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Stephen King adaptations are the very definition of “hit or miss.” For every Carrie, The Shawshank Redemption, and The Shining (1980), there’s a Graveyard Shift, Dreamcatcher, and The Shining (1997). Especially worrisome are those movies that take only a sliver of King’s original work and then set out on their own, as was the case with The Lawnmower Man. 

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I’ve been having a lot of discussions about gender and sexuality lately, and as a new mom (and a cisgendered woman), it’s something I’m hyper aware of now that I’m raising a little human, one who I forever want to be supportive of and able to intelligently talk to and interact with. As such, I’ve been reading a ton, not only for her, but because I want to be a source of comfort and allyship for my students and for those around me in my community.

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A few years ago, as I was on a Blue Line train on my way to the loop in Chicago, I was reading Tade Thompson’s Rosewater (Apex, 2016) and listening to Hole’s Celebrity Skin (DGC, 1998). At the exact moment that I read the phrase “all dressed in white” on page 57 of Rosewater, Courtney Love sang the same phrase in my ears on the song “Use Once & Destroy.” 

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If you were a teenage girl in the 90s, you were either a Vampire Girl, a Witch Girl, a Horse Girl, or you were popular. Suffice it to say, I’ve been wanting an adaptation of Anne Rice’s Lives of the Mayfair Witches trilogy since before I had a driver’s license. But even as a 90s weirdo tween, I still understood that the book was so long the story would be unadaptable. 

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Writing, like any other skill or talent, can be a family affair: The Bronte sisters; David & Amy Sedaris; hell, the majority of Stephen King’s family (his wife Tabitha, his sons Owen and Joe).  

I write about slashers and people being transformed into carnivorous lakes. My daughter, about to turn 12 and referred to as The Bug in all public forums, seems to be following in my footsteps—she’s in the middle of writing about attacking zombie pickles and a variation of Grimm’s Fairy Tales.