Stephen Graham Jones

. . . what I told Malory happened next is that when he looked over at her then it was like he'd been waiting a hundred years to see her, and this crazy ass Ledfeather girl all the way from Standing Rock, she looked off after the elk and then back at Doby through her hair, like she'd maybe been waiting for him too, but was scared a little, wanted to be sure, so Doby opened his mouth and said her name across the backseat of Junior's cab, Claire, like a flower opening in his mouth, and she held her lips together and nodded thank you to him, yes, thank you, and then swallowed what was in her throat and just let the sides of their hands touch together again some like it didn't really matter.But it did.

He stood over her for as long as he could endure the cold, long enough for the boy tending the dead to pass twice on fingertips and toes. The boy's self-appointed mission was to keep all of their eyes closed, the dead. Otherwise he couldn't sleep, the boy. But he never did anyway, as far as the Agent could tell. Any hour, there he'd be, scuttling from body to body under his calf robe. Many nights when the Agent locked his door, it wasn't to keep the Piegan from stealing his tins and blankets, but to keep the boy's hands from covering his own eyes.

Could feel the reservation wheeling around him, changing shape so that he nearly had to vomit, or hold his arms to his head and scream against it all.

Claire.It was the last candle left within the Indian Agent. The last glimmer.He curled himself around it to keep it alive, and when the storm inhaled he studied his right hand, could feel her beside him in the carriage that night and, as if he could insist on this, looked up the depression he was calling a road, for the cabman's blindered horse, huffing through the snow, its lanterns swinging. Claire waiting for him on the worn velvet seat.

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.

Vampires have become tragic or romantic figures. Vampire are largely seduction tales. They're no longer the scary creature in the dark.

Making people laugh is so much more difficult than making them sad. Too much fiction defaults to the somber, the tragic. This is because sad endings are easy in comparison - happy endings aren't at all simple to earn, especially when writing to an audience jaded by them.

Some people are born for Halloween, and some are just counting the days until Christmas.

The way humor's usually used in horror, it's as a pressure-release valve; without it, the drama would escalate out of all control almost immediately.

I'm all right," I told her. This is a lie, when you're twelve. And all the other years, too.