Interview: In the ‘Madhouse’ with Benjamin Kane Ethridge

One of Aeron Alfrey's insanely detailed 'Madhouse' illustrations.

One of Aeron Alfrey’s insanely detailed ‘Madhouse’ illustrations.

In the middle ages, it was thought that insanity was contagious. Centuries on, we label such ideas as superstitious ignorance. But when John Doe begins to speak after decades of silence, the staff and patients at the Golden Canyon Behavioral Health center begin to realize that behind every superstition lies a horrid truth.

On the night that a vicious sandstorm closes the roads and seals the doors, a plague of madness spreads through the hospital. Two staff members try desperately to hold onto their sanity while searching for the cause – and, hopefully, the cure – of the outbreak.

That’s the premise of Madhouse, the new shared-world horror anthology in the works from Dark Regions Press. The publisher is in the midst of a crowdfunding campaign on Indiegogo, and at roughly 80% funded with about three weeks to go, it seems a good bet that the book will see the light of day in Spring 2015. That’s good news, because with authors like John Skipp, Jeff Strand, Lisa Morton and Scott Nicholson set to participate, it’s likely to be a tasty treat for fans of good horror fiction.

Bejamin Kane Ethridge co-edits the book with Brad C. Hodson, and the two also wrote the framing story that ties all the short stories together. Ethridge was kind enough to take one eye off the funding campaign long enough to answer a few questions for October Country.

October Country: Which came first: the idea to do a shared-world horror anthology, or the plot of Madhouse, which naturally lends itself to existing as a shared-world anthology?

Benjamin Kane Ethridge: Actually the idea to do a shared world insane asylum anthology came first. Brad C. Hodson, my co-editor on the project, took submissions and invited authors to come aboard. We had a scenario for them to use but no plot. After all the stories were completed, Brad and I wrote the meta-plot that would flow throughout.

Who came up with the concept, and what about it stood out as something that would make an exciting book?

Brad and I rendered the concept about the Golden Canyon Behavioral Health Center and the ongoing supernatural sandstorm that has everybody trapped inside. It’s hard to say where one idea started and another began, but we worked well as a team and it came together quite organically.

What was behind the decision to go the crowdfunding route, and why Indiegogo specifically?

Dark Regions has had success going this route. It wasn’t anything Brad and I had even considered when we first started putting the book together. Since Dark Regions uses the campaign also as a pre-order mechanism, Indiegogo makes sense because it delivers the funds at the end of the campaign, whether the funding goal was reached or not. When people contribute to the Madhouse campaign, they are at very least going to end up with a copy of the book. Depending on how funding goes, that copy could have some amazing extra illustrations and other fun things added.

As you began to solicit stories and put the book together, what were some of the challenges you faced? Was it difficult to convince authors to write stories for a book that isn’t guaranteed to be published?

Many of the writers we approached we’d already had solid experiences with before. There were some who were skittish about the project in the first stages, and I cannot say that I blame them. When you devote the time to writing something, it had better be time well spent. Most of our contributors seemed to love the idea so much however that many agreed and turned over stories with little trepidation as to the publishing outcome.

Creatively, what kind of challenges – and advantages – does the “shared-world” format provide you as editors?

Characters are a big factor. Golden Canyon, as a facility, is enormous, and so we were able to afford a large cast. That said though, for the work to feel more cohesive, we had to take some characters and combine them- -especially those characters who seemed to be a certain type, a recurring sort. It was difficult also to weave our meta-plot into other stories without being too intrusive into what the author’s original intentions were. So we had to handle it carefully.

Did you have to turn down stories that were good, but just didn’t quite fit the concept?

There was one story I received that possessed great potential, but didn’t quite hit its mark. The author wasn’t in a good place to revise or restart the story, unfortunately, and so I had to let that one go. Generally we worked with all of our authors to change their stories to fit better into our vision. It was surprising, almost scary surprising, how most of our contributors really had our vibe down however.

How varied in tone are the stories? Is it a mix of quiet horror and more extreme horror, or does the book lean more toward one or the other?

Brad and I purposely tried to arrange our stories in a progression. We took works of quiet horror, such as that of Christopher Conlon, in the start of the book all the way to the frenetic violent wildness of John Skipp near the book’s conclusion. So there’s definitely a variety and it all fits together to create this steep slide into ultimate madness.

I won’t ask you to pick favorites among the stories, but which ones provide a good tease of what we can expect from the book overall – and why?

Erik William’s “Yellow Bug” comes to mind for me. This is most likely because it’s one of the first submissions we received. It really does capture the tone of the larger story at play in a succinct fashion, where personal demons are at war and insanity exploits that war in the worst possible ways.

Want to help push the Madhouse campaign over the top? Visit Indiegogo to contribute.

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