and saturated the market with formulaic, predictable volumes. In the figurative shoving match for leverage, perhaps men gained an advantage.
There is a final reason for the marginalizing of female authors in the horror genre, and this, perhaps is the most disturbing: the perception that women just can’t do it. Does society think that males write horror fiction better than women? Do they believe that women are too fragile to imagine unsettling horrors? If dark thoughts lurk in a woman’s mind, is it somehow improper (unladylike?) for them to be entertained and transposed onto a page for all to read? Is this mindset a socialized gender bias? Perhaps there is some merit to the latter. Miller states that, “Conventional wisdom among professionals in the children’s book business is that while girls will read books about either boys or girls, boys only want to read about boys,” (2011 ¶ 8). Children often take on the characteristics of their parents and respond to what they see. While there is a place for inherent proclivity, much of early learning is parroting. If parents are buying books that are considered gender appropriate (based on societal rules for male and female behavior), children will gravitate to them naturally when they begin to make their own selections. As children age, their interests may change, but the notions of male and female behavior have solidified. Hence the interminable cycle.
An interesting connection exists: those who are more interested in reading literature written by a male were, more than likely, taught by a woman. According to Anderson, “A 2006 study by the National Education Association showed that preschool and elementary school children are taught by 75 percent more female than male teachers,” (2013, ¶ 1). This trend, albeit with fluctuating percentages, has always existed. Students are more likely to be taught by women in all disciplines and at all grade levels. Is it more acceptable to learn how to write from a woman than to read a woman’s work? The answer to that question lies in many practices and mindsets that persevere in history and to date in not only gender, but also racial and cultural settings.
Women continue to write and publish around the world. While the US and UK produce most of the commercial horror fiction, female authors are influenced by the genre globally. Horror fiction is experiencing a lull in written form and an uptick in visual media as adaptations from past novels are created for movies and television, but that has not stopped the likes of Sara Pinborough and Helen Oyeyemi from producing stellar work in the genre. The horror genre itself is ailing – the change in layout at major bookstores reveals that truth. Horror is lumped in with Thriller, Mystery, and Suspense in some locales, and in other bookstores, the heading of Fiction covers all genres outside of the nonfiction bucket. This reduces the chance that a horror book by a new author might be selected if not deliberately sought out; layouts such as these require readers to know the name of the author they are looking for, as does online shopping.
While we watch the changing of an era, as bookstores close their doors in favor of online storefronts, one can’t help but wonder about the future of the horror genre and, by extension, the fate of the female horror author. Online presence provides for a wider audience with cheap prices and instant gratification in the form of a download, so perhaps, as demographic marketing of horror advances, more people will be willing to try horror written by women. The Internet may prove to be the venue where the playing field is leveled and gender is no longer a factor.
Bibliography
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http://www.ehow.com/about_5623553_male-versus-female-teachers.html
Barnett, D. (23 September 2009). Sexism in horror novels: the real monsters aren’t the ones you
think. The Guardian. http://www.theguardian.com/books/booksblog/2009/sep/23/sexism-horror-novels-row?guni=Article:in%20body%20link
Barnett, D. (24 February 2010). The spectre of sexism haunting horror fiction. The Guardian.
http://www.theguardian.com/books/booksblog/2010/feb/24/sexism-horror-fiction
Cruz, K. (30 April 2013). Read all about it! Female authors still get less press. Levo League.
http://www.levoleague.com/articles/news/female-authors-still-get-less-press-than-men
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portraits. Jezebel. http://jezebel.com/5069127/the-horror-the-horror-women-writers-provide-empowering-portraits
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Posted in Everything Else
Carmilla Voiez is a proudly bisexual and mildly autistic introvert who finds writing much easier than verbal communication. A life long Goth, Carmilla lives with a daughter, two cats and a poet by the sea. She is passionate about horror, the alt scene, intersectional feminism, art, nature and animals. When not writing, she gets paid to hang out in a stately home and entertain tourists.
Liberal, Doremus Jessop, is forced to break laws, write and distribute seditious material, and smuggle people out of America when a populist government led by president Buzz Windrip quickly reveals its true fascist colours.
What would a world without war or hunger, where everyone is happy, look like? In Brave New World, Huxley considers this, both from the perspective of independent thinking insiders like Bernard Manx, and from the perspective of a complete outsider, John Savage.
The story is set in a world of identity-less organisms (ciphers) that make up a community referred to as We. A society with strict rules dictated by science and rationality with no room for individuality. In this Russian dystopia, as with “Brave New World”, pairing off into couples is dissuaded. It is usual for groups of four to walk and talk together rather than two or three. Days are carefully structured by the use of timetables. There is no privacy, even in their rooms. Instead of names the ciphers are designated a letter followed by numbers which matches the glass room in which they reside. Sex is organised through a system of pink slips and it seems as though consent isn’t a consideration and lack of consent is unthought of. In this world the annual election of the Benefactor is celebrated as a holiday equal to Christmas or Easter, looked forward to with excitement. Everyone gets a vote, but whoever does not vote for the Benefactor is eradicated as a threat to the community.
Possibly the most troubling of the four dystopian books I have read, at least from a woman’s point of view. Women are all but completely absent from the story, and from the society. It is set 720 years after the second world war. Germany won and Nazi’s now rule all of Europe and Africa. The Japanese rule Asia and America (although they are only mentioned in passing in the story).
An award-winning screenwriter who has been writing screenplays for two decades. He has a huge love for the horror genre and has written five feature film scripts and four short film scripts. One of his feature film scripts, “Demon Crystal”, was recently optioned by Pulse Pounding Productions. Virtually all of his scripts have been recognized by major film festivals.
Carmilla Voiez is a proudly bisexual and mildly autistic introvert who finds writing much easier than verbal communication. A life long Goth, Carmilla lives with a daughter, two cats and a poet by the sea. She is passionate about horror, the alt scene, intersectional feminism, art, nature and animals. When not writing, she gets paid to hang out in a stately home and entertain tourists.![Broken Mirror and Other Morbid Tales by [Voiez, Carmilla]](https://images-na.ssl-images-amazon.com/images/I/61cU2Z39C9L.jpg)
‘You’re too beautiful to be killed, Tay,’ Lynsey assured her, brushing a manicured hand through freshly lightened hair.
Star, my female protagonist, is hero and victim simultaneously. She is victimized because she has lost her sense of self – something that was happening to me at the time. She is easily manipulated, but her inner strength does win out. I guess you could classify her as a Final Girl (although she isn’t the last one standing). She seems annoyingly passive at times, drifting through the story, but when she realizes her own strength, ironically through torture, she does become powerful and eventually can save herself.
V.H. Galloway is a novelist of Science Fiction and Fantasy and graduate of the Viable Paradise Workshop. Born in the Ft. Greene section of Brooklyn, N.Y., she has become a bit of a rolling stone. A resident of Austin, TX, she has also lived in Ohio, California, and Nevada. She is still in search of a place to call home.
In a near-future Los Angeles, Dr. Zen Marley is torn between two conflicting realities: his buried southern roots and his preppy west coast professor persona. He must travel home to face the reality of his mother’s failing mental health. But he finds an aberration: a monstrous impostor wearing the rotted shell of his mother’s skin. In a twisted case of self-defense, he kills her, but not before he is also infected.