Nocturne Release Day!


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coverAppropriately, this Halloween I’m facing my terrible dread at putting out total dreck by publishing my first novel, Nocturne, a beautifully gothic YA horror novel thirteen years in the making.

I just got the proofs in from Createspace, and they’re so beautiful I could spit. Covers by Combs did exceptional work on the cover and formatting design – I can’t recommend her enough. The paperback has been approved, and they should be ready to purchase at Amazon within a week (UPDATE: They are now available at Amazon!). In the meantime, the ebook is now available.

Seventeen-year-old Callie dreams nightmares every night. Now the nightmares want to meet her.

Amazon US:
Amazon UK:
Amazon Canada:
Amazon Australia:
Barnes & Noble:

Self-Publishing Addict


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I’ve submitted everything to everywhere it needs to go. I’m just awaiting the paperback proof, which I expedited to hopefully get it on Oct. 31, but it may come on Nov. 1. All the moving parts are in motion. While I was initially dreading it, I think the anxiety has partially transitioned to excitement.

Aside from an embarrassing OCD loop episode during the finalization of the formatted files (how many times can you read over a blurb before losing your mind? do you really want to know?), I really like the self-publishing process. I like controlling the creative vision; I like being the boss of the process, not the employee. And seeing Nocturne in all my distribution bookshelves, all by itself, only makes me want to publish more. I’ve got the bug, y’all, and it’s dangerous.

I keep having to tell myself that while I have plenty of books in my trunk, they’re not near ready for publication yet. I need to be patient. Nocturne‘s just going to have to be by its lonesome for a while. It deserves the spotlight, though. I owe it that.

Nocturne/Halloween Playlist


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coverBetween trying to finish a writing project, wrestling with ideas that keep coming to me, finalizing Nocturne for self-publication, preparing for NaNoWriMo, and dealing with a seriously brutal episode of depression, let’s just say it’s been quiet around here.

So I thought I’d give you something to listen to.

Usually, around this time of year, I’m listening to my Halloween playlist round the clock, but for some reason, my brain just wants to listen to Legally Blonde: The Musical over and over and over again, with the occasional side of Sara Bareilles’ Brave Enough or Lady Gaga’s Artpop. At least Delain’s Moonbathers and Nightwish’s Imaginaerium also get an honorable mention—they have good atmosphere.

However, when I’m working on Nocturne, I crave the playlist I created for it. When I wrote the first draft, that was before I had iTunes or an iPod and still played my CDs on a boombox, but I was writing at night, so I had to write in silence. But since then, I’ve amassed a fairly solid fan soundtrack (can the author be a fan?) that set the mood for rewrites and edits, with songs that sometimes reminded me so strongly of elements in the story that it was kind of scary.

It just so happens that, since Nocturne is a horror novel, the playlist would do wonderfully as a Halloween set. So if you want to grab a few of these from your music library of choice for Halloween or if you want to prepare for Nocturne the way your humble author does, here’s my curated playlist. (I tried to make sure an artist wasn’t featured more than three times.)

“Asleep” – Emilie Autumn
“Avalanche” – Epica
“Cold Caress” – Sirenia
“Coma White (acoustic)” – Marilyn Manson
“Crushed Dreams” – Tristania
“Dark Shines” – Muse
“Dead Boy’s Poem” – Nightwish
“Dead is the New Alive” – Emilie Autumn
“End of the Dream” – Evanescence
“Enjoy the Silence” – Lacuna Coil
“The Essence of Silence” – Epica
“Fallen Star” – Kamelot
“Fate” – Tristania
“Haunted” – Evanescence
“Here’s to the Fall” – Kamelot
“I Know Where You Sleep” – Emilie Autumn
“I Make the Mistake” – Mortal Love
“I’ll See You in Your Dreams” – Moonspell
“Insomnia” – Kamelot
“It’s the Fear” – Within Temptation
“Lights” – Ellie Goulding
“The Lonely” – Christina Perri
“Lost” – Within Temptation
“Lotus” – Tristania
“Loverman” – Nick Cave
“Me” – Paula Cole
“Monster” – Panzer AG
“Not Alone” – Sara Bareilles
“People are Strange” – Johnny Hollow
“A Song to Say Goodbye” – Placebo
“Restless” – Within Temptation
“Sleepwalkers Dream” – Delain
“Suffocating Right” – Neuroticfish
“Sweet Dreams (Are Made of This)” – Marilyn Manson
“Tear You Apart” – She Wants Revenge
“Turn the Lights Out” – Delain
“Uninvited” – Alanis Morissette
“Virtue and Vice” – Delain
“Whispers in the Dark” – Skillet
“World of Glass” – Tristania

Also, if you’re interested in my Pinterest board for Nocturne, you can find it here. I think I created it sometime after the first major rewrite, and it’s been lovely visual atmosphere inspo for all subsequent edits. If you like those creepy illustrations from Scary Stories to Tell in the Dark, you’ll like the board.

Cover Reveal – Nocturne


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I’m shooting for a Halloween release at this point. It’s no gimmick. That’s really just the way it’s turned out.

Shout out to the fabulous Covers by Combs for the custom cover design and formatting.

It’s been eight years since the car accident that stole Callie’s voice and plagued her with terrifying nightmares every night. Four years since her family wrote her off as a lost cause and abandoned her at a boarding school for troubled teens. Despite friction with some of the other residents, seventeen-year-old Callie has nevertheless thrived in a place where they don’t expect her to be normal, but she’s not sure she’s able to thrive anywhere else.

Then one night, a man who calls himself the Guardian pulls her into a subterranean world filled with all the monsters from her dreams and ruled by the Night Mare herself. Down in the darklands, Callie’s nightmarish creations worship her. Down in the darklands, she isn’t tired or sick or hungry.

Down in the darklands, she can speak.

As her waking life deteriorates under the weight of exhaustion and other complications, Callie’s nightly forays into the nightmare world also begin to take their toll. And it’s getting harder to tell which world is really the nightmare.

What Fresh Hell


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496265_22437560bycristinaAt the time I wrote the first draft of Nocturne, then called Nightmare, I was at a strange place in my experience of the horror genre. I’d read most the RL Stine oeuvre from children’s books to young adult, then devoured Christopher Pike. Dracula was (and still is) one of my favorite novels, and Jekyll & Hyde was my favorite musical. I’d started reading Stephen King and Thomas Harris in secret, because my parents thought I was too young for them. I’d been introduced to a handful of horror movies, but only PG-13 at the time. I loved horror, but I was still fresh enough to it that I hadn’t started seeing the mechanics of the genre—the conventions, the cliches, the timing, that sort of thing.

It wasn’t until my freshman year of college that I really started watching all the rated-R horror movies I’d always wanted to watch, and it’s been steady consumption since then. But I wrote Nightmare in the summer between the end of high school and the start of college, before I’d introduced myself to Freddy Krueger or Michael Myers or the Wishmaster, before I’d experienced the sensuality of Coppola’s Dracula or the brutality of Saw and Hostel, before my family had started bingeing on The Twilight Zone every New Year’s, before I knew about the meta-horror of Scream or the way a person can use horror trends to gauge a whole society’s fears.

Between the first draft and the first rewrite, I had about nine years to develop a finer palate for horror appreciation as well as my skills as a writer. I added a few new elements to the story to add some much needed meat to the bones (the first draft was a little more than half the size of the final draft) and fixed the beginning and ending. (Beginnings are always my weak spot, but that original ending was truly awful, and even at the time I knew how unsatisfying it was .) It only needed one more reworking to fix some of those new elements before I was finally satisfied with the body of the novel, somewhere around two years later, and set forth polishing it.

And now here we are, thirteen years from the first draft. I don’t know how many versions there have been—somewhere between twelve and fourteen. It’s a love letter to the horror genre, a sprawling examination of demons that have plagued me from puberty through adulthood, though I don’t suffer nightmares nearly as often as you might think. Nocturne itself, a novel of nightmares, isn’t based solely on mine. I made sure a few of them make a cameo, because how could I resist?

Parasomnias (sleep disorders) have intrigued me more over the last few years, though, because I started experiencing the hypnagogic hallucinations commonly referred to as exploding head syndrome, which sounds a lot more alarming than it is.

I sometimes wake up to the sound of a terrible scream that’s almost mechanical but still sounds so very human—except I experience the sound as though it comes from inside my head. It isn’t thought-sound. I experience it as actual sound. I’ve also woken up to thumps and knocking. On occasion, I’ll think the cat has jumped onto my legs or I’ll think someone’s tapping me awake, but nothing is there (touch hallucination, a bit rarer).

Just last night, I had some trouble in the middle of the night passing between dream state and waking consciousness with some auditory hallucinations—voices of my family that I knew were from evil spirits, actual voices that woke me up because they were heard and not just thought, but I kept waking up first in the dream before waking up for real, so it got a little confusing.

It’s a fascinating phenomenon, and though these auditory hypnagogic hallucinations are usually accompanied by a sense of dread or the feeling that what it’s coming from is evil or demonic, once I’m awake, the worst I feel is a bit unsettled. As long as these things don’t repeat when I’m completely awake, I calm down pretty fast. It helps knowing what’s going on and not actually worrying about evil spirits in my bedroom. I think if I had visual hallucinations as creepy as the auditory, I’d be much more freaked out. It would be a lot harder for me to convince myself that what I’m seeing isn’t real.

And strangely, just this year, I’ve also had markedly more nightmares than usual. I’ve always had bad dreams, but they say the difference between a nightmare and a bad dream is that a nightmare wakes you up because your brain can’t handle it anymore. The tornado dreams I’ve had all my life used to create tornadoes all around me, with only the threat they’d hit. Now, however, they’re hitting. Last night (after the hallucination/evil spirit nightmares), I dreamed interstellar grasshoppers were crawling into people’s mouths and taking them over. The zombie dreams are getting more intense. One night, I woke up from a tooth-crunching dream with aching teeth—I assume from grinding them, but for a second, I thought I’d really crunched my teeth down. I got a sleep guard pretty soon after that.

Sometimes I’ll die in a dream and jolt awake with a hypnic jerk, which I’m also prone to, and there’s a theory that hypnagogic hallucinations are just hypnic jerks translated into sensory representation because the brain gets its wires crossed.

But I’m a little strange, because about seventy-five percent of the time, even though I still have residual terror in my system, I’ll be so intrigued by the nightmare upon waking that I’ll deliberately go back to sleep to try to go back into the dream and see what happens. Side effect of being a horror geek, I suppose, and I’m always on the lookout for the next horror idea. I won’t lie—I’ve come up with a few good ones by doing that.

Here’s hoping that Nocturne is just the first fresh hell I can share with you. Because these hells are far preferable to the ones I have to wake into.




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The RuinsThere were mixed reviews for this movie among friends and critics, but it’s one of my personal favorites, a regular go-to for a bit of character-driven body horror. The more I watch the movie, the more complicated it gets underneath the rather unoriginal, shiny exterior, which is why I feel The Ruins is seriously worth a horror fan’s time. As a shiny movie, it might also appeal to the non-horror fan, if they have the stomach for it.

Plants are a funny thing to make a villain, and I can see how some people might not go for the idea of carnivorous plants as something that can get your skin crawling, but it’s been a bit of a peripheral fear of mine. One of the shorts in the Creepshow anthology, the one featuring Stephen King as a simple-minded farmer baffled by a meteorite with a gooey interior that causes grass to grow on everything like a fungus has stuck with me for years—hits me again every time the parsley gets overgrown and starts trailing onto the porch.

Forests do get nutrients from death of both flora and fauna; creeping vines can infest and infect a whole grove; the fight for sunlight in rainforests is a brutal one; oils on leaves or thorns can cause serious damage or horrible death, all in the name of self-protection, and all without an as-yet demonstrable consciousness, which isn’t to say that plants don’t respond—which is the freakiest thing that I just said. We’re surrounded by plants, but too often, they’re just scenery or accessory to us, and that’s a mistake.

All that to say that, as much as I love my backyard and adore big trees and roses, I still find plants kind of creepy. So I can get into the mentality of villainous plants more quickly than some people. What can I say? I’m an ideal horror audience. (Not so much on board with the villainous vegetarians, but Trolls 2 is still worth a watch as one of the most awesome terrible movies ever made.)

After a cryptic prologue, The Ruins opens on a bunch of young, pretty twenty-somethings on vacation in Mexico—bikinis, alcohol, sun, sex, all pretty much the accoutrements of a typical horror movie, which is why it’s easy to think The Ruins is going to follow the usual, unoriginal punishing formula. Nothing new to see here, folks. Situation normal; all fucked up.

And as a trope, The Ruins definitely falls under the label of Tourists Behaving Badly. Or, more specifically, American Tourists Behaving Badly, although they’re tagging along behind a couple Germans and Greeks. It’s easy to roll your eyes when they flash money to do The Forbidden Thing, when one of the characters takes pictures of the Cute Locals in their Native Environment, and when the emergent leader of the group declares with absolute, desperate certainty, “This doesn’t happen! Four Americans on a vacation don’t just disappear!” People disappear all the fucking time, man, and not just on vacation. Naive affluent illusions, shattered.

However, though The Ruins works within the framework of a fairly typical twenty-somethings-suffer horror movie, it’s what the screenwriter (same as the author of the original novel, which I plan to read one of these days) and the director did within that framework that’s worth a second glance.

I don’t think The Ruins would have done so well without an exceptional cast. Shawn Ashmore is one of my favorite underrated actors (actually, I’m a fan of both Ashmore twins, and they both have feet in the horror genre). Jonathan Tucker is a familiar face in the genre, and he has a quiet, odd-faced, hard-bodied intensity to him that serves him well. Jena Malone is also a surprising force of nature despite her slim build. Sergio Calderon plays the lead Mayan, and he might be a face you recognize, but you don’t know from where. I think he lends some unexpected gravitas in a role where nothing that he says is understood, but his face and tone speaks volumes. There’s no weak link in the cast, although the script has some weak points that don’t do them any service. One of the best things about this film, though, is that whoever you think the characters are at the beginning, they subvert those expectations by the end, which is the marker of good storytelling.

The basic premise of the movie goes something like this: The tourists visit Mayan ruins that aren’t on any of the maps to meet up with a group of archaeologists. They trespass onto forbidden land and touch the strange vine that seems to grow on the ruins and nothing else. A band of Mayans who apparently protect the area around the ruins quarantines them there. As expected, they’re in the middle of nowhere, no cell service, no sat phone, no airplanes, little expectation of rescue. And they quickly discover that the original archaeologist team is dead and that the vine is responsible.

What follows includes unspoken tensions between the members of the group coming to a head, some brutal decisions about how to take care of the wounded in primitive conditions, and what to do about the vine spore that’s entered into those wounds and coated everyone’s clothes and skin. If you’re a fan of body horror, there’s some good, flinching gore for you, but it’s the human element that keeps the movie grounded in something almost paranoid. Some of the best horror, in my opinion, comes from the lengths we’ll go to when we’re desperate to survive.

I won’t spoil anything about the nature of the vines or the fates of the characters, but it doesn’t disappoint, though the unrated ending beats the theatrical (unrated version also has an extraneous scene, but I can forgive it). In a contest between The Ruins and Cabin Fever about horror getting under your skin, The Ruins beats Cabin hands down.

Cold Feet


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I know writers do it all the time, master the turnaround from draft to publication so that the process is much more efficient. I did it back in my fanfic days, when the standards for posting fic were different than the standards for posting original work, because you were amateur. The amateur status forgave many sins of the beginner.

When I was a kid, I could make a Tootsie Roll last by treating it like hard candy. Ironically—or perhaps not so ironically—as I’ve grown older, I’ve also grown less patient. Yet my standards for putting my work out require me to take my time, even if I don’t want to. I’m a perfectionist and a control freak. They’re both qualities that led me to pursue self-publishing, but they certainly do nothing for my impatience.

Moving from amateur to professional changed my standards. I write a thing. I set it aside for at least a month, and more often than not, about six months to a year before I pick it up again. That lets me distance myself from it, forget a few things, and approach it with fresher eyes after my alpha reader’s gone through it. Then I edit the crap out of it. Then I set it aside again. Then I look over how the edits changed the look and feel of the narration and dialogue, and I edit again. Then I set it aside again. Then I edit again. In between all of this, I’m usually working on other projects, but part of me is always with a finished story, working on it in my subconscious. Only when I think it’s publishable do I even consider sending it to a professional editor.

And finding a professional editor that’s right for me has been more work than I thought it would be, given the number of writers who recommend their editors. Once I settle on an editor or editors, I’ll go through their edit. Then I’ll set it aside again. Then I’ll do at least one final sweep and proofread.

Then I’ll send the book to the formatter. Only after that will I submit the book. That’s not even getting into the cover art/designer side of the equation, or the promotion plans, both of which I can work on in tandem with the writing/editing side.

To give you an idea of the timeline we’re talking about, I wrote Thorns in 2012. It’s probably not going to get published until late January/early February 2018. So much for quick turnaround.

I’m chomping at the bit for Thorns to be released, but not until it’s ready. Not until it’s right. Not until it’s as close to perfect as I’m capable of making it.

And isn’t that just the crux of the matter. Because there is no perfect. There will never be perfect. I’ll always come up short against my own standard, and an objective measure of writing quality is a foggy notion at best. If you don’t like a piece of art, it wasn’t made for you. Poor quality art can still be enjoyed by millions, which brings into question the designation ‘poor quality’ in the first place—because the art did what it was supposed to do, tap into something inside people and make them respond.

In most other parts of my life, I have ways to measure my success or failure and the quality of my actions, usually through some metric of quantity. In art, quantity doesn’t imply quality. I have nothing I can measure, and after a certain point, that takes quality control out of my hands. I can control spelling, grammar, punctuation, pacing, word choice. I can’t control how readers react to the story. That’s the indefinable skill that differentiates a good writer from a mediocre one. I certainly can’t anticipate readers’ enjoyment or engagement based on my own positive reaction to my stories. Mediocre writers entertain themselves, too.

The only solution available to me is to surround myself with people I can trust to tell me when something doesn’t work, but sometimes it’s a delicate balance to make sure that person is also the kind of person meant to enjoy the kinds of things you write. And deciding whether the reason you accept or reject them isn’t because they like or hate your writing. And determining whether your ego or your instinct is driving your decisions to take or leave their criticism. I can never tell whether I’m overconfident or underconfident, whether I’m second-guessing myself too much or too little. Sometimes, I’m a Professional Writer. Other times, I’ve got a serious case of Imposter Syndrome.

But here I am, willing to put my work out there through self-publishing, where the responsibility and consequences fall on me. If people react badly, all the egg hits my face and no one else’s. I’m impatient, with Thorns having been with me for five years and Nocturne having been with me for thirteen (a young adult book I wrote back when I was a young adult). Publishing’s a slow process, though in theory, the digital revolution was supposed to change that, right? But I’ve got some serious jitters, man, and a pathological fear of failure (although you’d think I’d be used to it by now).

There’s no way to objectively know it’s good. These are the things that keep me up at night.

Brief Update


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I’ve had a few horror movie reviews I’ve wanted to do, and things are slowly happening to make Nocturne and Thorns happen, but I’m in the process of fighting my diet and my attachment to caffeine and wondering why all the things have to tire me out so much, even though I’m getting more sleep than ever.

I’m also fighting my innate phobia of apocalypses on the regular, because it’s been seeming less irrational lately. Makes a person wonder why she’s fighting at all. The urge to duck and cover is overwhelming, but until I make that decision, I still have to go to work and be productive with my writing projects as though I’ll actually have a chance to write the next six or seven Thorns novels.

I hate feeling like this. I hate that people have put me in a position to feel like this, where hope’s a weak and failing creature. And the ones supposed to protect us from this are the ones getting us into the mess. May the rest of your days be filled with crazy ants and honey, you smug bastards.

Personal Life-Changing Wisdom


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I’m not quite to Rabboni levels of wisdom here, but thirty years ought to count for something, and sometimes, it takes me a roundabout way to figure things out. I figure I might as well share what I learn, although it seems most of us need to live through the mistakes in order to accept the wisdom in retrospect.

  1. I can customize my Frappuccino order at Starbucks. I’d been asking for custom cheeseburgers for most of my life, but I literally didn’t realize I could ask for my Frappuccino with a shot of hazelnut and no whipped cream until I was about 20. Really, any order I hadn’t been customizing since I was a kid, I didn’t realize I could. It took me a ridiculous amount of time to figure out that menus were suggestions. Oh my god, I don’t have to pick the walnuts out of my salad anymore!
  2. I can eat the thing. Anything. Anytime. I think the moment you become an adult is when you no longer have to ask for permission to eat the thing. If I want Sonic at midnight, I can get Sonic at midnight, period.
  3. Group projects in high school and college were valid life lessons. It’s totally not fair, and that’s exactly how it’s going to be when you enter the work force. As my dad always says, 80% of the people do 20% of the work, and 20% of the people do 80% of the work. Sigh.
  4. Naps are good, and there should be more enforced athletic recreation among adults. Believe it or not, I miss P.E. And sleep.
  5. All bodies are gross and wonderful. Some of our coolest features include copious mucus secretion (that would be cis-female orgasms, for you people in the back…and sneezes). The sooner we accept this, the sooner we can stop giggling over jock straps and acting horrified around tampons like children. Learn all you can about basic human biology; save yourself some grief.
  6. Literally every aspect of fashion is completely arbitrary. High heels used to be men’s shoes. At some point in history, many things that were considered the height of manly fashion can now be worn as a dress. Men’s clothing is generally cheaper and better made, not tissue thin so as to be worn in layers to scam men into buying more. And back when ankles were scandalous, women were practically baring their areolae. Wear whatever the hell you want.
  7. Profanity’s not the problem. I’m still resentful about how much energy goes into stopping people from using four-letter words instead of those that down people’s spirits. I guess it’s easier to police words than intent, but more damage has been done in eloquent speech than in a profanity-laden rant. I’d rather be called a bitch in fun than have someone call me ugly with every intention of hurting me.
  8. I’m allowed to enjoy the art that speaks to me. If you enjoy it, you’re who it was made for. If you don’t enjoy it, you’re not who it was made for. There are some objective standards, but most are subjective (it’s why my horror movie reviews don’t have a star rating system). This revelation got rid of a lot of resentments and defensiveness I had about my lack of ‘taste.’ No more guilty pleasures. Something doesn’t have to be good for me to love it and get something out of it.
  9. A corollary of this is: Let people spend their money however they choose. Sometimes people grow into their interests rather than out of them, and being a grown-up sometimes means you can finally afford the things you love. Nerdy things are not childish things. (This is also why gift-receiving doesn’t have quite the same impact as it did when you were a kid and dependent on other people to buy things for you.)
  10. People don’t know everything they should. Please don’t throw your hands up and give up on them. There are specific kinds of knowledge that I pursue, but just because I walk down those avenues with regularity doesn’t mean other people have. I know all the nooks and crannies, but I can hardly expect other people to be familiar with a street they’ve just considered walking down. I’m tired of people’s sometimes dangerous ignorance, and I’m tired of explaining my Things to people, but guess what? There’s not enough time in the world for everyone to ‘educate themselves’ on everything they should. Other people have different Things than I do, and I’m sure they’re tired of explaining them to me, too. If you’re specialized in a Thing, especially an uncommon Thing, get used to explaining the Thing. You might literally be a person’s introduction to it. And remember they know a different Thing much better than you.

Too Late to be Popular


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i do what I want meme

I have a curious tendency to avoid popular things until they’ve stopped being popular. It’s not a hipster thing; I’m too square to be hip. It’s like my extreme introversion bleeds over into other things that you wouldn’t think of. Popular things have lots of people talking about them, analyzing them, critiquing them, judging them, espousing their qualities, and being a part of it is like being a part of a crowd. And being part of a crowd means I feel all the feelings and bleed energy out in fountains.

Even when I’ve been in a popular fandom (I’m an old HP geek), I’ve stayed on the darker fringes rather than wade into the biggest shipping wars. The closest thing I got to popular was enjoying Snape/Hermione (my reasons are my own, and my personal ship was far more unsuitable, and all the more interesting because of it).

I don’t know—I guess I feel like the people into popular things are a bit rabid. The criticism and judgment tends to leach all the fun out of anything, because then I have other people’s more unpleasant words echoing in my head while trying to enjoy something on my own.

It’s part of the reason I love superhero movies but rarely see them in the theaters (OMG Marvel fandom is like an evangelistic religion). It’s part of the reason why I finally bought Lady Gaga’s earlier albums to enjoy them in their entirety (I’m still not completely over the religious criticism over every fucking album, especially all the commentary about Born This Way). I’m just starting to listen to Hamilton (my earphones are crap, so I have to wait until I’m in the car, and it’s a lot of words to take in). I still haven’t watched Game of Thrones or The Vampire Diaries or most of The Walking Dead. I watched Buffy the Vampire Slayer, Angel, and Firefly well after they’d been canceled. I think the only reason I’ve seen the new Star Wars movies is because I joined my parents when they went to see them.

People are just so intense when they ask you whether you’ve shared pop art experiences—it wears on my introverted soul. Slightly less intense when you say you haven’t seen it, because at that point, all they can do without spoiling you is insist you have to see it.

I think I just prefer to enjoy pop phenomena after the fervor has died down, so everyone else’s energy can’t assault me in the same way, and so I can formulate my own opinions rather than get my echo chamber of other people’s opinions going too strongly in my head. It’s really not that I don’t want to participate; it’s just that I don’t want to experience everyone else’s participation at the same time.