An Interview with Alexis Henderson

What is your writing routine like? Do you have rituals, times of day, or environments that help you write your best work?

 My writing routine changes with each book. I really try to listen to what each story is asking of me, but I’ve also become better about working with my body instead of against it. There are a few constants though. I always have a cup of tea beside me when I’m working. The hours when I get my best work done tend to be between 12:00 p.m. and 4:00 p.m. I need natural light, so I’m always working near a window and when I get stuck on a sentence, or just need a bit of a brain break, I like to watch the birds fly around outside. 

You mention book ideas often come to you in dreams—was this the case with The Year of the Witching? How do you transform your dreams into fleshed-out narratives?

The Year of the Witching first came to me as a really searing daydream. I saw the image of Immanuelle with Lilith—a creature with the body of a woman and the head of a deer skull—standing in a dark forest. When I see something like that—whether in a daydream, an actual dream, or even a nightmare—I immediately begin to ask myself questions about the sort of scenario or world that would produce that kind of imagery. I paid specific attention to what Immanuelle was wearing: a simple dress that almost looked pioneer-esque. That helped me to nail down a time and place, sort of widening my perspective a bit and giving me insight into the world she might’ve come from. It’s kind of like detective work in the beginning. It feels like the story/world already exists in its entirety, and I’m trying to explore it. 

What is your process for research (historical, cultural, mythological) when writing your novels, especially given the gothic and speculative elements you include?

 My research process is sporadic and probably a bit disorganized. Because I write speculative fiction, and specifically a lot of second-world fantasy, I don’t necessarily prioritize historical accuracy. I tend to research the things that fascinate me most. Then, while I’m writing, I can pull from that knowledge and use it in a way that serves the story.

From The Year of the Witching to your upcoming novel, When I Was Death, how has your mindset as a writer evolved?

I think I’ve become more protective of myself. I’ve realized the joy is in the process of writing and editing. It’s an honor to be published, of course, but the real fulfillment comes from the doing of the thing, and so I must protect myself, creatively. I make sure to take time off and fill my well so that when it’s time for me to do the vital work that is telling stories, I’m not too drained to give it my all. 

When I Was Death is your YA debut, what inspired you to write YA?

 I’ve always wanted to write YA. I love that age category, in large part because the books I read as a teen had such a profound effect on me and my creative sensibilities. As a teen, I remember wanting to write books like the stories that had moved and changed me. So, in many ways, writing and publishing When I Was Death has felt a lot like keeping a promise to a past version of myself.

How do you feel about the role of horror and speculative fiction in exploring real-world issues, such as gender, power, trauma, or community?

Speculative fiction has a long history of speaking to real-world issues and I’m so happy modern-day writers have continued to carry that torch. Writing stories that challenge us to examine real-world issues is vital work, but—speaking only for myself here—it can also be a very heavy responsibility and one that comes with its share of pressure. Sometimes, when I’m feeling particularly pessimistic about the current state of the world, I want to escape these issues instead of feeling like I have to confront them in fiction. It’s a bit of a balancing act between my desires to confront the real world and to run away from it. But I try to remind myself books don’t have to be any one thing. I can write novels that speak to real-world issues and also offer some means of fictional escape. That’s the beauty and strength of speculative fiction.

How did living in the South shape your relationship with horror and Gothic fiction?

I grew up in Savannah, Georgia, which is a notoriously haunted city. The atmosphere there has informed so much of my writing. It’s such a beautiful place, but it also has an incredibly dark history. I think my fascination with the contrast between beauty and horror was inspired, in large part, by Savannah and the South broadly.

If you could go back and tell your “aspiring author” self one thing, what would it be?

I would tell myself to focus less on what’s happening with publishing and prioritize the freedom and joy of writing when no one else is watching or anticipating anything.

What other forms of media (music, film, art) inspire you the most?

This is such a tough question! I’m really inspired by film. Recently, I watched the movie Weapons, which was the creative equivalent of several shots of espresso. I also really love music. Florence + the Machine’s new album, Everybody Scream has been such a massive source of inspiration. My editor, Polo Orozco, put me onto the artist Rosalía recently and I really do think she’s a generational talent. 

What advice would you give to aspiring authors about to start or in the midst of the publishing phase?

Write for yourself, first and foremost. I won’t warn anyone against chasing trends…but I will suggest, at the very least, you try to subvert them. Instead of writing to tropes, twist and critique them. Make them your own. It’s possible to create something that feels fresh and new while still writing to the market, if that’s what you want to do. But also, and this is probably my most important piece of advice, don’t be afraid to ignore the market entirely and write books that are specific to you and your interests.