Jeremy Thompson is a new author of horror, science fiction, and bizarro fiction. In addition to The Phantom Cabinet Thompson has also published "The Fetus" and Other Stories a collection of short bizarro and horror stories. His work also appears in Into the Darkness: Volume One. If you haven't read our review of Thompson's book make sure to read that as well.
A.S.O.H: How did you get started in writing horror and bizarro fiction?
THOMPSON: My first attempts at writing horror occurred as school-assigned creative writing exercises, short stories that I’ve mostly forgotten. In later years, my obsession with the genre compelled me to write short stories and novels, some of which have seen print.
I began dabbling in bizarro fiction back in 2008, when I self-published a six chapter (plus epilogue) webcomic called The Fetus. At the time, I was unfamiliar with the bizarro genre, so I found it hard to classify the comic. It wasn’t quite horror, and seemed too gross to label fantasy, so I generally avoided speaking of it. Eventually, I rewrote the narrative as a novella, which headlines my Kindle collection, The Fetus and Other Stories.
A.S.O.H: How did you come to publish your novel with Necro Publications?
THOMPSON: My first fiction sale was to Necro Publications: the short story, “Sacrificial Version,” which closed out their anthology, Into the Darkness: Volume One. Figuring that I had my foot in the door there, I sent Necro Publications the novel’s original manuscript (back when it was still titled Spectral Satellite Transmissions) as soon as I’d finished editing it.
Wisely, David Barnett rejected that initial manuscript. But unlike every rejection that I’d received up to that point, he informed me that I could resubmit the story, provided that I addressed a couple of concerns that he had with the prose. And so, following another edit that reduced the manuscript from around 95,000 words to just over 73,000, I resubmitted it, and earned an acceptance letter.
A.S.O.H: What was it about The Phantom Cabinet that drew you in and compelled you to write it?
THOMPSON: I first conceived of The Phantom Cabinet back in 2002, after a night of binge drinking, as I attempted to stop a spinning bedroom by mentally erasing its walls and ceiling, so as to view the starscape. I liked the idea of an afterlife that had nothing to do with heaven and hell, and a ghost story told from a cosmic perspective. For years, the amount of research needed to write the novel intimidated me, so I focused on composing short fiction, as well as an earlier novel that has yet to see print. But even as I wrote those, my mind repeatedly returned to The Phantom Cabinet. Its embryonic ghosts and plot points developed over the course of a decade, until I finally began the manuscript in 2012.
A.S.O.H: What steps did you take in planning the science and supernatural lore that appears in the novel?
THOMPSON: Before starting The Phantom Cabinet, I spent considerable time researching space, spaceflight, satellites, and hospitals. When I finally began writing it, I had around 150 pages of notes and diagrams, which I consulted as I worked.
As for the supernatural lore, I immersed myself in poltergeist fiction to develop it, ranging from the Victorian-era prose of M.R. James and Robert Chambers to films such as The Phantom Carriage and The Entity. I wanted to imbue the novel with a timeless quality, so I drew influence from throughout the history of ghost stories as I wrote it.
A.S.O.H: In what ways does the main character of The Phantom Cabinet, Douglas, resonate with you? How will readers relate to him?
THOMPSON: To give the novel verisimilitude, I set the bulk of the narrative in Southern California, where I have lived for much of my life. Additionally, some of Douglas’ experiences were variations of my own childhood experiences, so Douglas Stanton resonates with me because I’m reflected within him.
I believe that readers will relate to Douglas because he fulfills the ostracized kid archetype. Every school has its outcasts. But what if the fate of existence rested on one outcast’s shoulders?
A.S.O.H: You had quite a few well written scenes of horror and violence? How do you feel about violence and gore in fiction? How did you balance compelling drama with horror in The Phantom Cabinet?
THOMPSON: Generally, I prefer for violence and gore to be a means to an end rather than the entire focus of a story. I don’t mind a bit of torture, just as long as there’s a point to the tale beyond human suffering.
To balance out the drama and horror in The Phantom Cabinet, I juxtaposed the most sadistic of poltergeists with a somewhat relatable coming-of-age story. While there’s plenty of supernatural violence contained in the novel, readers also follow Douglas from birth to young adulthood, with all of the awkwardness and hormones that entails.
A.S.O.H: What are some of your inspirations as a writer? Any authors who you admire and/or try to emulate?
THOMPSON: As a writer, I draw inspiration from many sources, including books, comics, music, films, television, and boring ol’ ordinary existence. While there are many authors whom I admire, some of my favorites are H.P. Lovecraft, Grant Morrison, Stephen King, Alan Moore, Thomas Ligotti, Bentley Little, Peter Straub, J.D. Salinger, Peter David, Chris Claremont, Clive Barker, Warren Ellis, Jonathan Hickman, Michael Marshall Smith, Robert McCammon, Ray Bradbury and Richard Matheson.
A.S.O.H: Finally, is there anything you want readers to know about The Phantom Cabinet?
THOMPSON: The Phantom Cabinet isn’t your average ghost story. Sure, there are plenty of poltergeists, but the novel goes far beyond standard hauntings, from satellite-propelled spirits into a new sort of afterlife.
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