The Daily Monocle

Critical book reviews from a literary skeptic.

Friday, June 17, 2011

An Interview with Steve Hockensmith (Part One)

Posted by J. P. Wickwire

Steve Hockensmith, author of Dreadfully Ever After, sequel to the much-lauded Pride and Prejudice and Zombies was kind enough to stop by The Daily Monocle for an interview. We'll be posting his interview in two parts, due to length.


Well, to start things off, I was wondering if you could tell the readers of The Daily Monocle a little bit about yourself?

Oh wow. Okay well, my name is Steve, and I write books, among other things and golly, the books that people might be the most familiar with are the prequel and sequel I did to Pride and Prejudice and Zombies: Dawn of the Dreadfuls and Dreadfully Ever After. And I’m a Leo, and I have brown eyes, and I like spicy food.

Okay, and about how long have you been writing?

Well, Let me think here. I mean, I have been writing I guess, you know, I’ve been writing since I was about four [years old], which is the same for everybody I guess. Except for you perhaps, I expect that you might’ve been a prodigy.

Laughing: No, no, I wasn’t a prodigy.

Okay. But, for me, I got started around preschool/kindergarten. But when I got serious about it... it wasn’t until I’d been out of college for a few years. I was a journalism major so I knew that I wanted to write for a living, but I tried to be practical about it, and I thought (genius that I was), “Oh, journalism! That’ll be around forever. They’ll always need people to do that kind of stuff.” So that’s the field that I went into.

But in terms of fiction, I didn’t really start--I didn’t really give it a shot--’til I was probably, oh, 23 or 24, or something like that. And I spent some time kind of wondering in the wilderness, trying to figure out what kind of writing I wanted to do. And it wasn’t until, oh gosh, I was around the age of--it was a little bit before I was 30, somewhere in my late 20’s--that I figured out... I sort of stumbled into writing mysteries, and that seemed to do real well for me. And through that door, stumbled into writing RomZomComs: Romantic Zombie Comedies.

So, but, kind of a long answer to your question, I guess I’ve been writing pretty much all my life. You know I was one of those people--and I’m betting you were the same way--that when you got an assignment in schoo, in like fifth grade you know, like “write a sentence with each of your vocabulary words”, I wouldn’t just write a sentence with each of the vocabulary words (‘cause that’s boring), I would write a story with all of the vocabulary words, which would be quite challenging if, you know, “circumnavigate” and “boulder” or whatever, you know a very odd mixture of words. I guess “circumnavigate” and “boulder” wouldn’t be *that* hard, but you might have some very interesting words from which to choose. And it was fun to see how you could put them together, and the teacher would be like, “Uh, Steve, you didn’t have to do that.” and I’d be like “I know!” But, you know, I always had the urge to have fun with words.

Let’s see... what made you want to write “altered classics”, you know with these zombies and such?

Well that would... I wanted to do it because it was an opportunity. I wanted to do it because they *needed* somebody to do it, and I wanted to give it a try. I mean, the story is that there’s this brilliant editor--I believe his title is “associate publisher” now--at Quirk Books and his name is Jason Rekulak. And he’s the guy who actually came up with the idea for Pride and Prejudice and Zombies. This would’ve been about three, four years ago. He had this brainstorm and thought: wouldn’t it be fun to take a public domain classic, you know something that’s no longer under copyright--you can have as much fun as you want with [it] and no one will sue you for it--and combine that with some sort of classic element of geek culture. So as I understand, he got a legal pad and drew a line down the middle and on the left hand side he wrote down classic novels, you know “Moby Dick”, and “Vanity Fair” and what have you. And on the *other* side he wrote “Robots”, “Ninjas”, “Vampries”, “Werewolves”, “Pirates” (if I didn’t say pirates already... maybe he wrote it twice, I don’t know.).

So he then started to draw lines, back and forth, connecting them. You know “Moby Dick” and “Pirates”--which, actually, there might be a link but just didn’t have the magic. Or “The Scarlet Letter” and “Mummies”--which would be like “no”. But then there was that magic moment with “Pride and Prejudice” and “Zombies” and a franchise was born. And he hired a guy--Seth Grahame-Smith--who had worked for Quirk before to take that idea and run with it (which he did beautifully). He did it so beautifully though--a massive sensation--and Seth got bucketloads of money from it and could go off and do other things. So, what does one do when one has a hit property?: One extends the branch. So he needed someone to do a prequel and my agent heard they were looking for somebody, so we threw our hat in the ring, and got the gig.

But to take it back to why did I want to do it... From the first time I heard about that magical combination of words: Pride and Prejudice and Zombies, I thought it sounded hilarious. I thought it was a stroke of genius. And then when I read the book I thought, they [had] pulled it off, it’s a lot of fun. But the thing I would not have wanted to do it--and this is not a knock on anybody who did the mashups--but I would not have wanted to do the mashup. I wouldn’t have wanted to take another writer’s work and stick my little jokes into it. And I’m not denigrating that, I’m just--it was not something I wanted to do. And what appealed to me was that I would be able to take this completely wacky world that had been established and tell new stories in it, and try to kind of make sense of that wacky world, because in the original it’s part of the humor, you just kind of have to go with it. [There are] very incongruous elements: ninjas and zombies that are stuck together and the juxtaposition of those things is funny, but once you try to create a *story* you have to take that world more seriously; you have to make it make sense. And I really liked the idea of that challenge.


I’m probably talking way too fast, considering you’re going to have to transcribe this... So my apologies to you for that.

You’re fine. You’re completely fine; I type fast, it’s no problem.

*laughs* Alright cool.

Okay, so were you ever concerned about alienated fans of the Austen work? Or were you pretty much tied in to the mashup already and you weren’t worried about that?

Well it was nice to know that the section of the audience that was going to be offended had been pre-offended. They were already up in arms because they made their feelings known about the first book--the one that Seth did. And there were definitely some haters--there are many out there, in fact. And there you go! They are offended. So what do I have to worry about? The people that are going to hate this concept and get their hackles up about it.. they’re hackled. So I initially didn’t really let it worry me. When I went into it. And yeah, I think that was the way to do it. You can’t write with that kind of fear. It’s an interesting mix because you’re trying to please two very, very different audiences. So that, for me, [was] more of a challenge. Not so much in trying to to offend everybody, but trying to please everybody. Or--not please everybody, because you can’t do that--but you have Austenites, Janeites, Austen fans on the one hand, and the romance fans who would be receptive to this material. And you’ve got horror fans, and zombie fans and those are two very, very different groups of readers. And you had to give them both what they wanted. And that was a challenge, to try and hit that balance. But I wasn’t worried about--I wasn’t worry about anyone coming to my home brandishing pitchforks and torches.

Well that’s good... we wouldn’t want any pitchforks in the way of the writing!

No! That can be very distracting.

Yes. Well, I noticed in addition to all of the blood, guts, gore and Victorian lace, there was a lot of sociopolitical commentary in Dreadfully Ever After. And I was wondering if this was intentional or just a natural byproduct of the setting and the circumstances of the characters?

Well thank you for noticing! Oh, it was 100% intentional that I really felt like with the last book, with Dreadfully Ever After, I did pump up the volume on the social criticism and satire. And that would be because, why do this if you’re not going to have fun with it in that way? Why go to the trouble if you’re not to lend some kind of unique perspective to it? And, I suspect what a lot of Janeites would not like--because what they want is a piece of writing that captures Jane Austen’s view of things and her style of approaching that in prose. And that from the beginning was not what I wanted to do. I’m looking at many of the same things she [Jane] looked at, but I’m looking at them from an American guy’s perspective. Which doesn’t mean it’s a raunchy fart-fest, or anything like that, it just means I just thought “why do this if you can’t bring your own, unique perspective to it?” So I do a lot of poking of fun at the British--or the English, I should probably say. But it’s good humored poking of fun. It’s poking of fun with love. Because I’ve always been an Anglophile. I’ve always loved English culture. But, you know, I think we can all admit--plenty of English who admit this today--there’s things that one could probably point at that are less than admirable in any society, and that would include English society. There were just so many opportunities that the whole “zombie” element provided, to open that up, and have some fun.


Cozy in Texas said...

Great interview.

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