Screenshot from An American Werewolf in London Growing up as a monster kid, Dracula, Frankenstein, and the Wolf Man were basically the big three, the unholy trinity of spookiness. I tore through Stoker and Shelley, but wondered why there wasn’t an equally-iconic fictional take on the werewolf. Sure, there were the great Universal films— Frankenstein Meets the Wolf Man is a yearly rewatch—but back in the early ‘90s, my local library’s shelves seemed relatively bare of werewolf fiction, with a handful of exceptions like Stephen King’s Cycle of the Werewolf . You would think there’d be more, right? The werewolf archetype is an iconic monster for a reason and plays on our basest fears in a unique way. What if the people closest to us are secretly monsters, ready to tear us apart (anyone who grew up with an alcoholic parent is probably nodding along right now)? And conversely, what if we’re harboring a monstrous nature underneath our own exteriors? What if, deep down, there’s something horrible inside us, just waiting to take control? To do beastly thing with our bodies, once a month, and all we can do is bear witness to the aftermath. Don’t we all worry, despite our best intentions, we might inadvertently hurt our loved ones, our partners, our children? That our own monsters, whatever they might be, could get the better of us? One thing that’s always motivated me creatively is that old adage, write the books you want to read. My upcoming novel, Good Dogs , is my attempt at doing something new and interesting with one of our most iconic monsters. Of late, slashers have been enjoying a real renaissance thanks to writers like Stephen Graham Jones ( I Was a Teenage Slasher , Lake Witch Trilogy) and Brian McAuley ( Curse of the Reaper , Candy Cain Kills ). I’ve always loved a good slasher tale, so with Good Dogs I combined the tropes: a group of werewolves goes off to the woods to hunt in peace, until a mysterious killer starts picking them off one by one. While writing my […]
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