Genre publishing is a scene killer.
Back in the 1970s, a successful horror novel could sell in the hundreds of thousands of copies, the best-known writers were house-hold names and Hollywood producers were falling over themselves to sign the rights to anything even remotely decent. These were not just good years, they were fat years.
The problem was that for every world-famous author rubbing shoulders with movie stars on late-night TV there were literally dozens if not hundreds of authors who were… well… shit. When a book hits big, readers will walk into a book shop and say they want more of the same. Sometimes, successful authors will have back-catalogues that can satiate an audience’s desire but more often than not, great books are kind of hard to find. Publishing tries to solve this problem by publishing books that are a bit like something successful. Quite often, the people in publishing won’t be able to tell you why a particular book sold a million copies and so they spend a lot of their time trying to strike a balance between ‘more of the same’ and ‘might actually strike a nerve’. The problem is that, if none of those new books does strike a nerve and break out, the lack of new trends means that publishers wind up throwing more and more money after stuff whose moment has already passed.
One side effect of this strategy is that everything fresh and good inevitably winds up being buried in shit as publishing companies desperately churn out photocopies of photocopies until even the most devoted of readers tune out and the entire scene comes crashing down around their pointy little heads.
This is what happened to the horror genre. Desperate to replicate big successes, publishing companies would put their money behind any old shit with a monster or a murder. While this approach undoubtedly resulted in the publication of some amazing books, it also submerged the horror genre in a river of shit so deep that it has taken literally decades for fans and authors to dig it back out.
Since then, similar things have happened first in the world of Paranormal Romance, and more recently in the world of Young Adult fiction where the vast success of a small number of titles resulted in publishers filling the shelves with so many derivative works that markets collapsed. The rise and fall of Young Adult is a major problem for publishing as a lot of genre publishers pivoted hard towards YA when first the science fiction and then the fantasy genres began to decline. Desperate for a professional life raft, many YA authors have tried to re-invent themselves as adult-oriented writers and many younger authors have reacted with fury to the suggestion that they might ever have considered writing YA.
Genre publishing seems to be in the early stages of a pivot towards horror. This poses something of a challenge as the dark and jagged emotional aesthetics of horror are very different to the uplifting moral simplicity that followed the YA crowd into adult genre publishing. How do you sell horror to people who argue that one cannot depict abuse without endorsing it? How do you sell horror to people who have convinced themselves that morally-upstanding escapism is the only legitimate literary form? I’m not sure that publishing has a solution to this yet; the old world is dying but the new world still struggles to be born.
The Twisted Ones is a novel born of this interregnum. Written under a pseudonym by a Hugo-winning author best known for books aimed at children, this novel feels like fantasy but is being marketed as horror. Unfortunately, despite the dark cover, the evocative title, and the cover blurbs stressing the book’s terrifying affect, The Twisted Ones is more amiably beige than it is dark and disturbing.
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