Sephera Giron could quite aptly be dubbed the renaissance woman of today's culture in fiction writing. Between having several horror and erotica novels under her belt, her professional psychic interpretations, her presidency over the Ontario Chapter of the Horror Writers Association, as well her involvement in stage plays and sexually oriented cards, rumour has it that Sephera never leaves home without cape or whip tucked safely in her back pocket. Because we at Fear Zone know how to beg nice - how do you think I got this gig? - Sephera agreed to take her fingers out of all those pies long enough to type back to your's truly. Sephera spills her guts about her life's work, a few personal affairs, and confesses what it's like living inside such a beautiful dark mind. Check out her website for more info.

Seph, if there's one thing I've learned about you since we first met at a the Rue Morgue Festival of Fear convention last year, is you've got your hands in more pies than your fingers must know what to do with. Between your presidential role with the Ontario chapter of the HWA to being a novelist, an actor, dancer, a mom, professional tarot card reader and your involvement in the fine arts of Kama Sutra along with holistic certifications under your belt, calling you a bit of a renaissance woman would hardly be stretching the truth. What inspires you through everything you're involved in, and how do you balance it all without going completely insane?


Well, I suspect those that have to live with me would say that I am insane, but hey, that's the price you pay. I've always had a bit of Sally Bowles in me. "What use is sitting alone in your room, come hear the music play...Life is a Cabaret!" I should have been born twins or triplets because I have so many interests and each one is considered a full time profession by many. Writing, theatre, tarot, mom...I can't help it, I love life and I love the opportunities that life has to offer. There is so much to taste and see and experience and when I die, I'll still not have done all that I've wanted. Some of the things I do such as Chair of the School Council, Ontario Chapter Head of HWA and so on, I do because if I don't do them, no one else will. I have this weird sense of responsibility that the show must go on, and dammit, if I have to do it myself, then that's how it is.

As an adjunct to the subject of variety, let's talk about the writing. Although I've enjoyed novels of your's that are quite clearly hinged upon the framework of horror, these dark tales aren't the full scope of your writing muse when one considers the line of erotic tales. To ask a bit of a double barreled question here, how does this cross-over into the world of erotica affect your passion for horror - and perhaps vise verso - and how do your readers respond to the diversity of your working pen?

I've always had a lot of erotica in my horror. I've always been a very sexual being on paper, though in real life, I was likely perceived as a cold fish until I hit forty. One of the problems of being an intellectual, I guess. It took a physical man with a lot of passion to bring out my own passion in the flesh. That would be my fianc?. Until then, most of my energy was fueled onto paper. I don't consciously set out to write erotica or horror. I usually have some character dancing in my head that wants out. Where he or she takes me is almost always a surprise. Of course, if we're talking about contracted work, that's a different matter. My readers seem to enjoy wherever I take them. I think I have a reputation that if they read something by me, they can expect a bit of both. My contracted erotica work has a horror flair to it, though they weren't contracted as horror. I just can't help it!

Nor should you. Now, was horror or erotica your first true love as far as writing goes?

I've always written both. But if you go into the way back machine, my earliest scribblings were horror since I was only four. Those poor run over dogs and squirrels - what becomes of them?

In high school, I wrote a demonic possession tale loosely based on the Exorcist and my teacher thought it was well done but too melodramatic. The eyeball hanging out was over the top. Nowadays I'd likely get sent to counseling or something...

In University, I declared myself a horror writer to my creative writing class and learned that cliques and mockery occurs in University as well as high school. Horror writers were lower on the totem pole than romance writers. Poets were the top. Horror poetry was not palatable to my fellow students, but my teachers, one of whom was bp nichol, always seemed curious about what I would come up with next.

I think it's fair to say that you've managed to garner a considerable amount of success in an obviously male dominated industry when it comes to publishing horror. It's been my experience that women are just as adept at invoking fear in as men are, and in some instances, even more so. Do you think being a woman in this industry offers its own unique sets of challenges than your male counterparts, or is it always a matter of drive and talent regardless of which side of the gender fence you're sitting on?

I think that a good editor reads a story and picks the best one, regardless of the sex of the writer. In the actual industry, I don't feel much sexism either way. In the "world" though, I'll do signings and people think I write romance or that "girl horror" can't possibly be scary. It's frustrating and I don't know what to do to help people see that women are scary too without making cracks about PMS and menopause.

Why do you think we aren't seeing more women writers getting the same level of props as the guys are?

There are probably many reasons. Part of it is public perception that women aren't scary. Part of it is that there are less of us. I'm really not sure what the problem is because I've read some ladies that are far better than some men who are getting respect and recognition.

I made a reference earlier in regards to the sort of renaissance life style you're fortunate to be enjoying. To continue with that idea, while it's my belief that every writer is a philosopher in his or her own right, you take it a few notches higher with your studies and practices within the occult. If I may ask, how would you define your spirituality at this point in your life and career, and how might it relate to both your creative path and your work as tarot card reader?

I'm a believer that everything happens for a reason. I've had some stuff happen in my life I greatly resent but I still persevere. I think everyone is connected somehow and that there is definitely a Law Of Attraction. Where thought goes, energy flows. It can be hard to remember that when I'm feeling down, but I try to make a point every day to be grateful for something and to activate positive energy towards my future.

I read tarot online through my website or through www.keen.com. No matter how bad the cards may look, I try to put a positive framework for my readings. I hate it when I go to someone and they scare me or make me feel like a worthless idiot. So I don't do that to my clients. I don't lie either and say everything is hunky dory, but I try to approach readings with a model to heal and be pro-active.

In the books of yours I've read, dreams play a pretty significant role with your characters as a way of self discovery and overall character development. How relevant do you believe our dreams are in the waking world outside the play-land of good fiction?

It's funny how dreams always follow me around. I spent a lot of time studying dreams in high school and university. I think there are messages in there. I don't always remember new dreams, but some of them haunt me. Some are recurring. I use dreams in writing because they are a touch stone we can all relate to since everyone dreams. Now my youngest son is fascinated by dreams and is studying them voraciously. On top of that, we are both involved in a community theatre production of Joseph - the original dream interpreter!

Apparently one of my Finnish relatives was the local dream interpreter.

It all comes around in some weird circle.

Being in such close connection with your own sense of inner being, I suppose we shouldn't be at all that surprised about your involvement in Kama Sutra. Tell us, if you would, how you got involved in that and where it might take you in your professional life such as the work you did over the summer with the Kama Sutra Seduction cards I was lucky enough to peek at when we last saw each other?

The Kama Sutra Seductions Deck was the result of something else. It's one of those long round about stories that most professionals in the business have to tell.

My agent was trying to get me a Kama Sutra book with another company. I even flew to NYC for meetings. I researched and wrote proposals etc. However, in the end, the project was awarded to real sex therapists, which I totally get. I revamped the proposal and much later, yet another mutated idea emerged through a discussion with my agent and an editor. Kama Sutra flashcards! It was a fun project. I was flown to LA to pose the models since the Kama Sutra is so specific. It was fun to research the positions and decide what is actually doable and pleasurable. The deck includes 64 positions from easy to acrobatic.

I've wanted to talk to you about this next question ever since the World Horror Convention was hosted on Canadian soil in Toronto, Ontario. Sadly, life wouldn't let me attend although rumour has it that Canada made good stomping grounds for horror enthusiasts around the world, and I hear the combined HWA awards banquette was a hit. Why do you think it took ten years to get this event onto Canadian soil? I mean, should this pose a concern for Canadian horror writers in general, or maybe say something about where we might sit on the industry map of dark literature?

Well, the Festival of Fear, put on by Rue Morgue Magazine, is an ever growing convention and they get (literally) thousands of people coming through the door. F of F is combined with a couple of other cons but the exposure it great, the lectures well attended, and it makes Horrorfind look tiny. So, the enthusiasm and fan base is here in Toronto for certain.

To be perfectly honest, I couldn't believe some of what I heard before WHC and it mostly revolved around Americans not wanting to leave their own country: worries about passports, borders, how much to bring or leave, etc.

Canadians and Brits and others have been going to cons for decades and we take things like passports and duty and inspections as a matter of stride. It was mind blowing to me.

So for the first time, World Horror got out of the US. It is now going to be in Canada again but nowhere near Toronto. It would be nice to see it move out of North America to somewhere else in the world at some point.

Conventions are put on by hard working volunteer fans. People have to bid on running a con. So my hat is off to all people who have ever run a con no matter where it is. It's a thankless task!

Okay, as much as I'm inclined to ask you about the pros and cons of becoming an HWA member, I don't think that'd be a fair question to ask for our Fear Zone readers seeing as your answer may be a tad bit biased. However, what I will ask you about the HWA is this: In such a volatile industry as horror, which has certainly seen its lion's share up ups and downs, what do you feel is the importance of having an organized body like the HWA - besides the cool awards and bragging rights that are bestowed upon the finest writers in the genre each and every year?

Well, I've been a member of HWA for over 15 years. For me, as a newbie, it was about being part of club where I wasn't a freak. Times have changed, and with the internet, we all know that freaks are more common than not. HWA provides a way for new writers to hang out with established writers. I've learned a lot from HWA members over the years. Now I try to give back by running HWA and Friends parties for horror writers every couple of months. If I kept it to "just" HWA members, there wouldn't be many of us. But I invite all authors who may be in town that day. We just had one and I would say there were maybe five HWA members and about fifteen others.

HWA provides message boards for newer writers to comfortably chat with experienced writers. You can find out what normal pay rates are, find out which publishers to work with and who to avoid, mentor with an author, read the newsletter for market reports and the latest news. There are many benefits to joining HWA. Of course, these days, you can find out a lot of information on your own on the internet, but it's still nice to belong to a club. As well, if you are having a dispute with a publisher or editor, there is legal counsel available to members.

What changes or impact do you see the HWA having on the horror publishing community in, say, the next five years or so that's different than what genre enthusiasts may have expected in the past?

I'm not sure that it will have any new impact. I do know that after many years (in) hiatus, there are anthologies coming out again, and that's always exciting.

I can think of more than a few artists and writers alike who find that structured training courses geared towards their chosen craft are of little benefit and may even hinder the natural talent. Being that you've been there and done that by way of a creative writing program at the University of Toronto, what are your thoughts on the budding writers who're considering courses on writing rather than learning outside the classroom in the gritty trenches of trial and error?


Actually, I graduated from York University. I also took journalism courses at Ryerson after I graduated.

I stand by the rule that if you can write, you'll write, you don't need a course, a teacher, or a peer to tell you how to write a story.

However, you do need to know the rules and the language. You need excellent grammar, punctuation. You need to know basic standard formatting. You need to be well read in your field and be well read in general. You need to understand how to pace, how to tell a story, how to use setting, how to create a satisfying climax and resolution. Some people - very few people - are naturals, but most people need schooling, life experience, and strong work ethics of writing and rewriting.

I strongly recommend English, creative writing or journalism courses in post secondary education. You don't have to major in Creative Writing. I didn't. But you have to be well educated in the standards of language because competition is fierce. Yes, there are exceptions, there always are, but most people need to be educated to get ahead.

Thanks so much for taking time out of your crazy schedule to speak with us at Fear Zone today. Why don't we leave 'em hanging by having you tell us what we can expect from you as we prepare for another new year? Oh, and are those wedding bells I hear? (wink, wink)

Yes, you hear wedding bells. And boy, I wish I could invite so many more people then I can. But alas, I am but a lowly genre writer. Derek and I will be married on May 10, after a six year engagement.

I have some stories coming out in various anthologies this year and, as always, pushing book proposals.

Thanks again for giving Fear Zone a slice of your limited time. Now get back to work so we can get reading more of you!

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