Historical Spooky MG

Happy October, readers and writers!

This month, some of us here at Spooky MG have been talking about historical–or historical-ish–creepy middle grade books: why we write them, what we love about them, which ones are recent favorites.

Read on to find out what we had to say — and if you haven’t already, be sure to check out our *giveaway* of all of these marvelous historical MGs over on Twitter!

(To enter: Retweet the giveaway post and follow @spookymgbooks. Bonus entries for tagging friends! Open from 10/4 to 10/9 at midnight EST. Winner announced 10/10/20. US only.)

Janet Fox – author of THE CHARMED CHILDREN OF ROOKSKILL CASTLE and THE ARTIFACT HUNTERS

Why do you like to write historical spooky books?
I love historical books, and adding that spooky element raises the stakes to a whole new level. But, in fact, The Charmed Children of Rookskill Castle, my first spooky historical, became a historical work first and a spooky book second. It was an organic process of finding that I had an antagonist who was so evil that she took the story to a different level. In The Artifact Hunters, my second, because it’s a sequel I used many of the same elements (setting, time period, some characters) and so the spookiness was baked in. But I do love twisting historical elements (castles) with creepy ones (ghosts).


Tell us a bit about your book. What drew you to the period in which your book is set?
The Artifact Hunters (as well as Charmed Children) is set during World War Two. There are a number of things that drew me to that time period. First, I could separate the children from their parents during the London Blitz – because children were, truly, sent away during the bombing to keep them safe. Second, there have long been rumors that Hitler was obsessed by the occult, and wanted to use those practices to further his aims, and how creepy is that? And third, the threats to my characters could come both from the evil antagonist and the war itself.

What other historical spooky mg book would you recommend?
I recommend The Night Gardener by Jonathan Auxier. It’s one of the creepiest books I’ve ever read. Set in Victorian times it reads like a Poe story, with orphaned children, a terrible curse, and a terrifying monster. I loved every spine-tingling atmospheric moment.


Jacqueline West — author of THE BOOKS OF ELSEWHERE and LONG LOST (coming 5.11.21)

Why do you like to write historical spooky books? 
My books often begin with a setting. Locations—especially rambling, odd, old buildings—are irresistible to my writing brain. I want to wander around inside of them all, and explore every dusty nook and corner, and discover all the secrets of their pasts and presents. And when I write about them, I get to.

Tell us a bit about your book. What drew you to the period in which your book is set?
My first series, The Books of Elsewhere, was inspired by a strange old house in my hometown. While most of the story is set in the present day, the past is central to the book: The looming stone house that Olive Dunwoody moves into is filled with the history (and secrets) of the house’s former owners. Getting to unfold that history was one of the most exciting parts of writing the books. 

And my next middle-grade book, Long Lost (coming in May 2021!), takes place in an old New England town with a public library that used to be the home of a wealthy and mysterious local family. There’s a story-within-a-story in this one, so I got to explore the house and town as I imagine them today and as they were a century ago. The book itself is about how the past tangles with the present, and about how, even when people vanish, their stories can live on and on and on.  

What other historical spooky mg book would you recommend? 
Hoodoo, by Ronald L. Smith. It’s set in rural Alabama in the 1930s, and it’s the story of a twelve-year-old boy from a family of folk magicians who has to help his dead father’s spirit find peace while fending off a mysterious visitor called The Stranger. The time and place are so richly captured, and the whole thing is unique and deep and creepy and wonderful.  


Josh Roberts – author of THE WITCHES OF WILLOW COVE

Why do you like to write historical spooky books?
I believe history is all around us, and it affects our lives in a million invisible ways every single day. I wanted to explore this idea in my debut novel, The Witches of Willow Willow Cove, which is a contemporary story that’s centered around a historical mystery tied to the Salem Witch Trials. I think the more we understand what has come before us–and why it happened–the better we can understand the context of our own lives. Plus, the mysteries of the past are just incredibly fun to write about!


What drew you to the period in which your book is set?
I was born and raised in New England just a few towns over from Salem, Massachusetts. Growing up, the Witch Trials were always a big part of our local lore. I remember learning about that period as a kid growing up in the 1980s, and then discovering that the witch scare extended far beyond Salem and even into my own home town. When I set out to write The Witches of Willow Cove, I drew upon my memories of a contemporary childhood and what it was like to discover my town’s ties to this very dark period of local history. From there it was an easy step to imagine modern day kids like my main character, a seventh grader named Abby Shepherd, discovering even deeper ties to the Witch Trials and how that might affect her life in exciting and unexpected ways. 


What other historical spooky mg book would you recommend? 
My go-to recommendation is The Secret of Nightingale Wood by Lucy Strange. It’s a beautiful story of friendship, trauma, and recovery set against a backdrop of ghostly woods and spooky old houses in WWI-era England.


Angie Smibert – author of THE GHOSTS OF ORDINARY OBJECTS series

Why do you like to write historical spooky books?

I love historical books—with a twist. The history is certainly fascinating itself, but I’m really a spec fiction writer, so I like a little something else going on, such as a good ghost story or a bit of magic or magical realism. The spooky element raises the stakes and just generally makes the story more interesting.

What drew you to the period in which your book is set?

The setting drew me in first. The Truce—and the whole Ghosts of Ordinary Objects series—happens in a small coal mining community in Southwest Virginia. The place is loosely based on McCoy, Virginia, where my mother and her family (and several generations before her) grew up.  I set the story in 1942 because this was the peak of the coal mining in our area—and yet it was also a time of great change. The US was fully involved in World War II by that time. Men were leaving the mines to fight in the war. Rationing had started. Women were working in factories. People were dying. This was the perfect time period for a protagonist who wants everything to stay like it had been. (Be cruel to your protagonists!) And my protagonist, twelve-year-old Bone Phillips, is going through a great change, too. She discovered her Gift, the ability to see the ghosts inside ordinary objects, and she was not happy about it!

This is a place that doesn’t really exist anymore. After the war, the mines began to shut down, really changing everything. Now you can drive through the area and never realize there were once coal mines there.

What other historical spooky mg book would you recommend?

I loved The Assassination of Brangwain Spurge by MT Anderson and Eugene Yelchin, so I decided to look up some other things Yelchin had written. Delightfully spooky and a little offbeat, The Haunting of Falcon House is set in late 19th Century Saint Petersburg, Russia. Young Prince Lev, a budding artist, must leave his mother to take up his noble duties at Falcon House. There he discovers a dreadful family secret in this haunted mansion that makes him question his role and the aristocracy. The book includes many of the Prince’s drawings.


To win a copy of each of these books — THE ARTIFACT HUNTERS, THE BOOKS OF ELSEWHERE, VOL 1: THE SHADOWS, THE WITCHES OF WILLOW COVE and THE TRUCE, *PLUS* our recommended titles, THE NIGHT GARDENER, HOODOO, THE SECRET OF NIGHTINGALE WOOD, and THE HAUNTING OF FALCON HOUSE — make sure to find us on Twitter: @spookymgbooks.

Happy reading!

Toying With Spooky Stories: A Writing Prompt

Let’s just be honest: toys are creepy.

Our stuffed animals stare at us with their button eyes while we sleep, and we can’t be completely sure they stay where we put them. Dolls? Equally freaky, if not more so. Puppets? Stop. (There is a reason the villains in my first book were evil puppets.)

Canva - Fluffy Stuffed Animals
They like to watch you while you sleep.

So it seemed only fair that when the kids in Twist, my book that comes out this month, had a bunch of monsters to defeat, they’d use toys to do it. It’s about time toys pulled their weight.It was a lot of fun, actually. Toys lend themselves well to weaponization. What parent hasn’t stepped on a Lego during a midnight bathroom trip and been convinced they were going to lose their foot? And there’s no alarm system as freaky as a Speak and Spell that accuses you suddenly out of the darkness. We all understand why Kevin McCallister used paint cans as booby traps in Home Alone…they’re heavy. But toys…toys are diabolical. They bring a level of psychological warfare to the table that’s hard to beat.

I mention this because while I love inventing creatures both friendly and foul, my favorite trick is presenting the commonplace, slightly askew. Familiar objects can send chills down your reader’s spine in the right context. That’s why the little wind-up primate with his clashing cymbals is so horrifying in Stephen King’s short story, “The Monkey.” It’s why a trail of Reese’s Pieces can lead to almost-unbearable levels of tension. And it’s why the juxtaposition of a Dungeons and Dragons miniature with a real-life danger doesn’t minimize the threat for the viewer, but gives them a focal point that makes them even more nervous.

Canva - Brown Haired Female Doll
She’s sad because you won’t share…your soul.

Familiar objects like toys are wonderful elements in a scary story, specifically because they’re so benign…until they aren’t. Once you’ve noticed how not-quite-right they are, you can’t unsee it. I know, this is a terrible thing I’m doing to you right now, but I am, after all, a spooky author. It’s literally my job. Of course, turnabout is fair play. So…

The next time you pick up your pencil (or ask your students to pick up theirs) why not pose the challenge of making a beloved childhood toy scary? If that doesn’t float your boat, if you really truly won’t be happy unless you can create a monstrous threat, see if your characters can solve that larger-than-life problem with household objects so basic, they’d normally overlook them completely. Especially if they’re toys! I guarantee good, spooky fun…besides, you’re already halfway there! Admit it: the Elf on a Shelf freaks you out.

Doesn’t he?

Canva - Grayscale Photo of Giraffe and Monkey Plastic Toy on Floor
Start here: the monkey is waving at…

 

 

DEFEATING YOUR FEAR OF WRITING

black and white blur close up fingers

“Fear is a steal trap,” Gran advises Evangeline, the heroine of my debut middle grade novel. EVANGELINE OF THE BAYOU is the story of twelve-year-old Evangeline Clement, a haunt huntress apprentice studying the ways of folk magic and honing her monster-hunting skills. As soon as her animal familiar makes itself known, the only thing left to do is prove to the council she has heart. Then she will finally be declared a true haunt huntress. Of course, things do not go as planned for Evangeline. And when she and her grandmother are called to New Orleans to resolve an unusual case, she must summon her courage to defeat a powerful evil that’s been after her family for generations.

Gran goes on to warn Evangeline, “Fear keeps you from moving forward. It binds up your courage as well as your smarts.” These wise words of Gran’s hold true for nearly any situation we encounter, whether it be hunting monsters or writing essays.

As the leader of a local writers group for the past dozen years, and having been a member of numerous critique groups, I’ve learned that one thing we creatives all have in common is fear. And we have a lot of them, like: showing our writing to family and friends, getting our work critiqued by other writers, not knowing how to begin our stories, not knowing how to end our stories, or not being able to come up with any new ideas. But one of the most common fears I’ve seen is that of simply getting started, rallying the courage to just jump in and begin the writing of that novel, memoir, or short story. I call it “freezing on the high-dive”. Taking that initial leap can be scary, but it doesn’t have to be.

After discussing this topic with numerous fellow writers over numerous coffees and teas, I’ve come to suspect this particular fear stems from the mistaken belief that we have to get our words right the first time, that somehow a perfect stream of brilliance must flow straight from our head and onto the blank sheet of paper. This unrealistic expectation can lead to a lot of frustration and writing resistance. Fortunately, there are a few easy techniques writers of any age and any writing level can incorporate to defeat their fear of writing and get their words moving forward. These simple tips can be applied to everything from the writing of novels and essays, to the writing of thank you notes.

The first step is to think of the writing process as one that uses two distinct parts of your brain: the creative side and the editorial side. Going into a project while trying to use them simultaneously is when many of us run into trouble. The two parts do not play, or work, well together.

Once you’ve accepted the fact that you’ve essentially just carved your brain into two halves, the next step is to hush that editorial side. Reassure it that it will have its turn to make corrections and clean things up later, but for now it’s Creative’s turn to play. Allow your imagination to run wild and free. Let go of rules and logic. There are no right or wrong ideas in this phase of your project. Don’t worry about choosing the perfect word, and don’t worry about things like spelling and punctuation. That’s Editor’s job for later on.

If you’re still having trouble coming up with ideas, here’s another helpful tip: just start writing. Write anything, even if it’s simply the words, “I don’t know what to write.” There’s something almost magical about the act of putting pen to paper, or fingers to keyboard, that gets the creative tap flowing. Taking away all those expectations of perfection will conquer that fear of not being able to think of anything to write.

Now that you’ve got some great ideas and images, and maybe even some really cool lines of dialogue, let your creative side take a rest. This is the time to set your internal editor free. Allow it to get to work picking and choosing what elements to use, what order to put them in, and making sure the grammar, spelling, and punctuation are all up to snuff.

This is the technique I used while writing EVANGELINE OF THE BAYOU, and I’m using it now as I work on the sequel. Keeping the creative half of my mind separated from the editorial half has helped me defeat my fear of just diving into the writing. It’s helped me overcome my worry that my writing is too sloppy, nonsensical, and filled with mistakes. I know that by setting my creative side free to do what it does best, it’ll provide me with fun, fresh, and unexpected ideas. Sometimes it delivers more ideas than I can use, or ideas that are in need of further research and tweaking, but that’s okay, because I know I’ll soon be unleashing my editorial side to make my words all shiny and clean.

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