Interview with Donor Author Elena Hearty

Elena Hearty is a first-time Samhain novelist–heck, first time novelist in general–whose personal story regarding the start of her writing career is as fascinating as her first book, Donor. If you read my review yesterday (check it out here) you know I loved the book. Well, I hope I at least got that across. I rambled on a bit too much about vampire tropes and the state of bloodsucker lit and probably not enough about Hearty’s book, Donor, but the short version is it’s a helluva lot of fun to read. In fact, I feel so strongly about the quality of this book that if you leave a comment in the comment’s section below, I’ll pick one lucky reader for a Donor giveaway.

Hearty is the type of author that doesn’t restrict her craft with deadlines. She writes purely for the enjoyment of it and also because she’s got to get those damned voices out of her head!

She let me steal away some of her time to talk about Donor, her writing process, the road to Samhain, and all that good authory type stuff.


DREADFUL TALES: Thanks again for taking the time to talk to Dreadful Tales. We are having a bit of a Samhain celebration this week and are excited to
learn more about one of its first time novelists.

You mention on your website that creating stories was in part a result of your bouts with insomnia as a preteen. How were you finally able to get the stories out of your head and put pen to paper? Can you tell us about how that process has worked for you?

ELENA HEARTY: Inventing stories began as a way to combat insomnia, but had spread to nearly all aspects of my life by early adulthood. Stuck in traffic? Story time. Bored in a meeting? Story time. Attending a lecture vital to the understanding of computational complexity theory? Unfortunately, story time.

To justify this arguably self destructive habit, I told myself I was “working on a novel.” I told myself that for over a decade. And my daydreams eventually followed suit, organizing themselves into neat little chapters. One day I realized my longest standing novel (Donor) was complete, but it wasn’t until years later that I actually worked up the courage to write it all down. At that point, the process felt more like typing than writing – but that’s not to say my characters didn’t still manage to surprise me in several places.

DT: When you brought DONOR to life on the page how did the story and characters change? What stayed the same?

EH: The story line remained largely the same, but my characters developed minds of their own. For example, Lenore – the main character – is addicted to Xanax. She was originally supposed to kick the habit by the end of the book, but I realized it wouldn’t be in character for her to do so. Actually, I hate the phrase ‘in character’ because people act out of character all the time. Let me put it a different way: Lenore doesn’t kick the habit because she doesn’t *want* to kick the habit. As the author, I have to respect her decision.

Another example of character development gone wild is Richard, Lenore’s captor. He was initially slated for only a minor role, but I just couldn’t get him to stop talking. Once I decided to give his character a little more freedom, he drove the one scene in Donor that wasn’t in my original outline: Dinner Theater. It turned out to be a great addition to the narrative.

DT: I think that is a very interesting way to put it – “I have to respect her decision.” That attitude certainly made the characters all feel very true to life. Vampire or mortal human, their actions developed in a realistic way which amped up the suspense. For better or worse, I cared about these people and what was happening to them. Even Charles at times. Speaking of Charles, Dinner Theater was a great scene! Richard had a real sick sense of humor, but was a bit full of himself as well. Lenore’s disconnectedness and aloofness to Richard made for some humorous moments.

So back to your progression from dreamer to novelist, before writing DONOR did you warm up with short stories or just jump right into your first novel? How did Don D’Auria find you and how did you become part of the Samhain family?

EH: Glad you enjoyed dinner theater. And Richard has a sick sense of humor because he has mysense of humor. I wouldn’t know how to write him any other way. 🙂

Believe it or not, I didjump right into novel writing, but that’s because I had no intention of getting published. I just thought it would be fun to finally get a story out of my head. Once I started writing, however, I realized how much I cared about the quality of my project. I mean, I’d been living with these characters for such a long time — I didn’t want to let them down. Man, that even sounds nuts when I read it back to myself, but it’s true. 

I decided to become a good writer so that I wouldn’t let my imaginary friends down.


But how would I know if I was any good? The answer seemed simple: publication. So I took a break from novel writing to work on short stories for a while. A few months later, I’d sold a story to a semi-pro market. This small success was such a thrill that it inspired me to seek publication for my novel, which I finished shortly thereafter.

Finding a publisher is a bit like applying to college: there are “reach” schools and there are “safety” schools. For Donor, Samhain was my “reach”, and I never expected them to give me the time of day. I’m still floored that Don D’Auria contacted me. I still can’t believe he read my book. I still can’t believe he wanted it for Samhain’s horror line. Don’s been great to work with, as has everyone on the Samhain team.

DT: I’m just fascinated by the fact that you took the story in your head and made it into a novel so (seemingly) easy. I’m interviewing Jonathan Janz as well, a fellow Samhain novelist, and the process for him has been much different, but I found both of your first efforts absolutely impressive.

Are you personally a fan of horror? Who are some of your literary influences in the genre and outside the genre?

EH: Maybe writing Donor seemed easy to me because it was so much fun. 🙂

To answer your question: YES, I’m a fan of horror. I read ‘Interview with the Vampire’ when I was in third grade and have been hooked ever since. I wouldn’t say that any of the authors in that genre have really influenced me, however, even though I’ve read a ton of Clive Barker and Stephen King. They write a lot of material with nebulous evil whereas I like my bad guys to be people you’d be able to have a conversation with. In that sense my biggest influences have probably been great character authors like Elmore Leonard or John Kennedy Toole.

DT: It’s fun to read as well!

Funny you should mention INTERVIEW WITH THE VAMPIRE because I was reminded of that story, in particular the approach of making vampires realistic and showing readers a world where they actually exist.

Which brings me to my next question. I love vampire stories and it is a genre trope I never tire of, so I don’t believe that a phenomenon like TWILIGHT can ruin vampires. With successful novels John Linqvist’s LET THE RIGHT ONE IN and Guillermo del Toro & Chuck Hogan’s vampire apocalypse trilogy THE STRAIN, it’s obvious there is still plenty of blood for thirsty fans. Still, these days when you say “vampire” you often get a roll of the eyes. Considering the current discontentedness with paranormal romance, were you at all concerned about whether or not a vampire novel would capture the interest of horror fiction fans?

Donor is definitely NOT a romantic tale and it can’t be categorized as paranormal romance, but do you think there is an inclination to tag vampire stories as romance these days with the wild success of books like Twilight and shows like The Vampire Diaries?

EH: I’m thrilled that you mentioned Twilight because I think the success of that series signifies something very important: In this age of instant gratification – with youtube playing on every cell phone – people are still reading. That’s huge. And I’m grateful to Stephanie Meyer for inspiring so many young people to turn off their televisions and pick up a book instead.

Has the whole phenomenon left people sick to death of vampires? Maybe. But I didn’t write Donor for anyone but myself; finding other readers was the last thing on my mind. When I decided to seek publication, however, the trend became more of a concern; I’m not a fan of paranormal romance (or romance in general) and certainly didn’t want Donor labelled as such. Thankfully, Samhain has taken great care to market it appropriately.

DT: I’d have to agree with your take on TWILIGHT; it is getting teens to read and for some it will be their gateway into horror. For some reason genre fans want to hold it solely responsible for ruining vampires or making them soft, but don’t want to give it credit for the positive.

In Donor you made an interesting juxtaposition between Lenore’s addiction to Xanax and Richard / Paul’s need for blood to survive. Lenore even criticizes them stating, “You either kill people or you don’t. That’s not one of those subjects where there’s a ton of gray area.” But it turns out, and Lenore finds out personally, that there is actually a lot of gray area.

You’ve mentioned the characters as having minds of their own. Is the commentary in DONOR about addiction and the complicated nature of killing a product of the character’s themselves or was that  intentional?

EH: Lenore’s life revolves around her need for Xanax much in the same way that Richard and Paul’s lives revolve around their need for blood. That juxtaposition was intentional. What wasn’t intentional was the extent to which the characters would recognize how much they have in common. In the end, both Paul and Richard sympathize with Lenore’s addiction and even strive to provide her with meds. Likewise, Lenore comes to accept Paul and Richard’s habits without passing judgement.

DT: DONOR is a fun read, but it is also thought-provoking. Readers will be entertained but have something to chew on as well. Was it important to you for DONOR to be a fun, fast-paced read, but still have some meat on the bones? Or, again, was this a product of the characters’ motivation?

EH: I’m glad you found Donor thought provoking. A great deal of things that keep me up at night worked their way into the manuscript, such as quantum immortality, acceptance of death, and what it really means to be a monster. Those topics are in Donor because I wrote the book I wanted to read, and I like books that touch on larger themes.

DT: Now that DONOR has been published, you’re hard at work on another novel, FIX. Can you tell us about the next book? Any additional tidbits you can share that aren’t revealed on your website?

EH: Fix takes place in the same universe, but features zombies instead. It’s my take on zombies, though, meaning that they’re real people. The main characters constantly inject themselves with serum to prevent from rotting. And when the sole provider of serum goes missing, they set out to discover what happened to him – and they don’t have much time.

DT: I’m a big fan of DONOR so I’m looking forward to your next book. It may be a bit early to ask, but do you have a tentative date for the release of FIX??

EH: I refuse to commit to any deadlines! I write for fun and deadlines would definitely take the fun out of writing. I’m also working on a sequel to Donor and at this point I don’t know which book will be finished first.

DT: I know at least one of your fellow Samhain novelists that is hitting the horror con circuit, any book signings, conventions, or readings you will attend that fans need to know about?

EH: The horror con circuit probably isn’t for me. Honestly, that type of thing sounds like my worst nightmare. I love writing, but I don’t have any designs on being an ‘author’ if that makes any sense.

DT: Do you still suffer from insomnia?

EH: I had a particularly bad bout with insomnia earlier this week, as a matter of fact, and I was up until five in the morning. Thankfully, I had lots of friends in my head to keep me company 😉

DT: And last one. Vincent Price has invited you to the House on Haunted Hill and he wants you to pick the other 4 guests. Who do you choose and why?

EH: I love the House on Haunted Hill question! I’m going to use this as an opportunity to list my four favorite horror movie characters of all time…and probably means I wouldn’t make it out alive.
1) Warwick Davis as the Leprechan. Seriously, watch Leprechaun in the Hood. The rap at the end is priceless.
2) Ash from The Evil Dead series. He is the fucking man.
3) Chris Sarandon as Jerry Dandrige in the original Fright Night. I absolutely loved this movie growing up and thought the vampire next door seemed to have a great sense of humor.
4) Gizmo from Gremlins. If I’m stuck in the House on Haunted Hill, I’m pouring water all over Gizmo and feeding him after dark.

Who would survive? It’s anyone’s call, but my money’s on Ash.

Keep up with everything Elena Hearty at her website. Be sure to check out everything that’s going on with Samhain Horror as well here!

Genetic Profile: Terrence Zdunich

“And it’s my job, to steal, and rob…”

Terrence Zdunich (Zuh-doon-itch) is a name that you’ll hear me praising time and again. He’s an accomplished actor, singer, writer and illustrator. Born and raised in California, Zdunich has always known that he’s a bit creepy. He began drawing at an early age, and never stopped.

Influenced by graphic novels and a burning need to create, Zdunich started his career as an actor, but his desire or more brought him (along with co-creator Darren Smith) to write a play/musical hybrid stage show. In fact, you might have heard of it.


  • Co-creator of REPO! The Genetic Opera stage production. Also acted as Graverobber for the entire run.
  • Starred in a REPO! short film, that sadly won’t be seen due to legalities.
  • Creator/writer/illustrator of The Molting comic book series.
  • Reprised role as Graverobber in the full-length feature REPO! The Genetic Opera.
  • Co-creator/writer/star of The Devil’s Carnival.

The Molting is currently (March, 2012) sitting at 6 issues, approximately half-way through the concept and storyline that Zdunich has envisioned. The series focuses on Trevor and Joseph, brothers growing up in Anaheim, California, and chronicles their journey of survival while living with an apathetic father and psychologically disturbed mother. I got my hands on the first 6 issues at ComiCON in March, and I tore through them in a day.

Chapter 1, Guilty Susie – The series starts off in the 1960s, Susie is but a girl at this point, forced to live with the terrible tricks that life sometimes plays, as well as her aunt and uncle. I loathed the adults, Zdunich created very simple, yet powerfully despicable characters in the short span of this chapter. Susie isn’t completely stripped of innocence, as she has her big brother to protect her…mostly. The artwork has a deliberately orange/brown/purple hue, the tones warm but conveying the “ugly” feeling of the overall story. The climax is both chilling and shocking, and just what the hell is in the attic?

Chapter 2, The Happiest Place On Earth – The story fast-forwards itself to the 1990s and introduces us to Susie’s dysfunctional family: her apathetic husband Abe, and her two teenage sons Trevor and the new main protagonist, Joseph. Each character is given enough introductory depth to become attached to, and Trevor is one good deed away from being a hero.

Chapter 3, Ootheca – The female characters are the focus of this story, as we get a glimpse at just how disturbed Susie has become. Think OCD with a side of bi-polar. We’re also very graphically introduced to Sandra, Trevor’s chola girlfriend. This story builds tension in the family, as Trevor begins a hero, and ends the story a felon. The characters have now become familiar and the reader has had time to choose which member of the Pryzkind family they’re rooting for.

Chapter 4, Lethal Raids – The artwork takes centre stage in this chapter, the illustrations are vivid and far-reaching, necessary illustrations that forward the smaller plot of the story. Joseph must deal with bullying and a struggle that many artists go through. The reader is also exposed to a much larger degree of Susie’s psychosis, which I believe will divide readers between loving and hating her.

Chapter 5, Mother’s Day – The story takes place at Hallowe’en, and while Susie again brings the crazy, I have to believe that the title is a nod to Darren Lynn Bousman. This story focuses on Susie’s continued inability to provide a proper home for her family, as well as revealing more of Sandra’s personality and true intentions. While there isn’t as much violence as previous chapters, the overwhelming sense of despair and loss at the climax is undeniable, and squirm-inducing.

Chapter 6, Allied Forces – Trevor and Joseph band together to commit a crime, and while it’s atypical of brotherly role models to encourage theft, Joseph and Trevor bond together under the unusual circumstances. Zdunich doesn’t allow that to last, as the seeds of separation are planted, and alliances are truly chosen. This is the story that truly champions Joseph as the outcast of the Pryzkind clan.

The Molting series is much more than a comic, it truly is a graphic novel. The horror is unique and not always visual (a definite feather in the storytelling cap of Mr. Zdunich). The artwork is gritty yet refined, the colour palette evokes equal parts sympathy and misery, and most importantly the story feels real. I know I’m halfway through the series, and issue 7 can’t find my mailbox fast enough.

I had the absolute pleasure of sitting down with Terrence while he was in Toronto this past March, and he very graciously answered my questions about The Molting, as well as The Devil’s Carnival, his influences and other topics.

I personally would like to thank Terrence Zdunich yet again for that opportunity, as well as for putting up with my prior fanboying. For more information on Terrence, please visit his website. To pick up your copies of The Molting, visit the store. To gain admittance into Hell, visit The Devil’s Carnival.

Genetic Profile – Darren Lynn Bousman

This past weekend at Toronto ComiCON horror fans were treated to an absolutely amazing array of guests and frankly, some of my personal influences. For example: the first thing I did when I met Darren Lynn Bousman was trip over my tongue while fanboying.

Bousman is either most known for his work on the SAW series – he wrote and directed SAW II, and helmed SAW III and IV – or as the co-creator and director of REPO! The Genetic Opera. He began his career in writing, as he himself told me (see below) that he’s always written screenplays, and actually began his career directing theatre.

Born and raised in Overland Park, Kansas, Bousman attended Kansas University as a theatre major for about a year and a half. He moved on to a film school in Florida where the script-writing bug bit him. A short time later he moved to Los Angeles, continuing to write scripts while directing music videos to support himself. It was during this time that he wrote a script called “The Desperate”, which would become something completely different after being introduced to producers Gregg Hoffman, Mark Burg and Oren Koules. Those men produced a little movie called SAW, and hired Bousman to direct SAW II, and used his “The Desperate” as the basis for that film.


  • SAW II is widely regarded as the most different of the SAW series, as it takes the concept from the first and multiplies it. A house full of strangers being poisoned, all while their captor is held in custody by the police, they must fight time and each other to find the antidotes. Many critics felt that this film didn’t “flow” with the first, however I found it to be one of the best in the series.
  • SAW III sees Jigsaw die, a fact that Bousman initially tried to implement in II, but was able to convince producers that the timing was right.
  • SAW IV has a timeline that runs parallel to III, so the viewer is treated to Jigsaw being both dead and alive through the use of cut scenes. IV doesn’t quite live up to its predecessors, but given that Bousman himself believed the series done after III, IV does a good job of advancing the plot into the focus of new characters.
  • REPO! The Genetic Opera focuses on two dysfunctional families, one who control the futuristic plastic surgery industry through a unique financing system, and the other family torn apart due to disease and deception. Bousman himself regards this film as his masterpiece (as of this writing, at least) and while I am a die-hard SAW fan, I must say that to date, REPO! is by far my favourite Darren Lynn Bousman film.
  • New Year’s Day was an episode of the Fear Itself TV series. Unfortunately I’ve not seen the episode, but knowing that Bousman collaborated with Steve Niles has me very interested.
  • Mother’s Day is a remake of the 1980 Troma classic…that you will very likely never see. Listen to the audio below for the reason. I’ve obviously not seen it, however the remake was given the blessing of both Charles and Lloyd Kaufman, so it’s gotta be damn good.
  • 11-11-11 Follows an author trying to escape the pain of the death of his wife and child. He learns that 11/11/11 is a day of bad omen for him.
  • The Devil’s Carnival will be out in April/May depending on where you live. I had the opportunity to see a trailer for this, and I can’t fucking wait. All I can say is that it’s another goth-opera, but we’re all going to hell.

One little tidbit that I’d like to spoil for anyone other than those superfans out there: REPO! was a stage play long before it became a film. In fact, it was also a short film directed by Bousman (and starring a very different cast outside of co-creator Terrence Zdunich). Sadly, we won’t see it as there’s legal flotsam to run around, and when you hear the audio, you’ll understand that Bousman isn’t a fan of lawyers.

Bousman also has his hand in the literary world, identifying himself as a writer (screenwriter) and is the creator of the comic Abattoir. So far there’s only one issue, but Bousman does plan on getting more out there. In terms of literary influences, I’ll let the man speak for himself:

I’ve said “audio” a few times, haven’t I? Not only was Bousman incredibly accessible all weekend (hence the above snippet), he also participated in two separate panels. Below, you’ll find an hour-long audio clip of Darren speaking frankly with fans about filmmaking in general, as well as brief commentary on some of his favourite (and least favourite) movies, where the hell Mother’s Day is, a little bit about REPO! and his upcoming film project, The Devil’s Carnival.

For more information on Darren Lynn Bousman, visit his website. You can find a brief synopsis of Abattoir here, and I implore you to buy your tickets to The Devil’s Carnival.

Feature: Fresh Flesh for the Feast – A Conversation with Miranda Doerfler

I’ve reviewed this author before. If I’m not mistaken, I’ve ranted a raved about her abilities on both Twitter and Facebook, posted about her on Dreadful Tales, made a gigantic street sign that read MIRANDA4EVR!, and tattooed her face on several unwilling subway riders. Regardless of that, I’d just like to point out that I’m not mentioning her here because I have some strange, stalking tendencies. No no. The restraining order has been lifted, and so have my spirits, because now I have an excuse to shout her praises to the world without actually being obliged to speak about her writing.

But I’ll do that anyways.

The who-what-where of my introduction to this young author begins with the question I ask myself time and time again:

Do I really want to read this piece by someone I don’t know? She’s self-published? Okay… I really have to justify this one. Aw hell, I’m in a good mood, and a few other self-pubbed authors really gave me faith in the fact that good fiction lies in waiting over in Kindle-land. I’ll give it a shot.

And yes, I know that’s a shitty place to be when you’re a reviewer, but let’s face it… this genre is rife with garbage sometimes.

After cracking open and devouring Modern-Day Horrors, her second self published collection of short stories, I was completely blown away and in need of more. I quickly gathered her first, Brimstone Nightmares, and soon after queried her third collection, From Blood and Brain, devouring both with reckless abandon. To tell you that I was thoroughly impressed by this author would be a total understatement. She brings flair, style, and charisma to a genre that yearns for new authors like this. Her age is continually betrayed by her weighty, oftentimes sophisticated prose – something you don’t tend to see from upstarts and younger authors. To completely date myself and fall into old man status, she’s one of those youngsters you just know is gonna go somewhere.

I can also tell you that Miranda is the first self published author I ever actually queried for another book or collection.

Now, there are obviously rough spots in her pieces, and her youthful exuberance shines through in a lot of cases, but these are stories that stay deep in your psyche, are fully realized, and would make the switch from page to screen effortlessly. Doerfler’s ability to create dynamic characters at the same time as setting a particularly terrifying setting is the reason I haven’t given up on the indie circuit altogether. She’s a breath of fresh air, and a spurt of good life in what sometimes seems to be a stagnant genre. Her modern terrors bring a different look at the things that go bump in the night, and her borderline genre-crossing leaves more room to work with a career than can be said for most.

This is a woman who knows what she wants, and what she wants is to just tell a good story. And that’s what this giggly young lady does. She spins a damned good yarn.

When you listen to my conversation with Miranda Doerfler, you’ll come across the very reason that I wanted to showcase her here. She’s articulate but bubbly, serious but funny, and wholly dedicated to her craft. But most of all, she doesn’t regard herself as a “Woman in Horror”. She’s a writer. That’s how she identifies herself. As a writer.

That’s the most important part of this genre, this art, to me. It’s not about being a particular gender in a strange landscape… it’s about the stories.

So without further ado, I’d like to present to you my favorite indie female horror author, Miranda Doerfler. You can check her out at her website, and all over the web in other places.


Feature: Horror Author Sephera Giron Lets the Voices Speak For Themselves

If any of you are on the same page as I am, you’re thinking something like this:

Holy Shit! It’s Valentines Day! Oh man… did I remember to get something for my wife/husband? Did I get anything for the little guys and dolls in my life? Am I teaching my son the art of being suave and charming with the ladies?

Well… that last one is for the guys, really…

Well, for me it’s all checkmark, checkmark, checkmark. Actually… I’m teaching my son to be as charming as any rattled father of three can while also reading terrifying literature, spreading himself thinner than a layer of air, a jittering from the effects of caffeine replacing his blood stream.

And lookie here! It’s Valentines Day and I’m also on tap to talk about one of my favorite ladies to ever hit us over the head with horrific imagery, erotic scenes, and good housekeeping: witch-style.

When I think about the subject of Women in Horror literature, the first person who comes to mind, for me, is the illustrious Sephera Giron. A beautiful example of writer capable of releasing strong prose to her readership, a gorgeous specimen to behold, and an all around wonderful human being – Sephera is one of the ladies in the genre that can easily smash down the walls of the “boy’s club” mentality, and kick it square in the nuts. This is a woman who will just as easily make you tingly with erotic thoughts as she is to make you mad with feverish terror.

From supple women to dismembered bodies, Giron has touched it all and then some. And that, to me, is the mark of a brilliant and worthy artist to follow. Her reach is immense, and her body of work in incredible. She’s truly one of horror’s most cherished gems, in my eyes.

Ask any of the old Leisure authors, or anyone who’s been following the genre for a fair amount of time what they think of Giron’s work. I’m positive they’ll all agree with me when I say that Giron is every part the wolf in sheep’s clothing, a woman who is constantly watching for the opportunity to go straight for the literary jugular. The power in her words is phenomenal, and encompasses the very definition of horror in all of its various and sundry forms.

The first piece I read of this author’s body of work was House of Pain – a book that cause many mixed emotions in me for the fact that it hit really close to home. One of the characters in this story really got under my skin – he seemed too familiar, and it wasn’t until I spoke to Giron a few years later that I found out I was right to feel the way I did. The fact is, she did model this person after the true life monster I had thought about. And that, right there, cemented my appreciation of this author. Right away I found that I could rely on her to bring me to the edge of the uncomfortable realm that encompasses horror and reality, and scare me like not many others could.

Since that first taste of Giron’s wares, I’ve been a huge fan of her work. I own one of the biggest collections of her stories that I know of, and have even purchased several pieces from her personal collection, in passing. This is a woman that I don’t only admire as a horror author, but as a strong willed person, a phenomenally adventurous personality, and a mother who supports her children through every one of their ventures.

When I sat down to interview her, I had a feeling in my stomach that wouldn’t go away. I’m usually pretty nervous to speak to folks like Giron, but this was something else. I was stoked beyond belief. I mean, I’d hung out with her before at a bar, in John Everson’s hotel room along with Gord Rollo and James Roy Daley, at Word on the Street, and at Durham Darklit Fest. So why the hell was I feeling nervous now?

Because this was the first time I got to ask her questions that pointed directly at her and the career that she’d cultivated.

In the following conversation, you’ll hear about everything from Giron’s horror writing career that’s spanned more years than most authors can claim to; her adventures in erotica literature; the many presses she’s written for; her expertise in Tarot reading, Reiki, and Touch for Health; and various other things I didn’t know before now, even though I thought I did.

Feel free to listen to my conversation with Sephera here and marvel at my fanboy nervousness while I speak to one of my favorite authors of all time. As usual, you can also stream the audio with the player below. My apologies in advance for the strange quality of the audio. My Skype recorder hated me that evening.

When you’re done, don’t hesitate to feast your eyes on the videos below. Giron has given us permission to embed a few of these videos for your perusal, and each and every one of these is delectable, terrifying, strange, and utterly enticing. Giron works these stories with the practiced skill of a master actress, making the viewer wonder if she’s really as strange as the characters in her stories. I can assure you, though, that Giron is an entertainer at the peak of her ability, and someone I’m proud to call a friend.


Release by Sephera Giron

Cyber Promethius by Sephera Giron

No One Listens (Part One) by Sephera Giron

No One Listens (Part Two) by Sephera Giron