With the Romero zombie, you usually did not have a reason for the infection, the plague, the virus, whatever it's called.
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When I was twelve, Uncle Randall looked up long enough to see that I was a reader as well, so he walked me down his hall to a linen-closet door and opened it up onto a wall of paperbacks. There were books behind books, as deep in as I could reach. He told me to take three, and when I was done, bring them back and take three more.
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In the fast zombie stories, it's not our humanity that is at stake anymore. It's our survival.
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We watch a romantic comedy because we want to cry, say, or an action movie so we can participate in heroics. Horror's different. It can hit you with a moment of revulsion so hard you might want to erase the last five minutes of your life, please.
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Neal Stephenson handles exposition better than anybody else. I keep trying to learn his tricks, but every time I duck into his pages, I get lost in the stories all over again and forget that I'm a writer.
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You have to want the haunted house to scare you. It completely steals your money to go through with one of those people who shrug it all off, who touch the monsters' faces to show they're fake.
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Some people are born for Halloween, and some are just counting the days until Christmas.
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I see so, so many novels written by people who are obviously short story writers. What they end up doing, it's going the full distance, covering three hundred pages or so, but they do it by just writing five or six long stories, and weaving them together, making them interdependent.
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With slow-moving zombies, what always comes at stake is our humanity.
