Christmas Takeover 30: Tim Waggoner: The Anti-Claus

The Anti-Claus

A Story by Tim Waggoner
3,403 words

Jessica had one bad habit: she always ran late in the morning. She was on time for everything else the rest of the day – never missed a meeting at work, never showed up late for drinks or dinner with friends. But whatever the first thing she had to do in the morning was, she was late for it. Always. She’d tried all kinds of things to break this habit. She went to bed early, set multiple alarms on her phone, got up early, drank stronger coffee in the morning, exercised, ate a good breakfast . . . But nothing helped. It was like her brain was unable to adjust to living by the clock until she was out in the world and doing things.

Today was no exception. She worked as a financial advisor, and she had an appointment with a client at nine a.m. Her Lexus’ dashboard clock told her it was 9:18, and she wasn’t even halfway to work yet. Lila – her supervisor – was going to kill her. Lila had lost patience with her tardiness and she’d taken to recording the precise time of her arrival each day. Jessica thought Lila was creating a paper trail so she’d have the documentation necessary to fire her. But Lila had it in for her for personal reasons, too. She resented the fact that clients preferred to work with her, which was only natural considering what a tight-ass, humorless bitch Lila was.

Rush hour traffic was bad enough, but it didn’t help that today was December 24th, Christmas Eve. The traffic was a nightmare, the streets clogged with vehicles as people rushed around making last minute preparations for tomorrow or heading for the airport to catch a flight to visit family in some other part of the country. Why the hell did people wait until the day before the holiday to get shit done? Why didn’t they –

Jessica saw the crimson flare of brake lights ahead of her, and she jammed her foot down on her own brakes. But she’d been going too fast, had been riding the ass of the car ahead of her, and the front end of her Lexus collided with the back end of the other vehicle with a jarring whump.

Shit! she thought. Shit, shit, shit!

She put her car in park and activated the hazard lights. She checked the rearview mirror to make sure the traffic was giving her car a wide enough berth so she wouldn’t be hit the instant she got out of the car. It looked safe enough, so she opened the door and stepped out into the cold morning air. It was a gray day – cloud cover, but no snow – and a sharp, biting wind was blowing from the east. Jessica wore a light jacket. She hated the way she looked in bulky winter coats, but now she wished she’d dressed for practicality instead of vanity. The wind hit her exposed skin like tiny daggers of ice, and she would’ve killed for a nice thick parka right then.

The car she’d hit was a big beast of a vehicle, a Cadillac, maybe, but there was no metal logo affixed to the back of the car to indicate its make. Maybe the logo had been knocked off in the collision? The vehicle was black, blacker than black, so dark that it seemed to swallow light instead of reflect it. The blackness seemed to pull at her, to demand she keep her gaze fixed on it, to step closer, touch it . . . She took a step forward, raised her hand, but then she realized what she was doing. She squeezed her eyes shut, dropped her arm, and gave her head a quick shake to clear it. When she opened her eyes, the blackness of the car still pulled at her, but not as strongly as before, and she was able to resist it. Shivering – only partially due to the cold – she stepped to the front of the vehicle to assess the damage.

She hadn’t been driving too fast, or else her car’s airbags would’ve activated, and she expected the damage to her Lexus to be relatively minimal. So she was shocked to see the entire front end of her vehicle had been pushed in, as if she’d hit a brick wall going sixty miles per hour.

Fuck, she thought. She’d had the car less than a year. Sure, it had been “certified pre-owned” instead of brand new, but it had been new to her, a symbol of how hard she’d worked and how much she’d accomplished. And now it looked as if that symbol was totaled.

Merry goddamned Christmas, Jessica.

She looked at the black car then and saw that it didn’t have so much as a scratch on it. What the hell was the thing made of? Granite?

She heard a car door open, and she turned to see a man getting out of the front passenger side of the big black car. He was tall and thin, with stick-like limbs that seemed longer than they should’ve been. His head was oddly shaped – kind of like a light bulb with an unkempt mass of dingy gray hair on top – and his neck was so thick Jessica didn’t see how it could possibly support his head. His features were overlarge and prominent – eyes, nose, mouth, and ears bigger than they should’ve been – and he had a mustache and goatee that were the same dishwater-gray as his hair. He was dressed in what she thought of as a mortician’s suit: black jacket, white shirt, black tie, black slacks, black shoes. His clothing wasn’t as dark as his vehicle’s paint job, but it was close.

He started toward her, moving with a surprising grace for a man who was all straight lines and angles, and his light bulb-shaped face broke into a smile, as if he was about to greet a long-lost friend instead of the driver of the car that had rear-ended his vehicle.

“Are you injured?” the man asked as he reached her.

She’d expected his voice to be as strange as the rest of him, but it was a pleasant baritone, the sort of voice a radio or TV announcer might possess.

“No, I’m fine.”

He pursed his lips as if in disappointment.

“Ah, well. Maybe next time.”

She couldn’t believe what he’d said, thought she’d surely misheard, but he continued before she could say anything,

“I apologize for my driver braking so abruptly. His eyesight isn’t what it used to be, and he thought he saw an animal dash across the road in front of us. He has a . . . reluctance to kill an innocent creature.”

He chuckled, as if amused by the notion. He then turned his gaze to the crumpled front end of her Lexus.

“My, my, my. This looks rather serious.”

He bent to examine the front end of her car. After several seconds, he straightened and smiled.

“You can’t drive for shit, can you?”

Jessica’s mouth dropped open in shock. This was followed by quick, hot anger.

“I’m not the one who slammed on the brakes in heavy morning traffic,” she said.

Ignoring her, the man examined his vehicle. He ran long, thin fingers across its trunk, and she thought she heard soft clicking sounds as they moved, as if his hand were a crab skittering across the metal.

“I think you may have actually scratched the paint. You must’ve hit us harder than I thought.” He looked at her, smile widening, revealing crooked, yellow teeth. “Good for you!”

He clapped his hands together as if the slight damage to his car delighted him.

It was then she realized his vehicle had no license plate. She hadn’t noticed in the post-accident confusion, and at first she thought the plate must’ve been knocked off by the impact of her Lexus striking his car. But she didn’t see any place where a plate had been attached to the vehicle. Did that mean it had never had one?

The man rubbed his crab hands together.

“So . . . what would you like me to take?”

Jessica stared at him, unable to process his words. She understood them, of course, but she had no idea what they meant.

“I . . .” She frowned. “What?”

The man released a breathy bark of a sound, which she thought might be a laugh.

“My apologies! I should introduce myself. My name is Arland Merriman, and I am the Anti-Claus.”

He extended one of his skeletal hands for her to shake, but when she made no move to touch it, he lowered his hand and continued speaking as if nothing had happened.

“Please don’t feel awkward for never having hear of me. I don’t enjoy the fame of my opposite number.” He leaned forward, as if to impart a secret. “It’s all part of the ‘anti’ thing, you know. He’s famous, I’m anonymous. But don’t worry. I like it that way.”

Jessica was beginning to regret getting out of her car, and she definitely regretted leaving her phone in her purse on the passenger seat. Whoever this odd man was, it was clear there was something wrong with him mentally, and she wanted to call the police.

Merriman went on.

“My opposite has a list and checks it twice, but I only visit with those I meet by chance. Like someone who rams into the back of my car on Deprivation Day.”

She looked at him blankly.

“You know it as Christmas Eve. But it’s a special day all its own, I assure you. After midnight, my opposite will begin bringing so-called gifts to the deserving people of the world. Usually useless junk that no one really needs, but which inject a small amount of temporary joy into their otherwise meaningless, empty lives. The universe exists in a state of carefully maintained balance. So if my opposite gives . . .”

He stressed this last word, urging her to complete the thought. She didn’t think she could speak, but she was surprised to hear herself say, “You take.”

“Exactly!” He grinned in delight. “And where my opposite selects what to give you, I give you a choice of what you want to lose.”

He reached into the inner pocket of his jacket, withdrew what looked like a business card, and held it out for Jessica to take. She didn’t move at first, so Merriman took hold of her wrist. She expected his fingers to be ice-cold, but his touch burned and she drew in a hissing breath of pain. Of course he’s the opposite of cold, she thought. He’s the Anti-Claus. He lifted her hand and deposited the card on her palm. She was grateful when he let go of her wrist. The skin still hurt, but it no longer felt as if her flesh was on fire.

She looked down at the card and saw it was blank. She turned it over and saw it was also blank on the other side.

“You have until midnight – when my day ends and his begins – to decide what you’d like me to remove from your life. The only rules are that it must belong to you and you must write the name of it on this card. Either side will do.”

The unreality of this encounter was getting to her, and although on some level of her mind, she knew what was happening was absolutely, undeniably real, she needed to believe that Merriman was crazy, or that this was some kind of elaborate prank. Anything, just so long as she could tell herself that there was no such thing as the Anti-Claus and that the card he’d given her was just a plain, ordinary blank piece of cardstock, nothing more.”

She looked into his oversized eyes, which were the same color as his hair and beard, the same color as the overcast sky above, and smiled as if she was in on the joke and intended to play along.

“What happens if midnight comes and I haven’t written anything on the card?”

Merriman’s smile – already wider than a normal person’s – stretched even further until the tender skin at the corners of his mouth split and blood trickled forth.

“Then I choose something of yours to take. And believe me, you don’t want that to happen.”

Jessica’s smile faded and despite her attempt to make herself believe this was nothing but a bizarre practical joke, she felt a hot flush pass through her body. Not a chill, not from the Anti-Claus.

The driver’s door of the large black car opened and a figure emerged. The driver wore a chauffer’s uniform, but while his body appeared human, his head was that of a stag. It lolled to the side, antlers broken and short, tongue protruding from the side of a blood-flecked mouth, eyes milky white.

Like roadkill, she thought. Her stomach lurched, and she thought she was going to vomit.

The driver walked to Merriman, head flopping bonelessly as he came. When he reached his employer, he raised his arm and with the opposite hand – which possessed a hoof instead of fingers – he tapped the face of the wristwatch he wore.

“Ah, yes. Thanks for the reminder, Hobart.”

The hideous thing turned and headed back to the car without saying a word. Jessica was profoundly thankful the creature hadn’t spoken. She didn’t want to hear what sort of voice would issue from the thing’s throat.

“I’m afraid I must take my leave,” Merriman said. “I have many other cards to pass out before midnight, after all. I wish you a most lamentable Deprivation Day, Jessica.” He nodded goodbye, turned, and started walking toward his vehicle. When he reached the front passenger door, he opened it and started to climb inside. But then he stopped and turned back to look at her. “Remember to fill out your card. If you don’t, I’ll be paying you a visit later.”

He grinned so wide this time that the skin of his face tore from the edges of his mouth all the way to his ears. Blood flowed from the wounds, but she could still see his teeth. All of them.


Jessica watched the blacker-than-black car drive away, its engine eerily silent. She then returned to her Lexus, got in, gripped the steering wheel, and sat for several moments, breath coming in rapid huh-huh-huh-huhs, heart keeping time with the rhythm. When she’d calmed down a little, she turned off the car’s hazard lights. She’d left the engine running as she’d spoken to Merriman, and she put the Lexus in gear and started driving forward. The engine didn’t sound good, and the steering was wonky, but the car moved, and that was all she cared about now.

She’d put the blank card on the passenger seat when she’d gotten in, and she glanced at it quickly, as if to make sure it was still there, still real. It was. She reached over, picked it up, and slipped it into her purse.

If she didn’t want Merriman to pay her visit later tonight, she had to write something on the card. Something she wanted to be rid of. She didn’t bother telling herself that Merriman and his grotesque driver hadn’t been real, that they’d been hallucinations, that she’d gone crazy. The damage to her car was real enough, and even if Merriman wasn’t the Anti-Claus and no harm would come to her if she didn’t write something on the card, she wasn’t going to chance it. She’d do anything to avoid seeing Merriman and his deer-headed driver again.

Could she write something innocuous on the card? There was a bland painting in the reception area where she worked, a water tower surrounded by bright blue sky and fluffy white clouds. She didn’t like the thing, hated having to look at it whenever she passed through the reception area. Maybe if she wrote Ugly-ass water tower painting in Reception on the card, it wouldn’t be hanging on the wall when she returned to the office after Christmas. She wouldn’t have to see Merriman again, and the workplace would be improved, at least for her.

No, that wouldn’t work. Merriman had said that whatever she chose had to belong to her. She didn’t own the painting. It belonged to the office.

She wracked her brain, trying to come up with something to write on the card, but she couldn’t think of anything. She feared there was some sort of catch to what Merriman had told her, that if she didn’t choose something important enough, he’d come to visit her anyway. Say she wrote My old toaster on the card. She could imagine Merriman coming to her apartment sometime before midnight. He’d knock, she’d open the door, and he’d say something like A toaster? It’s called Deprivation Day, Jessica. Do you think losing a toaster really qualifies as you being deprived?

And then he’d reach for her with his blazing-hot crablike hands, while behind him in the hall, his driver with the dead deer head – Hobart – would let out a wet, snuffling laugh.

She began trembling then, and she continued to do so the rest of the way to work.


“I’m used to you being late, but this is a personal worst for you.”

Lila Robinson was waiting inside Jessica’s office when she’d arrived. She sat at Jessica’s desk, a small notebook open in front of her. She checked the time on her phone and then, using one of Jessica’s pens, she noted the exact time.

Lila was a petite woman in her late fifties, with short brown hair. She wore a bit too much makeup in a futile attempt to make her look a few years younger. She wore a navy-blue blazer over a white blouse, and while Jessica couldn’t see them at the moment, she knew the woman also wore navy-blue slacks and sensible black shoes. She’d never worn a skirt to the office the entire time Jessica had worked here.

She’d considered calling off sick and going home, but she didn’t want to be alone right now, wanted to be around other people. Now she regretted her choice.

“Sorry. I got into an accident on the way here. Slowed me down.”

Her voice was toneless, matter-of-fact. After seeing Merriman and Hobart, Lila didn’t scare her anymore.

Lila seemed put out by Jessica’s lack of reaction to her words. She threw the pen down on the desk, grabbed the notebook, closed it, stood, came out from behind the desk, and walked over to Jessica until they were practically standing nose to nose.

“I’m sorry you were in an accident.” Lila sounded doubtful, as if she didn’t believe Jessica’s story. “But you could’ve called to let us know. Instead you come strolling in over an hour late. Your client got tired of waiting for you and left. I tried to convince him to speak to another of our advisors, but he declined. ‘I think I’ll take my business elsewhere,’ he said and then left. This is your last warning, Jessica. If you come in late again, for any reason, I will fire you. Do you understand?”

Jessica had heard every word, but she was so preoccupied by her experience with Merriman that she couldn’t bring herself to care. Lila’s face reddened with anger.

“Aren’t you going to say anything? No? I’m your supervisor, Jessica. The least you could do is give me the courtesy of a response.”

Jessica looked at Lila as if noticing her for the first time since entering the office. She smiled slowly.

“You are, aren’t you?”

Lila frowned. “Are what?”

“My supervisor. Mine.”

Lila took a step back from Jessica, as if disturbed by something she saw on the other woman’s face.

“Just remember what I said.”

She walked past Jessica. She paused at the doorway, glanced back briefly, then left.

Jessica, still smiling, put her purse on top of her desk and sat down. She picked up the pen that Lila had used to record her time of arrival, then reached into her purse to withdraw the blank card Merriman had given her. She placed it on the desk in front of her, held it still with the tips of her fingers, and began to write.

Tim Waggoner’s first novel came out in 2001, and since then he’s published over forty novels and five collections of short stories. He writes original dark fantasy and horror, as well as media tie-ins. His novels include Like Death, considered a modern classic in the genre, and the popular Nekropolis series of urban fantasy novels. He’s written tie-in fiction based on Supernatural, Grimm, The X-Files, Alien, Doctor Who, A Nightmare on Elm Street, and Transformers, among others, and he’s written novelizations for films such as Kingsman: the Golden Circle and Resident Evil: the Final Chapter. His articles on writing have appeared in Writer’s Digest, Writer’s Journal, Writer’s Workshop of Horror, Horror 101, and Where Nightmares Come From. In 2017 he received the Bram Stoker Award for Superior Achievement in Long Fiction, and he’s been a finalist multiple times for both the Shirley Jackson Award and the Scribe Award. His fiction has received numerous Honorable Mentions in volumes of Best Horror of the Year, and he’s had several stories selected for inclusion in volumes of Year’s Best Hardcore Horror. In addition to writing, he’s also a full-time tenured professor who teaches creative writing and composition at Sinclair College in Dayton, Ohio.

Halloween Extravaganza: Jay Wilburn: Some of My Favorite Books of 2019

I love hearing avid readers talk about their favorite books, always looking for my next favorite book or my next favorite author, so when Jay Wilburn asked if he could write about his favorites so far this year, I quickly said yes. Especially because it was Jay. I’ve read other books he’s called his favorites and haven’t been disappointed yet. Get ready to get your credit card out… or just have your Amazon app open so you can add to your cart easily.


I try to read as much as I can. I grab up the new hot books and then eventually read them. I find some of the most interesting and surprising stories among indie writers. That’s no knock on the bestsellers, but there is a wider range in some of these releases that don’t answer to big publisher marketing departments.

I’ve made a new rule for myself that I can’t buy a book until I’m ready to read it. So, if I’m not going to read it now, I have to wait to buy it. It makes me read a little faster. It keeps me from buying up everything. Friends stare at me like I’m insane when I explain this rule to them.

I will go back and reread older books. I’m still in the process of rereading Stephen King’s books in order. I’m feeling a strong temptation to go back and read Swan Song by Robert McCammon which I haven’t read in years even though I can’t count how many times I’ve reread The Stand by Stephen King.

All that to say my reading habits are a little sporadic. I have managed to read a few things this year that I enjoyed and feel strongly about recommending.

CARNIVOROUS LUNAR ACTIVITIES by Max Booth III is easily one of the greatest werewolf stories I’ve ever read. It is a great book even outside the werewolf subcategory. The dialogue in particular is exceptional in this story. It is great when the story is confined in a location. It is great when it breaks out of that confinement. I’m a huge fan of this book and the writer.

For fun, I contacted each of the writers I included in this list and asked them what they saw as their strongest book, excluding the one I had read and reviewed. Max said the new book he has coming soon might be his best. It’s going to be called TOUCH OF NIGHT. I’m looking forward to that. Of the ones that are out, he said THE NIGHTLY DISEASE is probably his best. Having read that too, I’d have to agree. That book is awesome.

HOUSE OF SIGHS by Aaron Dries is another great book I’ve read this year. The chapters are done in a countdown format like The Running Man. The story barrels forward from beginning to a gut punch of an ending. The characters in the story could have easily been flat stereotypes, but Dries makes them full and interesting. It hurts when they are hurt. Even when you sometimes secretly want them hurt a little bit.

He was a little taken aback when I asked him to name his best book. I imagine he has a little trouble bragging on himself. He finally settled on THE FALLEN BOYS. Based on the strength of HOUSE OF SIGHS, I’m excited to check this one out, too.

A PENNY FOR YOUR THOUGHTS by Bob Ford and Matt Hayward was another great read. Two great authors making a great book is something to behold. This one feels like the story is crawling up out of the dirt and the trouble is building behind every turn. The story felt very tactile to me. Even when they weren’t specifically describing anything, I still felt like I could reach out and touch the scene and really feel the grit on the surface of things. The sequel is in the works and I’m looking forward to that.

When asked about best other books, Bob Ford said SAMSON AND DENIAL while Matt Hayward told me BRAIN DEAD BLUES is probably the best representation of his work. In the case of Brain Dead Blues, it is a collection of short stories which is the type of thing I love to read from a talented author. Short story collections sometimes make me feel like I’m getting a little bit more of the author and a wider range of work. Check out these two works, as well.

I also wanted to talk about a couple works on the way I’m looking forward to. In this case, both are nonfiction books. John Urbancik is a great writer. I’m particularly impressed with his short stories. He did a number of short story collections under the Ink Stains moniker. Now he has a nonfiction INK STAINS work on the subject of creativity in the offing. Review copies are out now and I’m going to grab it up as soon as it is available for purchase.

Tim Waggoner has a book in the works about the process of writing. There are a lot of this kind of book out there. I like the one Stephen King did. Others out there, I’m less impressed with. Considering the source on this one, I can’t wait to read this book when it is finished. From the classes he teaches, the information and questions he shares online, and the blog posts he shares on the subject of writing, his online presence alone contains so many pearls of wisdom on the craft. Having this compiled into a single work is a resource I intend to snatch up.

I feel strongly about the quality of the books mentioned in this article and believe you will likely enjoy them, too. Start reading!

Jay Wilburn is a full-time writer of horror and speculative fiction. His Dead Song Legend series follows music collectors during the zombie apocalypse. The Great Interruption follows and apocalypse of a different sort. He has coauthored The Enemy Held Near and A Yard Full of Bones with Armand Rosamilia. Follow his many dark thoughts at his website, his YouTube channel, and on Twitter.

Halloween Extravaganza: Tim Waggoner: Once Upon a Halloween

As a writer, one thing that really irritates me is when a movie or TV show features a blocked writer having some kind of adventure or an out-of-the-ordinary experience in real-life which provides the inspiration for his or her next magnum opus. I find this trope insulting. It’s like saying writers aren’t creative enough to imagine our stories and we’re only capable of writing thinly disguised nonfiction. But I did have a weird experience on Halloween some years back, and I did eventually use it in a horror story, so for me, the trope became real – at least once.

It began on Halloween in the year 2000. My oldest daughter was five, and my youngest hadn’t had her first birthday yet. The previous fall I’d accepted a full-time job teaching creative writing and composition at Sinclair College in Dayton, Ohio, and at the time, the neighborhood we’d moved into seemed okay, but as the months went on, we began to realize that it had a kind of . . . I guess negative atmosphere is the best way to put it. Everyone seemed to watch everyone else with suspicion, and there was a sense that something bad might happen at any moment, like the build-up of energy in the air before a huge thunderstorm breaks loose. We were determined to make the best of it, though, and when Halloween rolled around, I volunteered to take our oldest daughter – Devon – trick-or-treating, while my wife Cindy stayed at home with our not-quite-a-toddler Leigh.

Devon dressed as a witch that year. She had a black witch’s robe, and a conical witch’s hat with black fuzz around the edge of the brim. She was very excited to go trick-or-treating, and while I was a little worried about how the night might go, I loved taking Devon out for Halloween, and I hoped we’d both have a good time. Plus, we didn’t know most of our neighbors, and this would be the first time I’d get a sense of what the area was really like. I told myself that once I had the chance to meet the people who lived in the neighborhood, I’d see that this place wasn’t so bad after all.

And at first, that’s exactly what happened. We went from door to door, along with other kids and their parents, ringing doorbells and shouting “Trick or treat!” when someone answered. Because Devon was so young and didn’t have any friends in the neighborhood to trick or treat with, I went up to the houses with her, smiling at the adults who answered the door, and giving them a wave as we departed. Everyone seemed pleasant and quite normal . . . and then we went to what I’ve come to think of as The Street. I can’t remember its name, but it was dark there. There weren’t many streetlights in the neighborhood, and those that were there didn’t seem to put out much illumination. Not many kids were trick or treating there, and while I didn’t feel the street was dangerous, I was reluctant to take Devon to the houses there. I told myself that I shouldn’t prejudge this neighborhood and the people that lived there, and I led Devon to the first house on the street, and we continued our rounds.

We soon came to a house that had a large chain-link enclosure in the side yard. It was a cage, complete with a roof, and inside were three very big, very shaggy creatures who looked like wolves. I was certain they were wolves, and they paced back and forth looking out at us and growling softly. The house itself was dark. The porchlight wasn’t on, and no light shone from inside. I had no idea what the hell someone was doing keeping wolves in a suburban neighborhood, and I didn’t want to know. I decided we could give this house a pass, and we continued on down the sidewalk.

This was almost twenty years ago, so I don’t remember if it was the very next house we visited after the Wolf House or not, but we soon came to house where, when Devon rang the doorbell, a man inside called out, “Come in!” After the Wolf House, I was hesitant to enter, but it wasn’t uncommon for people in the area to invite kids inside to give them candy, and besides, I was with Devon. If figured it would be all right.

We went inside and saw a living room that was empty – no furniture, only blinds over the windows. In the center of a room a heavy-set middle-aged man sat on a wooden stool, talking on a cell phone. He wore a white tank top undershirt, the kind some people call a wife-beater, and boxer shorts. No shoes or socks. Scattered on the floor all round him were newspaper pages, almost as if he’d hurled a newspaper up in the air and let the pages remain wherever they landed. Or as if he were putting down paper for a pet to do its business on. Except there was no pet visible.

A bowl of candy sat on the floor next to the stool, and he gestured toward it, not really looking at us. Not knowing what else to do, I led Devon to the bowl, told her to take a piece of candy, and then we got the hell out of there. The man never spoke, either to us or to whoever he was on the phone with. I don’t remember if I let Devon keep the candy she got from the Man on the Stool, but I wouldn’t be surprised if I confiscated it and threw it away once we got home.

That was the night I decided we needed to move to a different neighborhood.

A few years later, I was sitting at the dining table in our new house – this one situated directly next to a lovely small park – laptop in front of me, thinking about what I should write next. I decided to write a short story, and I remembered that night trick-or-treating with Devon in our old neighborhood. The story I wrote was called “Portrait of a Horror Writer,” a metafictional story about where horror writers get their ideas, and among other things, I included the Man on the Stool. I submitted the story to Cemetery Dance magazine, and it was published in their 48th issue in 2004. If you’d like to read the story, you can find it on my website here.

So I guess I shouldn’t complain about the “writer gets an idea for a story from a real-life adventure” trope since I lived it, at least in a small way, and not only did I get a story out of it that was published in a great magazine – and for which I got paid – but I’ve kept the story on my website for years. That’s a lot of mileage to get out of one strange experience, but I’m thankful for that little big of dark magic that occurred that Halloween night.

I’m even more thankful that we moved, though.

Tim Waggoner’s first novel came out in 2001, and since then he’s published over forty novels and five collections of short stories. He writes original dark fantasy and horror, as well as media tie-ins. His novels include Like Death, considered a modern classic in the genre, and the popular Nekropolis series of urban fantasy novels. He’s written tie-in fiction based on Supernatural, Grimm, The X-Files, Alien, Doctor Who, A Nightmare on Elm Street, and Transformers, among others, and he’s written novelizations for films such as Kingsman: the Golden Circle and Resident Evil: the Final Chapter. His articles on writing have appeared in Writer’s Digest, Writer’s Journal, Writer’s Workshop of Horror, Horror 101, and Where Nightmares Come From. In 2017 he received the Bram Stoker Award for Superior Achievement in Long Fiction, and he’s been a finalist multiple times for both the Shirley Jackson Award and the Scribe Award. His fiction has received numerous Honorable Mentions in volumes of Best Horror of the Year, and he’s had several stories selected for inclusion in volumes of Year’s Best Hardcore Horror. In addition to writing, he’s also a full-time tenured professor who teaches creative writing and composition at Sinclair College in Dayton, Ohio.

Alien: Prototype

When an industrial spy steals a Xenomorph egg, former Colonial Marine Zula Hendricks must prevent an alien from killing everyone on an isolated colony planet.

Venture, a direct rival to the Weyland-Yutani corporation, will accept any risk to crush the competition. Thus, when a corporate spy “acquires” a bizarre, leathery egg from a hijacked vessel, she takes it directly to the Venture testing facility on Jericho 3.

Though unaware of the danger it poses, the scientists there recognize their prize’s immeasurable value. Early tests reveal little, however, and they come to an inevitable conclusion. They need a human test subject…

Enter Zula Hendricks.

A member of the Jericho 3 security staff, Colonial Marines veteran Zula Hendricks has been tasked with training personnel to deal with anything the treacherous planet can throw their way. Yet nothing can prepare them for the horror that appears–a creature more hideous than any Zula has encountered before.

Unless stopped, it will kill every human being on the planet.

Supernatural: Children of Anubis

A brand new Supernatural novel inspired by the record-breaking show starring Jared Padalecki and Jensen Ackles.

A brand-new Supernatural novel that reveals a previously unseen adventure for the Winchester brothers, from the hit TV series!

Sam and Dean travel to Indiana, to investigate a murder that could be the work of a werewolf. But they soon discover that werewolves aren’t the only things going bump in the night. The town is also home to a pack of jakkals who worship the god Anubis: carrion-eating scavengers who hate werewolves. With the help of Garth, the Winchester brothers must stop the werewolf-jakkal turf war before it engulfs the town – and before the god Anubis is awakened…

The Mouth of the Dark

Jayce’s twenty-year-old daughter Emory is missing, lost in a dark, dangerous realm called Shadow that exists alongside our own reality. An enigmatic woman named Nicola guides Jayce through this bizarre world, and together they search for Emory, facing deadly dog-eaters, crazed killers, homicidal sex toys, and – worst of all – a monstrous being known as the Harvest Man. But no matter what Shadow throws at him, Jayce won’t stop. He’ll do whatever it takes to find his daughter, even if it means becoming a worse monster than the things that are trying to stop him.

They Kill

What are you willing to do, what are you willing to become, to save someone you love?

Sierra Sowell’s dead brother Jeffrey is resurrected by a mysterious man known only as Corliss. Corliss also transforms four people in Sierra’s life into inhuman monsters determined to kill her. Sierra and Jeffrey’s boyfriend Marc work to discover the reason for her brother’s return to life while struggling to survive attacks by this monstrous quartet.

Corliss gives Sierra a chance to make Jeffrey’s resurrection permanent – if she makes a dreadful bargain. Can she do what it will take to save her brother, no matter how much blood is shed along the way?

Halloween Extravaganza: INTERVIEW: Tim Waggoner

Tim Waggoner is a rather interesting guy, but unfortunately (or fortunately, depending on how you look at it) he has never been part of the Halloween Extravaganza until this year. It was a lot of fun getting to know him better, and I have to say that this was, by far, one of the most interesting interviews I’ve ever done.


Meghan: Hi, Tim. Welcome to Meghan’s House of Books. It’s great having you here today. Tell us a little bit about yourself.

Tim Waggoner: I’m fifty-five, I’ve lived in Ohio most of my life, I’m a lifelong fan of all things weird and wonderful, I’ve been writing seriously since the age of eighteen, I’ve traditionally published close to fifty novels and seven collections of short stories, and I’ve taught college composition and creative writing courses for the last thirty years. I write both original fiction and media tie-ins, and the majority of my fiction falls into the genres of horror and dark fantasy.

Meghan: What are five things most people don’t know about you?

Tim Waggoner:

  • My wife thinks I’m addicted to buying Funko Pops, but she’s wrong. I can quit any time I want.
  • I hate raisins and watermelon. They’re the devil’s fruits.
  • I refuse to ruin a good cup of coffee by putting anything in it.
  • I can juggle (a little).
  • I’m a big fan of musicals.

Meghan: What is the first book you remember reading?

Tim Waggoner: The Spaceship Under the Apple Tree by Louis Siobodkin. It’s about a boy who makes friends with a young explorer from another planet. I wanted a friend who had a spaceship and could take me on trips to other worlds!

Meghan: What are you reading now?

Tim Waggoner: I’m a moody reader, and often I’ll read a little of one book, then a little of another, and so on. I also read one thing on my Kindle and listen to something else on audio when I drive. Right now I’m reading Starship: Mutiny by Mike Resnick and listening to The Consultant by Bentley Little.

Meghan: What’s a book you really enjoyed that others wouldn’t expect you to have liked?

Tim Waggoner: Maybe Mrs. Dalloway by Virginia Woolf. It’s a literary novel about relationships in which nothing of any real importance seems to happen, but I found it riveting. It’s one of the few books I’ve read in a single sitting. I love stories that are written with a close identification with a character’s viewpoint, regardless of genre.

Meghan: What made you decide you want to write? When did you begin writing?

Tim Waggoner: I’ve been telling stories one way or another my entire life. I was the one who’d come up with scenarios for my friends and me to act out on the playground, and I used to create epic sagas with my army men and action figures. But in terms of consciously deciding to write, it began when I was in high school and read an interview with Stephen King in an issue of the B&W comic magazine Dracula Lives. The Shining had just come out, and King wasn’t super-famous yet. It might have been the first interview with a writer I ever read, and before this, it had never really occurred to me that being a writer was something a person could choose. Something I could choose. I later told my mom that I thought I might like to be a writer, and she said, “I think you’d be a good one.” Her simple encouragement meant the world to me, and it still does.

Meghan: Do you have a special place you like to write?

Tim Waggoner: I usually go out to a Starbucks. I grew up in a noisy household, and I don’t like working in silence. I like to have a certain amount of noise and activity around me, and at Starbucks there’s no one who needs me – no wife, no kids, no students, no pets. I can get my coffee, sit down, and write. I usually spend about three to four hours working, which translates into roughly four or five pages of manuscript, sometimes more, especially when I’m nearing the end of a story or novel and the words are really flowing.

Meghan: Do you have any quirks or processes that you go through when you write?

Tim Waggoner: I like to write my first drafts by hand. The words seem to flow better that way. Personal computers didn’t appear until I was nineteen or twenty, so I spent most of my formative years writing by hand. I’m more focused when I write by hand, and I produce more pages faster. Typing it up is a real pain in the ass sometimes, but it allows me to edit and clean up the text as I input it into the computer, and I usually don’t need to do any more drafts after that.

Meghan: Is there anything about writing you find most challenging?

Tim Waggoner: I’ve been writing for thirty years, and at this point, I have to be careful not to repeat ideas and concepts I’ve used for other stories in the past. It’s one thing for an author to work with recurring themes throughout his or her career, but it’s another to keep writing the same basic story over and over without realizing it. Hopefully, I’ve managed to avoid accidental self-plagiarism, but if I haven’t, would I even know it?

Something else – it seems to take me a couple weeks to fully make the mental shift from one project to another – especially when I have a bunch of novel proposals out at various publishers, any one of which I might (if I’m lucky) have to start on at any time. But one of the downsides to being prolific is figuring out which projects to work on when and shifting my mindset from one type of fiction to another. That shift seems to be getting more difficult as I get older. My wife says I always start slow on a project and pick up speed as I go until I’m rocketing along at a fast pace, but I hate the slow start!

Meghan: What’s the most satisfying thing you’ve written so far?

Tim Waggoner: My short story “Mr. Punch,” which appeared in the anthology Young Blood twenty-five years ago was my first professional sale. It was also when I found my voice as a horror author. “Mr. Punch” is the first time I learned to trust my instincts as an artist and write the story I wanted to write, no matter how weird and bizarre it turned out. And I’ve been writing weird and bizarre stories ever since!

Meghan: What books have most inspired you? Who are some authors that have inspired your writing style?

Tim Waggoner: Stephen King’s novels influenced me in terms of developing character and a sense of place. Piers Anthony’s novels – especially the Xanth series – made me fall in love with wild, manic invention in fiction. Charles de Lint’s novels showed me the power of placing dark fantasy in the contemporary world, and Clive Barker showed me how to create my own strange mythology. Ramsey Campbell and Charles L. Grant’s fiction helped teach me how to draw unique dark imagery from my subconscious to create my monsters. Tom Piccirilli and Douglas Clegg’s novels showed me how to develop my weird horror at novel length. Mystery writer Lawrence Block’s how-to-write columns and books taught me more about writing fiction than any creative writing class ever did. There are so many more – Shirley Jackson, Harlan Ellison, Ray Bradbury, Richard Matheson . . . It’s sounds like a cliché when writers say everything they’ve ever read, watched, or experienced influences their work, but it’s true.

Meghan: What do you think makes a good story?

Tim Waggoner: For me, it’s something that stimulates my imagination. It could be an intriguing concept, an interesting character, an original plot, or a captivating style. The best is when a story has all of these elements going for it. I like to read stories that let me get into the characters’ heads, and I like stories that, even if they’re set in the contemporary world create a reality all their own. While I enjoy stories that have a leisurely pace, my favorites tend to be more fast-paced, possessing a strong forward-moving momentum.

Meghan: What does it take for you to love a character? How do you utilize that when creating your characters?

Tim Waggoner: I have to feel a connection to a character in order to love him or her. This connection can be small. Hannibal Lector doesn’t have many admirable qualities, but he likes and respects Clarice Starling, and I can connect to that bit of humanity that still exists inside him. In Poe’s The Tell-Tale Heart, I connect to the insane narrator’s very human need to tell his tale in order to be understood. I try to create such a human connection between my characters and readers, and hopefully I succeed more often than not.

Meghan: Which, of all your characters, do you think is the most like you?

Tim Waggoner: They’re all part of me on way or another. Writers can never not write about ourselves. No matter how hard we try to disguise our characters, they’re all reflections of us in one way or another, even if they’re funhouse mirror distortions. My zombie PI Matt Richter from the Nekropolis series reflects my humorous side. Jayce in The Mouth of the Dark is the father side of me, while Neal in The Forever House is the part of me that can be insecure in relationships. My characters are all pieces of a puzzle that, if they were assembled, would make a portrait of me.

Meghan: Are you turned off by a bad cover? To what degree were you involved in creating your book covers?

Tim Waggoner: When I first started writing, I heard a lot of professional writers say that editors always change the titles of your books and you never get any input into the cover. That’s not been my experience, though. Most editors keep my original titles, and they usually ask for my input on the covers. Most of the time, one of my suggestions forms the basis for the cover, and usually I think they turn out pretty good. Sometimes I think the covers are just okay, and other times – only a few – I dislike them. But there’s nothing that can be done at that point. The only thing I really hate is if a cover image has nothing to do with the book’s contents. When I was a kid, I hated it when the main character on a book cover looked different than the way the author described him or her, or if the cover seemed to promise a very different kind of story. The original cover for Jack Ketchum’s masterpiece The Girl Next Door is a perfect example. It depicts a skeleton in a cheerleader’s outfit, implying the story is a generic spooky tale when in fact it’s a brutal, bleak, uncompromising examination of violence toward the Other, of the dangers of going along with the group, and how ultimately violence affects both victims and perpetrators alike. I bet a lot of people who bought that paperback edition were shocked as hell when they started to read the book –which, now that I think about it, is pretty cool. Good horror should never be safe. So maybe, in a sense, that cover worked after all, just no in the way the publisher intended it to.

Meghan: What have you learned creating your books?

Tim Waggoner: What haven’t I learned? Writing novels uses more of me than anything else I’ve ever done. I’ve learned patience, perseverance, mental and emotional resilience . . . I’ve learned to prioritize my time, to take risks, to deal with setbacks, disappointments, self-doubts, and failures. I’ve learned so much about story – what makes one work, what makes one not work. . . I’ve learned how to write for readers without my awareness of those readers making me so self-conscious I freeze up. I’ve learned how to deal with praise, criticism, and outright hatred of my work. I’ve learned how to win awards and how to lose them. I’ve learned how to be a member of a writing community and how to – I hope – be a good citizen of that community. Most of all, I’ve learned more about who Tim Waggoner is, who he was, and who he might one day become.

Meghan: What has been the hardest scene for you to write so far?

Tim Waggoner: In my story “Voices Like Barbed Wire” I based a scene on when my ex-wife and I told our daughters that we were going to get divorced. It’s one of my most painful memories – one which I would happily cut out of my brain if I knew how – but since the story is about a woman who wants to get rid of a bad memory, I decided to give her my worst one so that the story might have more emotional truth and, at least to me, have more meaning. And by putting the memory in the story, maybe I managed to exorcise it from my mind, at least a little.

Meghan: What makes your books different from others out there in this genre?

Tim Waggoner: That’s hard for me to say. I just think of my horror novels as Tim Waggoner stories. Reviewers have remarked on my original ideas and nightmarish imagery, my strong characters and fast-paced narratives, and my blend of different styles of horror – from quiet to erotic to extreme to surreal – in the same novel. That’s probably as good a description as any of the kind of thing I write.

Meghan: How important is the book title, how hard is it to choose the best one, and how did you choose yours (of course, with no spoilers)?

Tim Waggoner: I put a lot of work into titles. I keep a file with possible titles in it – phrases I’ve overheard or read somewhere, snatches of song lyrics or poetry that spark my imagination . . . I also keep story ideas in the same file, weird things I’ve seen, heard, or thought, bizarre news stories I’ve read, etc. When it’s time to start a new project, I go through the file, looking for ideas. Sometimes I start with an idea, but a lot of times I start with the title. Sometimes an idea and a title seem perfect for each other. For example, a while ago, I had an idea about a house that was infinite on the inside. One of the phrases I’d collected was The Forever House. The idea and the phrase matched so well, that I decided to write a novel using that title. I did a search on Google and Amazon to see if anyone else had ever used that title for a novel – especially a horror novel – and when I was confident no one had, I committed to The Forever House as the title for the book.

Meghan: What makes you feel more fulfilled: Writing a novel or writing a short story?

Tim Waggoner: I feel most fulfilled when I write novels. I like the complexity of them and the chance to develop characters in greater detail than I can with a short story. In novels, you can work with a larger scope and with bigger ideas. I enjoy seeing all the ways that I can take plot points and spin out different threads from them, and I love weaving all those threads together and making connections between them to create a richer, tighter narrative.

Short stories are in some ways harder for me to write. They require a laser-like focus on a narrower concept, and you have to make every word, every image count. My brain always feels like it gets a workout when I write a short story, but I get a lot of satisfaction when I finish one because they don’t come so easily to me.

Meghan: Tell us a little bit about your books, your target audience, and what you would like readers to take away from your stories.

Tim Waggoner: In the horror community, I’m known for writing a certain kind of surreal, existential horror, but I’ve written a lot of different kinds of fiction: epic fantasy, action-adventure, spy thriller, creature-feature fiction, erotica, science fiction, urban fantasy, young adult, middle-grade reader . . . Most of those were tie-in books where the genre was given to me. I like that because it stretches me as a writer, makes me try my hand at genres that I might not otherwise attempt. Whatever the genre, I always try to give the reader developed characters, interesting ideas, and a fast-paced, smooth read. I want to stimulate readers’ imaginations – which is, as I said earlier, I seek as a reader myself – and I hope to make readers think. I want to surprise them with my stories, take them places where they don’t expect. I hope they’ll view the genre a little differently when they’ve finished one of my books.

I write my horror novels for fans that are well-versed in the genre and are looking for something different. My tie-in novels have different audiences. For example, I write Supernatural novels for fans of the TV series, although I hope that anyone can enjoy them.

I like to write my books on two levels: on one level, I hope they’re fun, enjoyable reads, but on another, deeper level, I play with genre conventions and write an almost metafictional critique of the genre itself. I try to do the latter as subtly as possible, so I don’t spoil the story for anyone, but there’s a deeper layer to the story for those who want a little more from a reading experience. A colleague once told me I write “deep parody,” and I suppose that’s as good a description as any of what I do. I’m not trying to mock a genre or its readers, but I hope that I can get them to engage with the genre in a different way and perhaps even show them something about the genre they’ve never considered before. I do this in my tie-in books too (but don’t tell my editors!).

Meghan: Can you tell us about some of the deleted scenes/stuff that got left out of your work?

Tim Waggoner: I don’t usually have to cut anything from my original work. Editors do sometimes make me cut some stuff from tie-in novels. Years ago, I was working on A Nightmare on Elm Street novel. New Line Cinema was taking a long time to approve my outline, so the editor told me to just go ahead and start writing. I was sixty pages into the book when the editor told me the studio refused to approve the idea. My concept was that Freddie was returned to life as a human and was trying to find a way to return to the dream realm. The studio didn’t want Freddie to be human again because it brought up the specter of him being a child molester in life, something the studio didn’t want to remind people of. I had to come up with an entirely new outline for a novel, and New Line approved it, and that became my novel A Nightmare on Elm Street: Protégé. That experience taught me never to begin drafting a tie-in novel before the rights holder gives their approval.

Meghan: What is in your “trunk”?

Tim Waggoner: I have a number of novel proposals that my agent sends around to publishers, and of course not all of them are picked up. I’d love to work on some of those projects, but I’ve been selling novels on the basis of proposals for twenty years now. I prefer to have a contract in hand before I fully commit to writing a novel. But even if all my proposals were picked up by editors, I doubt I’d have time to write them all before I die. It’s the lot of artists to know that we’ll never be able to make all the things we want to make in a single lifetime. The trick is to make as many as possible in the time we have.

Meghan: What can we expect from you in the future?

Tim Waggoner: My tie-in novel Alien: Protocol will be out in late October. I’ll have two other books out in 2020, a horror novel called The Forever House from Flame Tree Press, and a how-to-write horror book called Writing in the Dark from Guide Dog Books. I’m especially proud of Writing in the Dark since it’s a culmination of thirty years of writing and teaching.

Meghan: Where can we find you?

Tim Waggoner: Website ** Twitter ** Facebook ** Instagram

Meghan: Do you have any closing words for your fans or anything you’d like to say that we didn’t get to cover in this interview?

Tim Waggoner: Aardvark, zither, chrysanthemum.

Tim Waggoner’s first novel came out in 2001, and since then he’s published over forty novels and five collections of short stories. He writes original dark fantasy and horror, as well as media tie-ins. His novels include Like Death, considered a modern classic in the genre, and the popular Nekropolis series of urban fantasy novels. He’s written tie-in fiction based on Supernatural, Grimm, The X-Files, Alien, Doctor Who, A Nightmare on Elm Street, and Transformers, among others, and he’s written novelizations for films such as Kingsman: the Golden Circle and Resident Evil: the Final Chapter. His articles on writing have appeared in Writer’s Digest, Writer’s Journal, Writer’s Workshop of Horror, Horror 101, and Where Nightmares Come From. In 2017 he received the Bram Stoker Award for Superior Achievement in Long Fiction, and he’s been a finalist multiple times for both the Shirley Jackson Award and the Scribe Award. His fiction has received numerous Honorable Mentions in volumes of Best Horror of the Year, and he’s had several stories selected for inclusion in volumes of Year’s Best Hardcore Horror. In addition to writing, he’s also a full-time tenured professor who teaches creative writing and composition at Sinclair College in Dayton, Ohio.

Alien: Prototype

When an industrial spy steals a Xenomorph egg, former Colonial Marine Zula Hendricks must prevent an alien from killing everyone on an isolated colony planet.

Venture, a direct rival to the Weyland-Yutani corporation, will accept any risk to crush the competition. Thus, when a corporate spy “acquires” a bizarre, leathery egg from a hijacked vessel, she takes it directly to the Venture testing facility on Jericho 3.

Though unaware of the danger it poses, the scientists there recognize their prize’s immeasurable value. Early tests reveal little, however, and they come to an inevitable conclusion. They need a human test subject…

Enter Zula Hendricks.

A member of the Jericho 3 security staff, Colonial Marines veteran Zula Hendricks has been tasked with training personnel to deal with anything the treacherous planet can throw their way. Yet nothing can prepare them for the horror that appears–a creature more hideous than any Zula has encountered before.

Unless stopped, it will kill every human being on the planet.

Supernatural: Children of Anubis

A brand new Supernatural novel inspired by the record-breaking show starring Jared Padalecki and Jensen Ackles.

A brand-new Supernatural novel that reveals a previously unseen adventure for the Winchester brothers, from the hit TV series!

Sam and Dean travel to Indiana, to investigate a murder that could be the work of a werewolf. But they soon discover that werewolves aren’t the only things going bump in the night. The town is also home to a pack of jakkals who worship the god Anubis: carrion-eating scavengers who hate werewolves. With the help of Garth, the Winchester brothers must stop the werewolf-jakkal turf war before it engulfs the town – and before the god Anubis is awakened…

The Mouth of the Dark

Jayce’s twenty-year-old daughter Emory is missing, lost in a dark, dangerous realm called Shadow that exists alongside our own reality. An enigmatic woman named Nicola guides Jayce through this bizarre world, and together they search for Emory, facing deadly dog-eaters, crazed killers, homicidal sex toys, and – worst of all – a monstrous being known as the Harvest Man. But no matter what Shadow throws at him, Jayce won’t stop. He’ll do whatever it takes to find his daughter, even if it means becoming a worse monster than the things that are trying to stop him.

They Kill

What are you willing to do, what are you willing to become, to save someone you love?

Sierra Sowell’s dead brother Jeffrey is resurrected by a mysterious man known only as Corliss. Corliss also transforms four people in Sierra’s life into inhuman monsters determined to kill her. Sierra and Jeffrey’s boyfriend Marc work to discover the reason for her brother’s return to life while struggling to survive attacks by this monstrous quartet.

Corliss gives Sierra a chance to make Jeffrey’s resurrection permanent – if she makes a dreadful bargain. Can she do what it will take to save her brother, no matter how much blood is shed along the way?