But the real scary thing is the dummy itself. The typical vent dummy thing is the splintering of the ventriloquist’s personality. Put simply: ventriloquist dummies freak me out. My protagonist is very much isolated…by fear, by unreality, by her own disbelief. At first glance, Puppet Graveyard does not seem to be that kind of story at all. The psychology of isolation and interpersonal relationships undergoing high, life-threatening stress really gets my blood pumping as a writer. I like putting characters in isolated situations where they have to rely on each other to survive. What central themes do you like to explore? Speaking of your wide-ranging taste in horror, you’ve written Fear Me, The Underdwelling, Puppet Graveyard, and the forthcoming novel Long Black Coffin for DarkFuse, and they’re all very different books. But as to who has actually influenced me, probably everyone. I like everyone from Gary Braunbeck to James Herbert, Thomas Ligotti to Matt Costello. I always have trouble answering this one. I wrote sporadically for years, but I didn’t really get serious until I was 27 or 28. I think the plot came as the result of watching a lot of film noir and spending Saturday afternoons with those Grade-Z Monogram flicks with Bela Lugosi. It wasn’t very good, but I had fun writing it. It was a horror story about a hardboiled detective who learned that gangsters were using zombies as hit men. I wrote my first story when I was in seventh grade. When did you first realize you might want to be a writer? Tim Curran, you’ve been relatively prolific over the past 20 years.
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