OnSpec - Issue 87 - Winter 2011-2012.pdf

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w in t e r 2 0 1 1 / 2 0 1 2 , vol. 2 3 n o. 4 # 8 7
The Copper Pig Writers’ Society
Diane L. Walton
Diane L. Walton
Barry Hammond
Cat McDonald
Robin S. Carson Barb Galler-Smith
Ann Marston
Susan MacGregor
Diane L. Walton Cat McDonald
Jennifer Laface
Ellen Jewett
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ISSN 0843-476X
© 2011/2012 On Spec
wint er 2011/ 12
# 87 vol 23 no 4
iction
At The End of the World
David K. Yeh
Suckers
Kirsty Logan
Drinking Problem
Hilary C. Smith
John-A-Dreams
Steve McGarrity
Touch the Dead
Brent Knowles
Henry
Erin O’Neill
Block Party
Andrew S. Fuller
8
25
35
45
67
88
92
poetry
Reality Check
Christian McPherson
Buddhist Jet Lag
Christian McPherson
84
86
noniction
Writing as a Violent Act
Editorial by Susan J. MacGregor
The Wild and Whirling Words of Steve McGarrity
Author Interview by Roberta Laurie
Ellen Jewett
Artist Interview by Cat McDonald
3
62
95
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onspec wint er 2011/ 12
Writing as a Violent Act
Edit orial by Susan J. MacGregor
When I attended the When Words Collide convention in Calgary
last August, I sat on the ‘Writing Dificult Scenes’ panel with a number
of folks, including Lynda Williams (author of the Okal Rel Universe
saga), fellow On Spec editor Barb Galler-Smith (author of Druids,
Captives and Warriors) and others. I made a comment that I liked
gritty scenes and that one of the most personally disturbing stories
I ever wrote was about castration. The story was later published in
Northern Frights V.
After the con, Lynda asked if I might write about
violence on her blog, Reality Skimming. She assumed that I liked
to write ‘extreme stuff’, and that I might address some questions on
ethical considerations.
I had to decline.
Why? Because what I write
isn’t
excessive compared to some of
the really extreme stuff out there. But it did get me to thinking about
the portrayal of violence in iction, and what works for me and what
doesn’t.
Violence in iction needs to be there for a good reason. With my
castration story, the horror wasn’t only in the act to which I
alluded
in the end; the horror came from my protagonist’s lack of conscience,
her ability to manipulate events and her sense of loss and betrayal
coupled with her need to control. Embedded even deeper in the story
was the idea that her psychopathy stemmed from demonic inluence.
I kept the reader guessing, never knowing what my anti-hero might
do next. Horror is much stronger when it leaves an aftertaste, when
you can surprise your audience and make them wonder about the
potential of such things happening in their own lives. I set out to write
Edit orial by Susan J. MacGregor 3

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