Last Podcast On The Left
Last Podcast On The Left
"I think the secret is horror writers have no interior lives. You know, we're just, we're just, we're just empty on the, we're like mannequins. If we fall down real hard, we crack open and like just cockroaches run out." — Grady Hendrix
"The thing with best friend's exorcism is I was pitching all these books to my editor is like a follow up to horror store because I was like, okay, okay, I got to do something else. We could have a haunted in a target. We could have a haunted in a Walmart. I want an Applebee's where a chicken tender goes crazy." — Grady Hendrix
"Horror is the only genre that's supposed to be true. Like it's only one where all the way back to the beginning, it's like this really happened and his name was Dracula." — Grady Hendrix
The episode features an in-depth conversation with horror author Grady Hendrix, who discusses his transition from journalism to fiction writing, driven by the economic decline of freelance journalism. Hendrix shares insights into his "horror comedy" niche, explaining that it often arises organically from his writing process rather than a conscious pursuit of marketability. He touches upon the personal challenges of writing, including the solitary nature of the craft and the emotional toll of revisiting past experiences for inspiration.
A significant portion of the discussion revolves around Hendrix's book "The Final Girl Support Group," exploring the concept of the "final girl" trope in horror and how her experiences can continue to impact her life long after the traumatic events. The conversation delves into the psychological aftermath of horror scenarios, the pressure teenagers face, and how technology has both influenced and complicated horror narratives. Hendrix also recounts his experience working for the American Society for Psychical Research, highlighting the importance of recording personal accounts of paranormal experiences for future study.
The latter part of the interview explores the genesis of his books, including "My Best Friend's Exorcism" and "Horrorstör," and how initial concepts sometimes evolve unexpectedly. Hendrix emphasizes that the emotional core and relatable themes are crucial for grounding horror, even when dealing with extreme or fantastical elements. He posits that current societal anxieties, including mass shootings and global pandemics, may contribute to a resurgence in the popularity of horror fiction.