For Women in Horror month, Stephanie Ellis has been in the research trenches talking to women over the age of 50 who write the scary stuff. She wondered if there is indeed life after 50 for the ladies of the dark, and found plenty of evidence pointing to a resounding YES. She shares her findings with both the British Fantasy Society and Horror Tree in three parts this week; this is part two.
Recap: I recently wrote a blog post of this title (which can be read here) because I wanted to find other older female writers in the genre and see if any of their experiences mirrored mine. I wanted to see if I was making assumptions and if my perceptions were misconceived, or if my experiences were shared by others. I asked a number of questions and several writers volunteered their answers and I’d like to give the following a huge thank you for giving their time to respond. These include: Alma Katsu, Alyson Faye, Beverley Lee, Catherine McCarthy, CC Winchester/Carla Conorino, Erin Al-Mehairi, Ruthann Jagge, and Valerie B. Williams. In addition, a handful of writers also offered one or two comments online. This continues from the previous post.
Do you think that male editors don’t necessarily ‘get’ female horror—i.e. we don’t write the kind of horror they think people want to read? Our life experience can deliver up some pretty grim source material.
Part of this question relates to a short story I read as an editor some years back where the male writer was talking about menstrual blood but referred to it as gore which I found surprisingly disturbing. Such a skewed perception of something so natural upset me.
Alma Katsu has “found there are empathic readers, male and female, who will read works regardless of the gender or age of the writer, seeking out pieces that speak to them. And there are readers who will dismiss work because they assume they won’t like it. In general, in my experience, men are more likely to assume they won’t like something because the main character is a woman or because it’s written by a woman (this may be my experience as a writer of spy fiction also creeping through). This says to me that it doesn’t matter what you write, you’ll never get these readers and you have to let that go. I’ve also been lucky enough to have had very close reads by men who love literature, but these are the exception, not the rule.
She continues: “Women horror writers face another challenge in that—again, in my experience—a lot of women say they won’t read horror. A LOT. They make it a point to say it to my face at readings and events. Then I ask them if they’ve read Stephen King, or this book or that book (very scary) that’s classified as suspense or mystery, or this or that popular movie, and they say yes, and I say congratulations, you like horror, and while it’s a fun exercise it doesn’t change their minds. When all’s said and done, I don’t have advice (if that’s what you’re looking for). Writing is a tough business. Getting eyeballs on your work is an eternally uphill slog. It’s demoralizing. In the end, we can only write what we want to write (if we’re lucky enough to find someone to publish it). There are plenty of older female horror writers out there, lots of allies.”
Alyson Faye’s first breakthrough sale was for a women in horror anthology, and she continues to succeed in that arena: “I do think that men and women write a different type of horror, not worse or better, but different,” she says.
Beverley Lee thinks “some male editors have a skewed perception of what horror is and what sells, and what women offer ‘doesn’t necessarily fit’. Take body horror for instance. Women who are 50+ know all about the horror of menopause and its thousands of symptoms, some of which make you feel like a different person. We live body horror and that’s not something some male editors can relate to.”
Again, there’s an ambivalence from Erin Al-Mehairi as she thinks some do, some don’t, depending on how relatable they find the content. But equally she declares: “I think anyone at any age can write a phenomenal story. We don’t have to relate—we should be able to LEARN.”
An element of older editors being set in their ways is perceived by Valerie B. Williams, but she does not believe all are like this. She reiterates that women write across the ‘spectrum of horror’ and that it is up to the writer to create a memorable story. Where the writers have felt or perceived some reluctance for older women writers amongst editors, they all state there are exceptions.
Ruthann Jagge has not experienced this and feels “it’s more relevant to write compelling stories that fall within an intended genre, and honestly? Editors typically don’t care about ‘age’”.
Indie presses, according to Catherine McCarthy, do provide positive experiences. However, her opinion is that “men in general are more reluctant to read women’s work than the other way round.” She has even studied end of year lists of favourite reads and finds that in “men’s lists, they mainly choose books written by men, whereas with women it’s a mix.” And as a reader herself, she says her year is 50/50 men to women authors.
The idea that women’s softer/more emotional horror is not necessarily favoured by male editors is something that appears across these writers.
Women horror writers face another challenge in that—again, in my experience—a lot of women say they won’t read horror. A LOT.
Are you restricted in your writing by your circumstances, especially those working full-time but with carer roles (whether children/elderly parents)?
This time factor is so crucial to women. Most of the respondents are impacted in some way: as the ‘sandwich’ generation raising children and supporting parents (and impacted by their own health issues), as the full-time working parent with children, as the retired writer but with commitments to elderly parents. Two no longer had such issues and were able to write as and when they wanted. Time does free up on retirement (even with some caring commitments) and Catherine McCarthy believes that’s another reason editors/agents should consider taking on older writers, as on the whole we have more time to give.
Social media is a horrible necessity but it is draining. Does the whole thing exhaust you? Do you have time for it?
Oh, the dreaded social media. It’s ‘exhausting’, ‘draining’, takes too much time. Negative interactions or feeling bullied online can be a downside, yet there is enjoyment to be had from engaging with other writers (Alyson Faye). But Beverley Lee and Erin Al-Mehairi both realise you have to do something to keep your algorithm going as to be ‘seen’ is a necessity when online presence has become such a serious marketing tool—although the number of platforms is overwhelming.
I think it has become a treadmill for a number of us which is why I actually liked Ruthann’s words of wisdom: “I’ve learned through conversation that an author doesn’t have to be a continual presence. We’re only ‘as good’ as our current work in the eyes of an audience, so I try to hit and run with socials, offering brief glimpses into my personality and places as well as my writing. I don’t care about ‘likes’ or ‘followers’, but do understand that can be considered a measure of marketability or success. I maintain, but don’t obsess.”
Valerie B. Williams has grown a presence but is keeping it limited, mainly focussing on when she has work coming out. And Catherine McCarthy, whilst reviling the smart phone as an invention, reminds herself that she has “made some genuine writer friends through social media, yourself included, and that’s been great.”
Do you think social media is skewed against older women because the ‘cult of youth’ or youthful appearance dominates?
This received a resounding yes, especially on the dreaded TikTok. Valerie B. Williams mirrors my pet peeve: “Yes. Western society is youth-oriented, regardless of gender. However, men are allowed to grow old whereas women are erased as they age. Just look at television anchors and when they are replaced. Or actors.”
Both Beverley Lee and Alyson Faye highlighted how older woman are so critical of themselves and, again, lack confidence. Such feelings impacted C.C. Winchester, who chose her name so as not to reveal her gender and did not have a profile pic at first. But, she says, “then I saw that there are many women horror writers and I didn’t want to hide anymore.”
Alyson Faye actually took me back to what seems like another era when we bought books without even knowing what the author looked like; it was the story first and foremost. And whilst she believes youth sells, “you’ve got to have the writing talent, too, along with the image.”
Ruthann Jagge follows the path that “you are not your age, you are your energy,” and that “there are all types of ways to ‘represent’ oneself, and I strive to stay current in most things, which does help. I make it a point to personally represent to the world at large as ‘still attractive’ physically and mentally.”
Continued in ‘Is it Downhill After 50(+) for Women in Horror – Part Three, tomorrow! Read part one here.
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