Kenneth W. Cain on Baba Yaga, The Dark Tower, and Bringing Monsters to the Western Frontier

The horror author and editor-in-chief of Crystal Lake: Torrid Waters reflects on his influences and upcoming projects.

Kenneth W. Cain is an author of horror and dark fiction, as well as a Splatterpunk Award-nominated freelance editor. Having Served as the publisher and editor-in-chief at "Crystal Lake: Torrid Waters", Cain is an Active member of the Horror Writers Association (HWA) and a Full member of the Science Fiction and Fantasy Writers Association (SFWA). With over one hundred short stories and thirteen novels/novellas to his name, his works have been published by publishers such as Crystal Lake Publishing, JournalStone, and Cemetery Gates Media. Additionally, Cain has edited ten anthologies, with more forthcoming.

Where are you from and when did you first start writing?

I grew up in the Midwest, outside Chicago in the suburbs. I guess I’ve always been a writer, from Garfield comics a friend and I used to pen and write for our own amusement as grade schoolers, on through the rest of my schooling and beyond. I guess I’ve never really thought about it much, but I’ve always loved to write. 

How did you first become interested in writing in the weird western genre? What drew you to this particular blend of genres?

So, that one’s a little more difficult. I grew up in the ‘70s, and truth told, TV wasn’t near what it is now. Everything had some level of static, and you had to have a heavy hand when the screen went all angular. But one thing you did have a lot of was Westerns. And my dad loved every single one of them. I suppose my roots are there, in those shows and movies. But it wasn’t really until King’s The Gunslinger came out and I read it that something really ignited in me. I’ve always loved playing in that world. That’s why, when Brigid Gates came to me asking if I wanted to edit a Western anthology, I was all in.

Can you describe the defining characteristics of weird western fiction for those who might be unfamiliar with it?

Well, I think the most interesting and intriguing characteristic is the lack of any modern technology. You don’t have to worry about cell phones or TVs or anything like that. It was simpler times, with more mythical creatures, so there’s a lot of room there for all sorts of creations. Plus, you have the good guys and the bad guys, and there’s some blurry lines there to play with. Case in point, see the movie Cowboys & Aliens.

How do you approach world-building in your weird western narratives? What are some key considerations when creating an alternate or fantastical version of the American West?

For me, I want to stay faithful to the period, but at same time, respectful of the people. There’s a lot of bad things that happened during those days. That doesn’t mean we have to ignore it, but we can respect it and treat it with such.

How do you balance historical accuracy with creative license when writing in the weird western genre?

That really depends on the story, yes? If we’re telling a fictional story about a monster, I try to stay true to the period but allow lots of license in regard to the monster. Aliens might have tech far beyond what they understood back then, so you can’t just ignore that. This is one thing the movie I mentioned above got right.

When writing, do you find yourself pulling heavily from your own life, or do you find yourself trying to escape it and write something completely different?

A little of both. People see me, and I’m quite certain they always think, Hey, that’s one big scary guy. But I wasn’t always “big.” That happened later in life, after a long pattern of near daily bullying. So, I like to draw on those emotions a lot—both the bullying and being viewed as some sort of Shrek-like ogre. Neither makes me feel so good, so it’s a bit cathartic. That’s how I work through it.

Is it comforting to write in such an esoteric genre, or do you feel the pressure of the “weird west” aficionados?

I follow the words of my wise and beautiful wife to the T and “just do what you love and write.” Cheers and jeers, awards, reviews—all of it is a distortion, as Jimi Hendrix put it. It’s great t be recognized, but it isn’t a need. And I treat criticism the same way. I guess that’s how I became an editor as well; because I paid attention to the feedback but didn’t take it personally. That isn’t always easy, but I also think a lot of writers struggle to see editors aren’t “against them.” They’re on the same team. Same with most readers. If we’re on the same team, it’s a little easier to see they’re just trying to help you be a better writer. 

Can you share any insights into your creative process? How do you develop your characters and plotlines?

I have notes everywhere. Tons of them. And I rarely look at any of them. They’re just all stuck up in my craw, jostling around in there like the ping-pong balls in the Powerball drawing. Occasionally, I hear a single voice that’s louder than the others, and that’s the story I tell. As to where those ideas come from—everywhere, anything, anyone, at any time. People. I’ve seen some strange things, and so I do my best to tell you what I saw.

Dialogue is a crucial aspect of any Western narrative. How do you ensure that your characters’ speech feels authentic to the time period while still being accessible to modern readers? Remember that M. Knight Shyamalan commercial where he’s just sitting there listening to people? Well, that’s what I do; I listen. A lot. Everywhere I go. And I jot down notes. Then I attempt to do something Peter Straub said: I try to remove as much of myself from the story as possible. But it’s something I’m always working on, always improving, always refining. I’m never satisfied with my craft.

The genre of weird western offers a unique opportunity to subvert traditional Western tropes. How do you challenge or reinvent these tropes in your storytelling?

Well, like I said earlier, there’s a lack of technology in that period, and that opens many many doors. As does the mythology of the time, how someone might have seen something (a common creature for instance) and describe it afterward. It’s a fun sandbox to play in.

Are there any particular authors or works within the weird western genre that have inspired or influenced your writing?

Definitely King. But also, Ronald Kelly.

Do you have any advice for aspiring writers interested in exploring the weird western genre?

Do your research. Don’t be lazy about it. Tell a “real” story that’s also fantastical. Have fun with it and don’t get discouraged. Follow my wife’s advice—do what you love. 

In one of your bios you said you were inspired at an early age by Baba Yaga folklore. Have you had a chance to integrate that character (or similar aspects) into your writing?

Oh my, yes. I heard a story about Baba in 3rd grade, and it’s stuck with me ever since. And I did pay tribute to that in my short story collection, Embers, in a story titled “Buried Beneath the Old Chicago Swamp.”

You’re an active member of the Horror Writers Association, a chair for the membership committee, and you head the Pennsylvania chapter. What does that entail and can you tell us a bit about the Horror Writers Association and why a writer would want to join?

Well, I no longer chair the membership committee. Ten years was enough. Ha! The thing I love about the HWA is meeting people, either through messages/email or in real life. That’s a lot harder now with so many members, but I’ve met some really genuine folks through the HWA. And many of them have mentored me in one way or another, though they may or may not know that. If someone were considering joining, I’d say give it a shot. See if you like it. But don’t expect everyone to come clamoring to talk to you. You get out of it what you put into it, like anything else. 

What are you working on next?

Well, truth be told I’ve been doing so much editing work, my writing has stalled more than I’d like. But I love editing and have trouble turning down jobs, and that’s led to some great opportunities on that front. That said, I’ve been plucking away at this novella based on my grandpa. The man was made out of steel and leather, I swear. Toughest man I’ve ever laid eyes on. But also, maybe the most worried when it came time for him to die and what he was afraid would come for him. You’ll have to keep an eye out for that to see what it was.