Producer Doug here, I just want you to know this is the fifth time I'm trying to record this, so I'm just gonna shoot from the hip. All of our DCC audio wants you to know about pop culture classroom. Now, this is a great program. They take cop books to elementary schools, jails, to for like, you know, a baredly literate, children and prisoners, and they do mini programs.
I'm just making it sound terrible, so I'm sorry, but I want to get this through. It is an education program with more than 600 hours of educational programming. Basically, it envisions individuals transformed by the educational power of pop culture to create diverse, inclusive, and engaged communities. I'm sorry, I'm getting a little paul sheer around this.
Sorry. Look, it's a great program. And because of them, we're bringing you these great con exclusives from Denver Comic Con. So please, please check them out.
I think they're great. I mean, don't, there's so many things between the spectrum of elementary schools and prisons. There's middle schools and high schools and colleges and halfway homes and a van, you know, down by the river that they hope that homegrown pop culture experiences can change the communities that we live in. I want this to go global viral globally.
So please check out pop culture classroom. I think that's where's the, there it is at www.popcultureclassroom.org. They're legit. And hey, give them some money.
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Where's my $2 where it should go to pop culture classroom? Thank you so much. Enjoy the show. Let's try the bus with a birthday and talk about scaring things.
I'm Charlotte. We got a podcast. We have a super cool free email. Tell us about visiting.
So if everyone on tables could go down to your name and a little summary of what you write. Make good. Which I read you later. I'm Luke Haddon.
The series you see right in front of you basically starts with a button. So we're going to go to the mentoring page. I've been told to return to your desk. You go out.
I basically write psychological player, flip a sci-fi. I'm Robert Rockley. I read the A-Vision series for Toriel. It's kind of a punk rock fantasy you work on.
I guess there's loads of it. It's not a bit short of a champlain. Hi, I'm Kevin. I'm at the same minute.
It's one series and I like you. It's going to be a hundred adaptations if you make them funny. I also have a second series about Thief and Coop. The Everything Boss is the first one.
Everyone's funny in a very different way. That one's much more on the biggest one. Like that's what's hard. There's a lot of very silly people.
Better. I'm just going to recommend the Everything Boss. I'm going to take your grandeos. All right.
Let's see. My little tree is a novel as a fun girl for last year. I just had an available novel with Tor.com. He's a comic book and he had to always write to me folks.
My name is Dan Wells. I write Bessie and science fiction in the horror. I thought that I wrote horror. My main series, all that kind of series killer was made into a movie and they called, one of the reviewers said, it's not really horror.
It's a kind of age comedy about a serial killer. Okay, does anyone have questions? Chris O'Mightley. Good job.
Okay, let's hear your monsters or murderers. Why? Because that shit happens in real life. I'm just going to say I might think of a movie as like pretty curious, like mysterious like the strangers.
To me personally. Yeah, human cruelty is on the entire series. Any monster of a hell-raiser. We're like, little creek gets you in a whole different way because it's based on just one human being.
We'll be horrifying to other human beings. Yeah, I think human monsters, less circulars or whatever, is a lot more scary because if we allow that there can be like a Henry from here, which we're seriously around there, and the numbers are built from the same thing as we are. We have to allow the other potential inside of us. I think we're going to see these targets inside of us and we have to bring up our equipment and we need the same time.
And I'm going to go to the same and I can write monsters mostly to get away from people. Wait, we're totally in. I think it's probably a cheap living position, no matter where it's a all-out-your-one-sirce or just kind of a big nature. Yeah, well, I think for me, you know, when we picture this comparing movies, the thing that makes murder or murder versus scary for me is that you don't have to use a movie to kind of an example because there's so many real ones.
You know, like, I can't remember the guys last name, but remember a few years ago, there's a story about that named Eagle who kept a bunch of women and he's basically been walked up like for years long, and one of them had an Eagle daughter which escaped. And that's a real thing that really happened. And like most of his neighbors to my knowledge, I moved away because they had to confront the reality that they'd been living next to this for years and years without ever knowing it. And then kind of realizing that it was terrible.
We were awful, awful creatures sometimes, not because, like Rob was saying, not because it's our nature, but because some of us just choose both of them will believe it to do terrible things. Yes, question. Stephen, can you say that you need the government? Yeah, I think we do.
When we evolve back in the Savannah, we had everything after one of us, we went through the crack of our spawns, like, head first in the big chain. You know, and so we spent the lady on being great with, we spent the lady on the teeth of the darkness. Now we live in the world where we shine high in the heavy straw corner and we're still programming to one of those teeth in the darkness. Now, the corridor gives that to us.
It allows the doors to work back in the technical slip through. You know, that feels very uncomfortable to us because yes, it's too difficult to come up with you right here. It runs into the forest, we're doing the other guard door. You know, so if you crack the door below it, you get the terrible, but you get the wonderful teeth.
You know, so it's a sort of a passion place all over Europe because people were there and couldn't be liable to cross-class and actually place it to place in three sections of the hell in the territory and the heavens were doing the good chain. The problem was, the territory that heaven were boring and the health sections, places of the crowd, health can be standing for and more hell is fun, hell is terrifying. To the point where, you know, it'd be an hour hell, like, on dinner or two, like, hey, here's the territory of all the heaven we're having. Good night.
The one with the church is that forget it's all hell hour and hour. We have it in the art, I think, first like you said, it's, you know, the night is, is the night of the very part of yourself. What do you think is the scariest thing ever? Spiders.
The little tiny ones right. No. I randomly have spiders this day. I mean, you're a good morning.
Mario, I was late over here. He's all previous to Mario, so that's when he was 19, 22, he was really scared of the M.R. as a world. Then he got to be 45 with kids and what he gets scared of was a call.
Three of them. I think, for me, like, I've sometimes not been the right part of me with our stuff and then I will, you know, ask them when I walk through the hallway and see some parents have been living there before we used to wait on something, you know, and I realized I just wanted to be with these. That's amazing scary thing. No, I absolutely agree with that.
There's a, there's a very tale, you know, very little million names when I know why I was a kid who was never afraid of anything and he was spotted in an office to find something that scared him and he wasn't afraid of all these monsters and just wanted to pass over to him and everything and he ended up becoming a hero that Dr. Mary Princess, because he wasn't afraid of any of these things and then he got married and sat down and realized we're gonna have to grow up now and that's her plan and I think that that, I mean, that's it. You don't have six kids. Those ones are for right now.
I'm trying to think, well, how can I make sure that they grow up to be their people and that they have a money to go to college and then, you know, I can continue to support them as necessary. That's terrifying. That's the story of any horror book horror movie that I've ever seen. I don't have a patent so I can't comment on any of that.
I'm sure that sounds terrifying because I don't have any right now. I would say for me, probably what's going to be the most when I look at the world today is willful ignorance. That's just so freaking terrifying. Also, comment threads on any of the other things that I've ever seen.
I think that's a very interesting thing. There's one more. I think the scariest thing I've ever thought of and I thought, I didn't go the night when I went night. It's just all hit me for years ever since.
Is that I will be away from home when they'll be a housewife or my thoughts will be able to get out of her. I just worry about that all the time. I'm just having to know if the rest has been. I'm very surprised.
The thing that you can be under now, this scares me, is I have the certainty that I'm going to be traveling my truck one day. You know, because I'm using it every time, I'm going to look down and go to keep the ignition. I'm going to replace this all dream. That's what I'm saying.
One other scary thing I'm going to be serious is, I remember that's a very simple example for some of what they've got to be. First, the late fear because my brain couldn't process having to run in my face. The scary part was, and realizing it was going to my face was scary. But then having a develop when I realized I didn't understand that it was going to my face at first.
Because my brain took a while for my brain to get there. So, when there were other levels of being explicable, larger, weird ones, they could be literally just like, that's a real fun, or something like that. Go right. So, you know, horror is interesting and has are many things.
But going on that theme of people being a serious thing, when you're dealing with real, quite realistic human darkness, that can do strange things to people when they consume that even in fiction. So, how do you know when you cross the line, or is there even a line across your brain perspective? I'm sorry, you cross the line. How do you know there's a line?
And when do you know that you cross it? Yeah? Yeah, I used to think that I was going to cross the line someday, but not right. Jeff Hitchens is the real one.
I was going to cross the line. I did a couple of things where there's a survey of people who are acting with people what they do. And by the way, he just listens to the bodies. He goes to the pal and claims to free-face dogs.
Takes them home, tells them how old is it and how old is it and how old is it and how old is it? Because the people are the most likely to be in the dogs and stuff. They're going to get right over it. I'm actually like, you know, and I thought it was a pre-game idea.
And I thought it was a pre-game idea. How old were you? Somebody else needs a good idea. You guys didn't know what you were getting into.
No, they asked them great. Yeah, I'll say I had a little bit of that with my first novel because the thing here is the only good to go on. I get put to go on and after I take on a reveture page, I think a lot of people kind of have it. Obviously, the only thing is a big problem.
And so a lot of people experience that and a lot of people wish they could exact some sense of revenge. So I had my narrator a couple times break the fourth wall and say, hey, I'm doing bad things. Don't sympathize with business. It's bad.
I've gone far beyond the realms of what was reasonable or rational. But that was more and that was probably less than the reason more when I like concerned that someone might read this and think that that was okay and maybe someone else thought I was going to join him up here. So I guess the line is subjective. I had to leave the family moment in the kind of horror patterns of pre-graduate reasons.
It's really not hard to, I think, is a question of approach to any tension. You might believe hard for horror, which is necessarily shock. But again, getting into almost another really sense of possibilities on the world. You know, terror happens a lot of that.
So I never try to grow city or not. I never try to do anything cheap. And I think one thing I want you to feel about this, I see a lot of culture in the forest. It is the use of sexual violence in cheap ways.
And I was wondering if I stopped watching gay problems. They were just having a great time. I didn't make too much fun. I know people were telling me that they had that around.
I can't let go of what they spent years doing. I think that maybe might live right there to cheapen something really to me is horror. So a few years ago, I was on an animal at the real horror convention. I'm talking about people who are in horror and is there anything that you don't know?
They don't know if there's a lot of people in the forest. They don't know if there's a lot of people in the forest. But I didn't know. There's a number.
I guess it's not going to come off into the woods, or people don't know what's going on. And it's raining, it's cloudy, thunder, and it's not scary. And I don't know if it's scary now. I have to walk around here alone.
All you just laughed at that. And the reason I tell that joke is because if you do it right, you can get away with anything. It's like what Richard said, you can come up as many heads as you want, as long as you make jokes about it. And that's a weird thing.
It's a very weird thing in our culture. But depending on how we approach it and how we present it, you can really get away from all of us. And the line moves a lot. The line moves depending on your audience, depending on the person, depending on the things going on.
That's how we control society. It's what we want. Right now, it's kind of tracks sometimes. But if you just approach everything with empathy, as many victories it seems for a horror writer approach, and all the terrible things that happen.
But somehow, you force up, like, you can find that line. It may cross a little, but then go back, or that's the necessary move there. There's also a few years ago I didn't want to use my scars. I decided to see how far I could go over the line.
And every time I sit down, I'll be like, basically, ill. And I end up writing an novel about 16 films. It makes a sick, direct novel. But I was glad to get on my system.
That soon as I sit on my system, it looks right up. Great. I was just going to add on to dance comment. Do you think there's a connection there with what you're saying about the humor in that, like, ER docs and stuff, they have a very dark sense of humor, just to deal with the stuff that they see every day?
Yeah. Yeah. Anyone who did hear your comment? The people who work in dangerous stuff, people who work in what I call the industry, that doctors, cops, courticians, they sort of, they have a very different outlook on that, very different relationship with that.
And a very dark sense of humor, because I think it's a defense, it's a way of keeping the universe. And I think what a lot of us do when we bring supernatural moments and stories as an investment in those topics that moves the storyless out from reality. And it's a way of approaching something awful through this other lens. That's how, in my opinion, most of our monster stories and legends created them by a verbal, let's just say, I, who unsentills other guys.
And we, in order to deal with that as a culture, we kind of inoculated ourselves by pretending that he's actually a supernatural monster. And so we did end all of these legends to cover for us and do these things. Also, you were, I mean, you were, I mean, you were, I thought it was all the physiological, the elap in the screen, but it's in the moment of Russian, where the exacts, they looked the exact same in the body. And it's really wonderful as a writer to play on that, with your audience, to love it and other you know, the elap in the screen.
And also, he was like a pressure release, and I'm like, oh, everything is like, worst, worst, worst, worst, worst. And he's like, it's screechy, but I bring it into novel, and we're just gonna start listening. Maybe a reset of the joke or something, every few pages, they can start calling that attention line again. There's a, one team who spoke, I think he's called, tension, something like that.
Yeah, where he, it's, and I, you know, I haven't talked about it, I don't know, but this is actually what he did. But I kind of see that as a new experiment in never releasing the dimension. He never let's up. There's never a pressure valve at any point in that book.
And he's as far as what to read the book. The question? In regards to like speaking of comedy and horror at the same time, like here in the line, it's in comedy, it's punching out versus punching down. Do you think that there's an element of punching up when you write for like, again, it regards to the joke about the killer, the killer's the bug joke, not the kid.
So it's like, it's easier to handle. Do you think that plays an element as well when exploring more? I think so, sorry, I'm not over. I'll say I'm not over again.
I'll say I'm being an honor to pump. You'll get kind of the recent, really successful horror comedies. So like having the woods for a day with the numbers of people, numbers of numbers of the numbers of the numbers of the numbers of the numbers of the people. Both of those are definitely punchy.
The bug of all the jokes of having the woods is corporate America. The bug of all the jokes in federal data. I'm not that we're not getting them to the word of the nature. It's not making fun of the back of the rednecks.
It's making fun of the back of the college kids that are usually the ones who use to get to be fun with the back of the rednecks. And so I think that there's a very strong effect of that. We don't need furry jokes. You know what, furries are a catney people who have a lifestyle that works there.
And yet we feel it's okay. Every group of people, we're a bunch of nerds. And yet we think furry, we're a bunch of now. We're a bunch of your people like us who press up and have a session that is a happy.
So I think Anthony Kerber is a mini like this. Where did the years go? Whatever. Is it going to punchy down before?
Well, I'm trying to wrap this up because I do think that horror deals with that same issue. It's not just punching down. You read Rax by James Herbert. That is the most punching book ever.
That's basically the more kid getting his revenge on all three people in London that used to look down on when he was little. And he wrote this book about Rax being small. And that's a really strong element in horror. It is a good thing.
I think you can a little bit as long as it's cited. But the first one is your site. It's a good thing that's an area out. And a lot of what I have to do is work for doing these personal materials where people are telling their story, which is most often, which is always interesting about what goes up and also horrible.
And something you can do there is make jokes about their scenario and how terrible it actually is. And then sort of have a way out in your scenario that you would want to go through. It's citing with them, but also with what I think how terrible and how terrible it is. It's not necessarily punching down at the most point-use-all-know-that-reseem or the detail of everyone.
It's also giving up that. But I do say it's happening somewhere right. So I was wondering how can you do that without making decisions? How can you use insanity in writing without making a cliche?
Oh, I have some minutes on that. OK, I think one of the most important things you could do is actually talk to people who, I was really saying insanity. You mean, like the guy who actually exists pretty under my polar or DID or something like that. It's really going to go take an alliance outside of control, except me.
Yeah, you can talk to therapists. You can talk to anybody. You can put an interview on your line and you can have to put something back to the stuff on a daily basis. I think what bothers me, I didn't see the feeling of the back of the way that it looked like it was going to do what you were just talking about.
It was just going to correct me in the wrong way. What? No, it wasn't. OK.
Basically, the concern being that your turn is you're dehumanizing this person. You're kind of making their ailment the thing that they're struggling with a commodity. And I think that's where it gets really true in a way. And so I would say the first place to start is actually speaking with someone who deals with many of our experiences in it.
I think we're going to have a lot more about talking about it as well. I actually have some friends who are more older than you even the references. Yeah, that's kind of where I would start. And honestly, if you go where the most annoying trips about saying you will find lists and lists and lists and things to avoid.
I was thinking, I'm not sure how to do it. But how to do it wrong is if you rig this point such that a person is a pretty good person, they are a killer. You don't want to reduce somebody like that. You want them to be a killer because that's what they are.
And it's just one facet of their character. There's a strong tendency in our media to either demonize or how I can, that's mental illness. And so on, in my hand, you have something like a whole bill from South of the Lambs. Basically, it was evil because he was transgender or someone.
Then on the other hand, you've got, and I misspoke there, so they don't want to present transgenderism in the most of those minds. But on the other hand, it's something like one floor of a group who's next. The present's mental illness essentially has a lifestyle choice. And who are you to tell them that being states are pretty good as well.
And that kind of attitude has been screwed up mental health in our nation. You are today in America 10 times more likely to be imprisoned than in therapy if you have a mental illness. And that's a Spanish social difference in culture. And so I really looked about, it's pretty on what it goes about, conduct disorder, about sociopathming, about multiple personalities, all these different things.
And what you're trying to do, what I'm trying to do at least, is to present those things as real as you can. Don't sensationalize them. Because like she said, that's the first place you go. So you talk to people who actually live there.
And find out what it's like. What does it like day to day? There's a lot of great resources you can find in technical manuals. This is exactly how it gets to many functions.
But even more mind, what resources is going to be like the therapy books. Your husband and bestie, it's pretty on how we deal with that, how you live with them, and how you go on with your life. And make it work. And that's where you're going to find the real need of being able to present that as a real thing rather than just as a financial monster.
I've got a question over here. That happened. That's my realization. Not fine.
Do you ever get so deep in your stories that we do about the beauty to not write more and more than a little bit on recess somehow? And how do you do that? I think it's scary. Well, I'm writing it.
I think that's how I know that material is that I've said obstacles and all ways that my life can come in the hall of terror and the thanksgiving. Yeah. But yeah, I just want to go right into the number. It's not a great number.
It's called the best cut out. But that's really takes like 30 hours. It's the best part of the beauty and the back on that list. That's what you're like for me.
You put a couple of papers and it gets it out. It's kind of already there. So that's kind of the theory of how it's taken out. I had to watch your piece of paper and make it tangible so it's not this big.
You were this thing kind of all around the brain. I occasionally find something exhaustive. You're writing something really perfect. In a good way, you were just talking about it.
You got it out. You didn't hold back. And you would treat yourself through the story. And you'd write again if you're not cheating.
The characters, you're doing mental illness. You're honoring the source material. You're trying to do it right. But yeah, I find myself engaging me just really running out of my end of one time.
It's sad. It's like, is this a horrible? It's more sad. I mean, it's hard to...
You know, you might have had a bit of that human level and the thing that describes yourself. You'll be writing just a little bit next to something. I do think there's a value in children's switching. For people that just write over a course, there's a thing over and over.
I could probably do a little bit of a really sad thing since we're already over. Start out writing the mental stuff that you can screen in your mind. Which is set up ways that you can allow yourself to recover and then prepare to do a horrible torture. But I do think there's value in switching over.
I've tried that a few times myself. I think like, I can stop at something later or even not say later, but just a little bit less horrific. It'll be getting better. Sometimes they don't have to have to have to have to have to have to have to have to have to have to have to have to have to have to have to have something else in their mind.
So we talked about lines that we don't, where we don't cross. So we were doing things like employing or rape or subjects that we don't, that's sort of one to talk about as a society. And one of the things that I feel for it does is it actually allows us to look at it in a way where we actually can be a different type of victims. So how do you handle writing a scene like that that has to do with something like that, where you're really able to bring out of how hard it is and bring out the things you do.
Like when you're writing, whatever you can't do it, like what would you let flow, how do you do it? Yeah, so what happens in terrible white bullying or something going on in a trauma page? Yeah, it is a drug to engage it at the same time. Most stories are closed justice systems, so the bad people are going to get introduced by new stories.
So I feel good in that way. I don't really know if it relates to the little bit more. Even though I can't recall, like Tilly's even said, at least as a writer I might have some cool over what I have later, because they're open as many as I can to those things. So perhaps exploring with their own women happens and allowing yourself to read justice.
Yeah, I will think if you can create a connection between the reader and whatever character is experiencing the violence or the attack, what small things, like what do they like to leave? It doesn't have to be as vague like to try out. But if you've ever experienced a life, you can kind of talk about this as a human. You know, they had mom and dad's wondering about them, had interests.
The readers just go back and talk to them. And I think with these bullying and even the mental illness, everybody's kind of touched by it in some sense, but it was a use of mental illness. So I think you have to turn it really hard to make a non-sympathetic bully victim want to end to you. I mean, when you're showing a hit, you know I can believe it.
There's in the right two ways, one is right at the inside, one is right at the outside. I offer it at the outside because if someone gets horribly bullied, it can't question. For me, the way I'm right is I don't think I need to explain to you the only other person who can believe. You can understand that.
And for me, writing from the outside like that puts the reader in a position where they are participating in a way that's different than if I read it from inside the victim's head where you're hearing their thoughts as the link is taking place. I think that sometimes portraying things with that cold, the decline is sometimes creating more sense of work. Also, the more sense of empathy for the person who is living in a way or not. Detail versus imagination.
If you put it up on the page, it kind of gets into a difference for me in detail versus imagination. If you provide all the details that I don't have to think of in my own head, if you give me just enough that I make it horrific, or I make it horrible or I empathize with that person, that's more of a concerted connection between me and the writer or the story. Yeah, that's one of the first things I learned when I started writing was that your brain has such a better special effects budget than anything that I can write. And so, that's really what you're trying to do is give you all the tools you need to terrify yourself.
Yeah, what that does is it makes the reader a participant and creation and the story and thereby feels a motion about that and best of all, I think, it's a better, better, better. I don't think you have to say that. I've heard a couple stories. A story in my own head was a couple of ambitious stories like you, where I think sometimes you can really get into what this moment is, the true or, I don't know, where you can just, I get close to what's going on here.
It was one of the master's ones that were written and I had a good time. I usually write that time, sorry, I wrote these. We have the jaw center, we don't see a shark, that's a shark. Sometimes I have to really write you to the opposite.
It's like, here's a monster. You know, put the monster, I have to find the monster part of the story, not the hidden part of the story. Just a sort of, a few things apply to work. I just think the monster's right there.
You're only right there. The monster's right there. How do you interact with them? And we're doing it that way.
And I think for me, one of the reasons that that style works is because you can't get away from it. So you're being scared from a different angle. It's like you're strapped into a roller coaster. And you're strapped in and you can't get out.
I'm just going to show you this monster and you're just not reading. Or you keep seeing monster. And so you've kind of, you're stuck with it and you can't skate it. So how do you portray villains?
Not to try and compare them to how you get to where, how do you create a vested interest in the background. I guess the villains' acts are inherently interesting. We're going to know what program you're going to do that. Possibly.
But I think you can over-splant it. That's so dangerous. Is there a way to track and look? Or are you able to make a study major talk about the grown-up and the dream of?
And it doesn't make no right to the victims. They look at the main monster. And so you can definitely explain them more. I think I've asked the reader.
My favorite thing is I don't understand why you're doing what they're doing. So he kind of goes, why would someone do this? I'm like, how do you read it and you want to know a little bit more about the villain and I? I could read it.
I could recommend much. I need to know all of it. But I think you can kind of hook someone with the mystery of all of it. And if you need to know if it's really complex and there, that's something I'm going to be reading.
It also depends on your definition of the villain. They are the villains. And yet they're retrained in a family set for the monsters. I think it's very interesting way to approach it because they are a family.
Because it's less than most of the parts that the family is setting on. That read the figures of villain. One of my favorite movies of all time is Psycho. I'm thinking there's like 500 different ways to answer this question with the movie.
But the one that I want to focus on goes back to that very idea, which is, it's way warning. The movie starts off about somebody else. And you think it's about this long day who's stealing money from her boss. And she's the main character for a solid 45 minutes of that movie.
And she meets Norman Bates and she ends up in this creepy hotel. And then all of a sudden she's dead. And Norman's like, oh crap, my mom killed her. I need high-body.
And he puts her in a trunk and tries to seek her car into the river and starts seeking down. And then it stops. And the camera goes through his face. And he's not by his nails.
And that one shot is the most really part of that movie for me. Because instantly you are on his side and he's your new main character. And you're synthesizing him for the rest of the show. Because you've seen that moment of fear in the movie for me.
It's kind of high for main characters, but by the end, you're not going to be synthesizing him because you suddenly see this movie is going to be a half-time spot. And that moment changes the entire thing. For me, that moment is what they said when we were talking. So sometimes it relates to something you need to know what to go for.
So come to see that as a movie. Is it a game of war here or is it a movie? It's a movie that's wrong with the movie. What do you think about that?
I think that there, whenever you're in a story based on monster, there's always a learning career. Where you want to be hated or maybe it's a origin story. And somewhere in there you see that missing scale. And I think that we can use our human intelligence to flip the table on its monster.
And so how did that deal with that? I mean, I think a monster story really, they're going to be able to hustle stuff. I can punch you. You guys will punch me.
And I'll punch you. But most of them to keep you from bringing. So you start to bring. You're smart among yourselves.
And so if you can read the story and you can check it at home. You can tell it's our own t-frame. I think you're honest with me. I think almost as a re-ui-long monster movie, before it ends, it has to turn into a different kind of movie.
You can only bring in so much more, before you show the monster what it is, we get used to the monster and we move on. And then it has to go somewhere else. like any sort of thing, really. They're so effective in the dark and the whiteness of the industry of the ship.
And then you probably start really getting a good glimpse of it and you start explaining to the flight what's going on. You lose a little bit of the edge. And that's the story that's a bit too, its characters to bring in more and more. And then you also have such a good one, no more of like, and then at some point, you see a little too much of the sharpening.
In the rounds area, it is a little bit more of an action moving in sort of a thriller for the characters. At some point, it has to be able to work with me to close the time. I don't know if I agree with that in 100%. I think, I think what happens for example in Jaws, it's not that it stops being a horror movie, but that it starts being a different kind of horror.
We've been talking so much about monster, but there's different kinds of monsters. There's monsters you never see. There's the monster that you sympathize with. There's the monster who's just unveitably awesome and can always outsmart you without much of everything.
And for me, Jaws starts as that mystery that then turns into this tense thing. And then at the end, we're not dealing with the hit monster. We're dealing with the under-feedable onslaught. They're not that we just can't see it from.
And so it's a different kind of monster, certainly, because I've had that through it. But I can say this stops being a horror movie because it becomes a crime. Sure. Yeah.
Right. Just to kind of answer your question a little more direction, I think, if you're trying to create a villain, you kind of have to go where the story's going on, I think, and give the integrity of it. Because I think sometimes you end up with really strong motives and those that right now and who gets to know those. And then I think sometimes you end up with the ambiguous one.
I would say it probably just has more the integrity of the narrative track, you kind of change and where the story goes. And then it's head over to the reader to choose what they prefer. And then we're going to write a book that all horror fans, like, or even your own fans, like, you might put something on the book. That's what's correct.
Whatever just kind of happens. I just need to say, as a chatters to your story, that is your boss that you can. OK. I have a question.
Well, again, I'm going to first send a back. So I'm lying for a video of people who have a lot of interests in like disabled organizations. So do you can send my book. I think you can send a link off the line to hear if you're a super-cared okay for a quote or also like for, you know, an disability officer.
And if all you like, you know, is there a way to do it? You know, by the way, it's really kind of hard. So I'm kind of in the book. And I don't see it as a label as a label.
I'm not really like when you're writing, that sort of stuff. You know, are you actually thinking of it as a disability? I would just be thinking of it as another part of the person who has a disability character. I wouldn't want to define the person who has a disability.
I care about it as a disability. It's not their defined characteristic, I don't think. You know, the changes are going to be at least in touch. Yeah, just thinking about it.
I'm trying to pin down exactly what I think is touch. I really liked it, but it was good interpretation of that. Well, I could also set about with my main character as that kind of thing. So we could set about with disability at the forefront.
I mean, the disability itself is a very character. The weakness that we were having in it and how that can be always one can enter around. All people is looking at it. But I think it's certainly best practice to do a non-divineer to a disability when you're going to do it.
I don't know what to say. Yeah, I almost, and my partner, he watched it with me about being almost not for a sports shot. When you do somehow the elements that were being dapper and old and then you play into actually overcame this horrible, murderous man. He was totally almost like, oh, I'm just kidding.
But yeah, I almost think it would be like if we knew that she was like a black belt martial arts, that's how she was going to take it down. It's kind of a solid death thing. I wasn't really like, oh, she's disabled. Yeah.
And I also think it kind of created an interesting form of that perspective. He really wanted to hear her scream and she has this very little core position to make a voice. And I know when his interest was peaked by that, because he's just like a sin person. But I'm going to be right, it was almost like it's one other character, it's a little device.
And you're right, I don't know what I'm going to make. Or you should be really upset. I don't know if you're upset that people are really technically from the community. And they don't see death as misleading at all.
They see it as something that they want to see as something that they're kind of gifted with. It's not having to know their cultural sense. It's something that I'm not totally digress. I just think that whole community.
No, no, no, no, no, no, no, no. It's important to question representation of disabled people in fiction, usually centers on madness. That's the cliche, that's the one you see most often is on the serial characters. But in any other part is what I think is kind of like in a black belt in a wheelchair.
It's a really interesting line that I'm talking to friends about who have sort of basically some kind of represent that as part of the spectrum of what the characters are in the piece of fiction. And I think it's really something like what happens is sort of move towards that by step do not make a community more selective. And I'm still trying to figure out what those lines are. I'm trying to have certain disabilities on how that representation works.
Yes. Okay. Thank you for coming. If you like this, check out some of our other shows like Mr.
Wright, Exotic Liability and No Applause, Just the Clap. You can find us at www.bacnpodcast.com and by searching for bacn on iTunes and Stitcher. Oh, yeah.