Valerie B Williams: The Author Behind the Pen
Valerie B. Williams’ short fiction has been published by Flame Tree Press, Dark Recesses Press, Grendel Press, and Death Knell Press, among others. Four of her stories are forthcoming in late 2024; “Red Lipstick” in the Dastardly Damsels anthology from Crystal Lake Publishing (October), “New and Improved” and “Till Death” in the Fall issue of The Sirens Call e-zine (October), and “Daddy’s Girl” in the Bite anthology from Graveside Press (December).
Her debut novel, a story of supernatural suspense titled The Vanishing Twin, will be released by Crossroad Press on October 1, 2024.
Valerie spins twisty tales from her home in central Virginia, which she shares with her very patient husband and equally patient Golden Retriever. When not writing, she can be found reading and drinking either tea or wine, depending on the time of day.
WEBSITE LINKS.
Could you tell the readers a little bit about yourself?
I was raised in an Air Force family and moved around a lot growing up in the U.S. and Europe. My English mother gave me my love of reading and words. I read just about anything I could get my hands on, but finally settled on the horror genre as my favorite. I discovered writing late in life and studied the craft. Joining professional organizations, networking, and taking classes and workshops led to submitting my work. Many of my short stories have been published in anthologies and magazines, and my debut novel comes out in October 2024.
Which one of your characters would you least like to meet in real life?
Two of my published stories have featured evil children, “Amazing Patsy” and “An Echo of Murder.” Both girls, Patsy and Dede, are completely self-centered and very smart. They have no moral compass when it comes to getting their way—the ends always justify the means. But to the outside world, they are lovely girls. I wouldn’t want to get on the bad side of either one.
Other than the horror genre, what else has been a major influence on your writing?
Classical literature. Classics Illustrated comic books were my gateway drug to the full volumes. They were a wonderful introduction for a young reader and included works by Jules Verne, Charles Dickens, William Shakespeare, and Mark Twain. These timeless tales created in me a love for historical fiction. Some of the stories I’ve most enjoyed writing have had historical settings (easier to isolate the characters).
The term horror, especially when applied to fiction, always carries such heavy connotations. What’s your feeling on the term “horror” and what do you think we can do to break past these assumptions?
For many people, horror brings to mind slashers and monsters to the exclusion of anything else. While I love a good monster, horror is a spectrum. It encompasses a huge variety of sub-genres from charming ghost stories to psychological terror to splatterpunk. But at its base, a horror story is one that gives the reader a feeling of disquiet, whether mild or extreme. If someone says they “don’t like horror,” find out what their definition of horror is and open a discussion, give examples of stories they may like based on what they enjoy reading.
A lot of good horror movements have arisen as a direct result of the socio/political climate, considering the current state of the world where do you see horror going in the next few years?
The possibilities of the future going horribly wrong are out there every day. Science fiction has been particularly good at guessing (predicting?) these trends and events. There’s a lot of overlap between horror and scifi. Apocalyptic stories are evergreen, as long as they aren’t a rehash of the pandemic. Specific monsters come in and out of fashion—zombies and vampires have been overdone recently, so we may be due for a revival of werewolves or other shapeshifters. A shapeshifting politician in the literal sense would be interesting. Sadly, human monsters provide an endless well to draw from.
Given the dark, violent and at times grotesque nature of the horror genre why do you think so many people enjoy reading it?
Fiction should elicit an emotional reaction from the reader—good or bad. Horror fiction is a safe way to vicariously experience what, in real life, might be dangerous or impossible. It can also be a way to exorcise personal demons. Horror is the written version of a thrilling carnival ride.
What, if anything, is currently missing from the horror genre?
I don’t think anything is missing from the genre, maybe underrepresented. Having said that, I believe horror is slowly becoming more inclusive, with stories from a variety of cultural and gender perspectives. As readers are exposed to more diverse viewpoints and stories, I’m optimistic that exposure will feed the desire for more of the same.
What new and upcoming authors do you think we should take notice of?
Some of these folks are not new, but not as well-known as they should be: Kenzie Jennings, Frances Pai, Larry Hinkle, Stephanie Ellis, Douglas Ford, Stephen Kozeniewski, Josh Darling, Michelle Renee Lane, Red Lagoe, and Tommy B. Smith. I’m stopping at ten names, but there are so, so many talented writers these days.
Are there any reviews of your work, positive or negative, that have stayed with you?
My short stories have mostly been in anthologies. I’m fortunate that none of them have been called out as bad, and grateful that some have received praise.
My first professional story sale was to Flame Tree Press for their American Gothic Short Stories anthology. When my story was included by a reviewer in this list of 5-star favorites from (out of 53 classic and new stories), I was absolutely thrilled!
“A Good Man Is Hard to Find by Flannery O’Conner
The Tell-Tale Heart by Edgar Allen Poe (Berenice by Poe is also included)
Approaching Lavender by Lucy A. Snyder
Amazing Patsy by Valerie B. Williams
The Hollow Tree by Nemma Wollenfang”
I’ve also received a couple of early reviews for my debut novel. I felt so much better after reading this one, since getting the pacing right on a longer work was a concern.
“Williams crafts a meticulously paced and richly layered supernatural tale about bittersweet sisterly bonds and dark, familial secrets involving Vodou practitioners and ghostly apparitions. I completely lost myself in an afternoon, absorbed in the unraveling mystery of the Boudreaux siblings. The Vanishing Twin is an absolute treat!”
What aspects of writing to do you find the most difficult?
First drafts. I’m mostly a plotter, starting with at least an outline of the story structure. I have a vision of where to start and end, but like many writers, I struggle with the messy middle. I do stray from the outline if the characters seem to call for it, but I need to be wary of writing myself into a corner. I’ll take breathe a deep sigh of relief when the draft is done—then there’s something to work with!
Is there one subject you would never write about as an author?
I’m hesitant to say never. I’ve surprised myself over the years by writing about subjects I couldn’t have imagined (cue necrophilia, tastefully done of course!). Having said that, I’m not overly comfortable with an excess of gore. I’d be afraid of turning the story into a gruesome lesson on dissection.
Writing is not a static process. How have you developed as a writer over the years?
As an example, when I first started writing seriously in 2015, I had no idea that two spaces after a period were no longer correct (showing my age here as well). I wrote with enthusiasm. Unfortunately, I also wrote with lots of passive voice, expository dialogue, telling instead of showing—all the classic newbie mistakes. After many workshops, intense writing bootcamps, critique groups, and SO many words written, my work is being published. Earlier this year, I volunteered as an HWA mentor for a rookie novelist, hoping to help him over some of the hurdles.
What is the best piece of advice you ever received with regards to your writing?
I was very fortunate to have Tim Waggoner as my HWA mentor in 2017, early in my writing career. He told me to always make sure the story has a strong emotional core. This core can be the connections between characters (good or bad), a character’s commitment to duty, love for hometown—the emotional core motivates the characters, moves the story along, and ideally, moves your readers.
Which of your characters is your favourite?
Usually, whichever one I’m writing about at the time! But I’m particularly fond of Sergeant Beau Amberson from my story “A Mischief in Gordonsville.” He’s a Civil War soldier recuperating from physical and mental injuries in a military hospital. He befriends a rat and becomes convinced that the creature is the reincarnation of Stonewall Jackson. His protectiveness of the rat leads to trouble for all involved.
Which of your books best represents you?
Since The Vanishing Twin is my debut novel, I guess that would be the most representative 😊 From my short stories, the ones based in historical settings seem the most “me.”
Do you have a favorite line or passage from your work, and would you like to share it with us?
This is from an unpublished story called “The Waiting Room.” A woman’s ghost is trapped in the location where she died in childbirth, and she watches the living move through as the years pass. A young boy dies and joins her. These are her thoughts.
“Spirits don’t age. We remain the same as when we entered this spiritual waiting room. It was only natural that we should adopt each other—a childless mother and a motherless child.”
Can you tell us about your last book, and can you tell us about what you are working on next?
My last book is the forthcoming novel, The Vanishing Twin. It’s a supernatural suspense story involving dysfunctional families, a shared body, and Haitian Vodou.
I’m editing my next novel, A True Likeness (working title). It’s a ghost story about a woman photographer in the early 1900’s who specializes in post-mortem photography. I hope to finish the edits and begin sending it out by the end of the year.
I also have a novella nearly two thirds drafted. It’s about the witch hunts in 16th century Germany, and how a strong-willed nun defends the accused and seeks revenge on the man behind it all. Working title – Malleus Ultionis.
If you could erase one horror cliché what would be your choice?
The wise old woman as savior. Age doesn’t necessarily imbue one with wisdom, and all old women are not Baba Yaga. They can be smart and fearless, but they are not sages. Why can’t the wise person living in the woods be a boy? Or non-binary?
What was the last great book you read, and what was the last book that disappointed you?
Last great book was Come With Me by Ronald Malfi. Last disappointing book was The Loney by Andrew Michael Hurley.
What’s the one question you wish you would get asked but never do? And what would be the answer?
What gives you satisfaction as a writer?
Creating entertaining stories. I hope that my work allows the reader to escape reality for a little while, meet my imaginary friends, and enjoy the time spent in a different world.
Valerie B Williams – The Vanishing Twin
Since childhood, successful New Jersey realtor Yvette Rollins’ friend Celine has helped her with all life decisions. But no one can see Celine, and the only person who hears her is Yvette. A serious car accident shatters Yvette’s body and exposes the crumbling façade of her seemingly perfect life. Her loyal twin, Anna, jumps in to help care for her three-year-old nephew, Max, while Yvette is in rehab. To Yvette’s dismay, the accident has also silenced Celine.
When Yvette returns home, Anna shares a recently discovered letter from their absent father, revealing the existence of a real Celine, a third sibling who died in the womb. Their father performed a Vodou ceremony and believes that Celine’s soul lives on in Yvette. Yvette is relieved to know Celine is real, while Anna has mixed emotions. Anna feels she’s spent her life competing with Celine, so is relieved that she’s gone.
As Yvette recovers Celine returns, causing Anna to fear for Yvette’s stability and Max’s safety. Anna uses an old family journal of Vodou spells to launch a desperate scheme to “rescue” Max from his mother. Celine warns Yvette that everything she holds dear is at risk. Who will Yvette believe—Anna, the sister she can see and touch, or Celine, the sister who has never steered her wrong?
