I recently pitched something that got rejected because it was a “thriller” and they wanted to sell my next book as “horror,” so clearly I’m no good at telling the difference. thriller really feels like more a marketing department concern than something I’m too focused on when I’m writing. For example, I know lots of people who claim to not be into horror but read-and love-your books. Since you also blur genres, combining horror with humor and big-hearted emotion, I’m curious if you feel it’s the same with you. Working in an industry that insists on putting genre labels on things, I like not being so easy to classify. Because of that, what I call a thriller could just as easily be labeled horror by someone else. I always set out to write a thriller, but slasher and supernatural elements often end up sneaking in because I love them and enjoy writing them. I think it boils down to intent versus finished product. In my mind, I write psychological thrillers … that contain elements of horror. Riley Sager: In all seriousness, though, that last question does bring up an interesting point, which is that I don’t think of myself as a horror writer, although I know many people do. Grady Hendrix: Let’s start out with questions neither of us has ever been asked before, where do you get your ideas? Or why do you write horror? The following discussion delves into horror, thrillers, 1980s paperbacks, and so much more. Grady Hendrix’s latest novel, How to Sell a Haunted House, was released in January, and Riley Sager’s new novel, The Only One Left, releases today. I’ve been a huge fan of Grady Hendrix and Riley Sager for years, both as great writers and great genre thinkers (they are also in that rarified category of “men who write women well”), and the conversation below proves that these two are some of the best, and funniest, folks around.
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