This installment of SCREAMING SPOTLIGHT is focused on writer Daniel G. Keohane. And this interview actually coincides nicely with the release of his first novel, SOLOMON'S GRAVE (published by Dragon Moon Press). I first met Dan at a convention back in 2000, and we became fast friends. Since that time we've collaborated on a short story called "Mermaids," which appeared in Cemetery Dance Magazine in Issue # 46 (October 2003) and we're currently finishing up work on a new novella. Aside from sometimes writing together, Dan and I are also currently the co-chairs of the NEW ENGLAND HORROR WRITERS.

In celebration of his new novel, Dan and I sat down and had a little chat.

LL SOARES: Okay, let's start at the beginning. What made you want to become a writer? How early did you start writing?

DANIEL KEOHANE: Oh, I've always wanted to be a writer - since childhood. I used to love those classes in school where we'd read short stories and pick them apart, coming up with deep meanings which, in retrospect, I'm certain the authors never intended. Problem is, I had zero self-confidence, and was too terrified to try my hand at it until my twenties. I'd started a writer's group in Worcester with fellow writer Fran Bellerive and things began to take off from there. I can't imagine not writing now. I get very cranky if I go too long without it.

LS: What was your first professional sale?

DK: My first pro sale was a Christmas horror story, "Tanner's Bomb." I sold it to Gothic.net. I miss that webzine, had some very cool stuff in it. I'd made a few sales before that, all of which I still relish.

LS: Yeah, I miss those days. Gothic.net was a pretty great webzine back then. So, what authors influenced you growing up?

DK: Ray Bradbury, first and foremost. Fahrenheit 451 was one of the first novels I read. Also - though I hadn't known it at the time - Richard Matheson. Not only had I learned, decades later, that we wrote most of my favorite movies and TWILIGHT ZONE episodes growing up, but also a bunch of short stories I'd read in school. Unfortunately, growing up I wasn't much of a reader - didn't have a very good attention span. After college, authors like King, Koontz, Card and LeGuin were some major influences.

LS: Did movies influence you as a writer? If so, which ones?

DK: Oh, definitely. Like most writers of my generation, Creature Double Feature on Channel 56 was a Saturday afternoon staple. Then there were the late nights with my little black and white TV turned way down beside my bed, watching whatever scary movie I could find. In my teens we got cable in town, and I discovered a world of movies (and I'm not talking about the French Canadian channel with the dirty movies.. Ok, maybe not JUST that). HBO was my fount of fear: THE CAR, for example, and what's that one where the guy gets thrown out the window at the end and smashes face-first into the windshield as his family looks on and screams? That one... watched that one a lot. Honestly.

LS: You and I once collaborated on a short story ("Mermaids," Cemetery Dance # 46), and are currently joining forces again on a new, double-secret novella. What are your thoughts on collaborations in general? Is there a right way and wrong way to go about it?

DK: There's probably not a right or wrong way to go about it, as long as both writers lay out the ground rules ahead of time. For "Mermaids," I think I started the story then passed it on to you. You changed whatever you wanted, added more, sent back to me, and so on until the story seemed done. We then discussed what worked in the story and what didn't. You and I are both Type A when it comes to writing, but instead of causing strife, it kept us honest. I had a bizarre direction I was heading at one point, you e-slapped me upside the head and we discussed where to go instead. I didn't like the ending and suggested we change it, and you agreed. In the end, we had a strong story. Aside from some up-front time spent outlining the general plot, the novella we're wrapping up now was done much the same way.

A key component of collaboration, though, is in revision. Each should revise / edit the entire story, beginning to end, not just their own parts. After a few drafts the "voice" in the story becomes consistent, a blending of both writers' styles.

Other collaborators might choose a different route: one has a story that hasn't sold, and gives it to someone else to gut and rewrite; someone outlines an idea for a story and the other writes it; both writers sit in a room and write it together. It's trial and error, but again as long as both writers agree up front what the rules are and don't break them, and don't let egos get in the way, it can be an enjoyable time.

LS: Tell us something about your new novel SOLOMON'S GRAVE.

DK: SOLOMON'S GRAVE has just been released from Dragon Moon Press, which has both a Canadian and US distributorship. This seems fitting, since SOLOMON has seen print in both Italy and Germany over the past couple of years. A few years back, I wrote a novel-length version of a short story called "Lavish," a modern take on the Great Flood. Born and raised Catholic, I found mixing horror with Christian themes a fascinating experiment, so much so that when I was ready to start a new novel, I picked up the family Bible, closed my eyes, and randomly opened a page and pointed. The passage about King Solomon's fall from grace after building a temple to the demon Molech for one of his wives (who happened to belong to a sect called the Ammonites)is the one I landed on. This eventually led to SOLOMON'S GRAVE, where for thousands of years a group of Ammonites keep trying to get their hands on Solomon's stuff, specifically the Ark of the Covenant. Problem is, no one knows where the Ark went to (I'll give you a clue - it's in Massachusetts). I had to do quite a lot of research behind this one, from the strict rules surrounding how the Ark can be handled to historical details surrounding the sacking of Constantinople in 1204, to the day-to-day goings on in the life of a Baptist minister. It was a lot of fun to write, and I hope that came across in the book itself.

LS: But SOLOMON'S GRAVE wasn't your first published book, that would be your short story collection, CHRISTMAS TREES AND MONKEYS. That's a pretty unusual title for a collection of horror stories. Can you tell us something about that book?

DK: Well, back in 2002, I'd started to gain some success with my short stories, having done well enough to gain active status in the HWA and SFWA, and building up enough of an inventory of published pieces to consider putting a collection together. Two problems got in my way - the market for collections from relative unknowns was pretty bleak, and I'm a terrible procrastinator. My sister Anne had been diagnosed with Multiple Sclerosis, and I decided that putting a collection together might be a good way to raise money for the MS Society, so I made the decision - right or wrong - to self-publish the book. I really only had two goals for myself: put my early works together into some permanent form for posterity, and raise some money. The critical acclaim it received was a nice touch, and just added to the enjoyment of the process. To me, one of the best aspects of the collection is the introductions I wrote before each story, discussing their origins. Still makes me laugh - yea, I'm my best audience.

LS: What is your writing routine like?

DK: With three kids between the ages of 12 and 17, weekends are never my own. But if I'm being good, I write every day at lunch (still have that day job). I take my laptop and head to the cafeteria (or stop in at a bookstore), and spend an hour writing. I can usually get through 1500 words of a first draft with every sitting. The trick is to open the file and get writing. I never look back, meaning I write the first draft all the way through, and only then go back and revise. And revise. And revise. Most stories, and novels, go through at least six revisions before anyone sees anything - and someone always does. Proofreaders are a writer's friend, and if you think you can send something out to an editor without having someone you trust read through it first, to tell you where you fell down and went boom (hey, I told you I have three kids), then you're in for a rude awakening. Just make sure it looks perfect before you let anyone read it (trust me, it won't be perfect, but at least you gave it your best shot).

Anyway, for novels, I used to write like mad, and outline as I go, but I found that I'd get stuck a lot. The last two novels I outlined first - really nothing fancy, just free form writing, "this happens then this happens then..." I find I always have something to write when I sit down. I change the outline often, never letting it restrict what happens as I write, but at least it gives me a general road map. The surprises in writing, when characters "don't do what I expect" is still a joy and I'd never let that be compromised. Easy enough to change an outline, after all.

LS: Give us the lowdown on what to expect for the future from you.

DK: A nervous breakdown, most likely. But if that doesn't happen, the book I wrote after SOLOMON'S GRAVE, called PLAGUE OF DARKNESS, is coming out in Germany this fall from Otherworld Verlag. Hopefully it'll sell here in the US soon, along with my other novel MARGARET'S ARK (the modern Great Flood thing mentioned above), and the one I'm working on now, a science fiction novel called PLAGUE OF LOCUSTS (have you noticed a theme in my long-form writing?)

As far as short stories, three bits: my story "Box" has just been released in the anthology COACH'S MIDNIGHT DINER: BACK FROM THE DEAD EDITION; "Living by the Highway" is appearing any day now in the next Cemetery Dance Magazine, and "Family at Dinner" in issue #6 of Shroud Magazine (in which you also have a story appearing, right LL?).

LS: Yeah, it's always cool to share a magazine with you.

Okay, so if you could have any superpower, which one would you choose and why?

DK: When I was a kid, I always wanted to be able to stretch like Mister Fantastic (and not just for the obvious male-centric reasons). I'd love to fly, but every time I flew in my dreams I'd end up getting too high and freak out, or I'd crash into a house. Naw, stretchy is the way to go.
LS: You've touched on this a bit already, but do you notice any recurring themes in your writing?

DK: For my short stories, no. I tend to write straight-forward horror, with some delving into the surreal now and then. For my novels, just look at those titles above. I definitely seem to enjoy mixing religion and horror. Of course, talk about limiting your marketing niche. Still, not a lot of competition, I suppose.

LS: One final question. Do you think Smurfette is sexy?

DK: The only thing that I find LESS sexy than the Smurfs is the inside of a green pepper.

LS: Well, I for one find the inside of a green pepper to be rather pleasant. As we wrap this up, do you have any links you'd like to share with the readers?

DK: Sure. First of all, there's my Web site: www.dankeohane.com and then there are the links to the books:

TO ORDER SOLOMON'S GRAVE

TO ORDER CHRISTMAS TREES AND MONKEYS

LS: Well, thank you very much, Mr. Keohane. And I wish you much success.