An accomplished author with multiple appearances in over a dozen magazines, anthologies, and podcasts, Catlyn Ladd has had a strong mark on her career with plenty of strong works to her name. Now, in honor of Women in Horror Month, I talk with her about her early interest in writing, her book "The Jehovah's Project," and some upcoming work.
Me: Hello and thank you for taking the time to do this. First off, when did you get into horror in general? What films specifically got you into watching horror movies?
Catlyn Ladd: The first horror film I remember seeing is A Nightmare on Elm Street: The Dream Warriors. I don’t remember how old I was, but I was way too young to be seeing that film! A friend’s older brother showed it to us, and it scared the ever-living crap out of me. I slept with the lights on for a month. The next films that really sparked my interest were Alien and Aliens; I watched them with my dad when I was 12. He loved them and found them super scary. One of my fondest memories is hanging out with him, watching them. He was the first person to introduce the idea that horror is about more than scary things; it’s about encounters with the unknown, how poor choices can be made with the best of intentions, and how sometimes there really are monsters. That’s what hooked me about horror.
Me: Who were some of your favorite writers growing up? Do you try to take influences from their style with your own voice in your work?
CL: I read voraciously as a kid. (Still do.) Everything in all genres. I probably learned pacing from Nancy Drew and the Hardy Boys, character arcs from Anne of Green Gables, and epic storytelling from Lord of the Rings. I discovered Stephen King pretty early and modeled my initial style after his. But then I found my own voice, which is steeped in horror but definitely influenced by the lushness of genres like fantasy and even poetry.
Me: What was the starting point of becoming a writer? Were you always into writing growing up?
CL: I loved to write and tell stories as a kid. Even when I moved into a career in academia, the writing was always my favorite part. I always paid attention to the craft, even when I was writing research papers. But I believed that lie that I needed something “practical”, so I went into academia (the least practical of the practical pursuits). I’ve only recently (about five years ago) dedicated myself to writing and publishing as much as possible.
Me: Is there any specific genre you prefer to write? Is there a style or format that you find easier to get into, even if you don't have a preference?
CL: While my first book is narrative nonfiction, I’ve embraced horror. While I technically write urban fantasy, thrillers, and even some horrormance, it’s always horror or close to it. I love how political horror can be, and how it tackles the existential dread of living in a flesh suit with no idea if there’s anything after (much less if it’s good), or if there’s any meaning to anything we do. I find horror honest, and that’s comforting to me.
Me: Having contributed to various anthologies early in your career, what tools and skills did you acquire working on those that transferred to future projects?
CL: I have learned at least one new nugget from every editor I’ve ever worked with. I love that process so much! Sometimes it’s little things (why are they called the Great Plains and not the Great Planes??), and sometimes it’s bigger insights into effective structure, pacing, plotting, dialogue, etc. Editors are incredibly important in the writing process, and I’ve learned to take them very seriously. I’ve been lucky enough to get paid to learn: I submit exclusively to paying markets, and the editors that come with that process are a great bonus!
Me: What is the general process for getting involved in these projects?
CL: I keep an eye out for open calls – Angelique Fawns has a really great Substack, horrortree.com, horror publishing groups on social media – and then I’m really careful to submit according to the exacting guidelines called for. Initially, I wrote about 10 pieces, and I tried to have something that would fit a lot of things. For example, I had a monster story, a ghost story, a thriller, etc., and I’d submit them to everything even close. I had a lot of luck: a lot of acceptances in my first couple of years.
Me: That brings us to your latest project, “The Jehovah Project.” What can you tell us about the book?
CL: Most of my works center on moral ambiguity and creating characters that have to choose between terrible things. That’s the central theme of The Jehovah Project. It’s sort of a COVID book – it’s about isolation and sickness. But more than that, it’s about trying to make the world a better place and how different people have really different ideas about what needs to happen to save the world from the climate crisis, war, human cruelty, etc.
Me: How did you settle on the plots for your writing? With the tech-thriller style of the story, what type of prep-work goes into making sure the atmosphere ties into the genre as well as tells a proper story?
CL: This is a great question. My first novel, As Those Above Fall, is lush and poetic. It’s kind of horror written in the style of a romance or a poem. The Jehovah Project is very spare and lean. I read and watched a lot of noir to get the aesthetic. A lot of Raymond Chandler flashbacks! I let the plot drive the style. My editor (I’m telling you: editors are great!) wanted me to cut 8,000 words from it, and pointed to a few key places where cutting would speed it up. So the book hits the ground at a jog, heats up toward a sprint, and then takes off like a jet. That pacing really lets the plot shine.
Me: Is there anything while writing the characters that you were surprised by in telling their stories?
CL: I’m a pantser (I don’t plot my stories), so I’m constantly surprised by my characters! I never have any idea what they’re going to do. Really, writing is telling myself a story, and I don’t know the ending until I get there. The main characters of The Jehovah Project surprised me at the very end of the story. I can’t spoil it, but their relationship at the end is not what I saw coming.
Me: What is your writing process? How do you stay focused on writing?
CL: I try to work on writing stuff at least four days a week. Sometimes that’s editing, sometimes it’s crafting, and sometimes it’s submitting, tweaking my website, or posting on social media. But I try to do something for that side of my life at least four times a week.
Me: Once it was finally written, what was the process for having it published?
CL: I’m currently working with a small press called Winding Road Stories. It’s been a great experience, and I’ve learned a lot. They published As Those Above Fall and immediately took The Jehovah Project. I write almost exclusively about morally ambiguous women doing fucked up shit, and not only do they love that, but they also lean into it and make sure that the feminist message is front and center.
Me: What do you do to keep your creative energy flowing?
CL: Read! I read all the time, and it feeds me and inspires me. I also love to cook, sleep, and ride my motorcycle.
Me: What else are you working on that you'd like to share with our readers?
CL: I have a short story in the new Dark Matter anthology, Little Red Flags, that’s unlike anything I’ve ever written in that I gave second person a try. I really love how it turned out, and I’m super proud to be featured in this book.
And of course, I’m also at work on my third book. I can’t share too much right now, but it’s the first book I’m setting entirely in my home state of Colorado. It’s also some of the darkest and most violent stuff I’ve written. My main character is a woman no one believes, and writing her frustration and the self-doubt is complex and rewarding. It’s also my first attempt at a non-linear timeline. Turns out, this involves a lot of spreadsheets and Post-it notes!
Me: Lastly, being that this is our Women in Horror Movement, what special message do you have for any women out there looking to join in the industry in any capacity as you are one yourself?
CL: Figure out what works for you that will allow you to submit a lot. Acceptance rates are about 10%, so that means you have to submit ten times to get one piece accepted. Get used to rejection: it usually doesn’t have anything to do with the quality of your work. I’ve had things rejected simply because my story didn’t fit with the rest of the stories and would have felt disjointed. Read in your genre! Since we’re featuring women in horror, I’ll point readers toward CJ Leede, Tananarive Due, Hailey Piper, Catriona Ward, Alma Katsu, and Silvia Moreno-Garcia. Just to get you started!
Finally, join a writer’s group focused on your genre. That’s how you hone your craft, get better, and learn the vital art of self-editing. Writer’s groups are safe environments to really figure out your voice. My writer’s groups are the only reason I’ve had the success that I have.
Me: Thank you again for your time!
CL: Thank you so much for sharing the floor with me for a bit.
Click the banner below to check out and read the rest of this year's celebrations!
Comments
Post a Comment