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Author Interview: Alexis Henderson on Writing ‘The Year of the Witching’

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Alexis Henderson

Speculative fiction author Alexis Henderson has found herself in the enviable position of having a debut novel that people cannot stop talking about. It’s been just over two weeks since The Year of the Witching hit bookstores and if the reviews are any indication it is the first of many times we will see her name in years to come.

In the midst of the much-deserved fanfare, Henderson took time to chat with iHorror to discuss the process of bringing her first novel into the world from inception to publish date. It was a journey that changed her and opened her eyes in ways she could never have expected.

“It was a really strange experience with this book,” Henderson explained. “I just had an image pop into my head one day of a girl crouching in the forest at the foot of this creature, Lilith, who had the body of a woman and the head of a deer skull. The story kind of evolved from there. I felt like a lot of the experience of writing the book, I was just chasing this image in order to try to give it context.”

In a way it was like detective work for the author as she sought out answers to who this girl was, what kind of energy the character had, what she was feeling, and so on.

What she uncovered on the page was the story of a biracial girl named Immanuelle Moore living in a puritanical society called Bethel that eerily reflects parts of the world that we live in today. She admits, however, that in writing the first draft, she was somewhat oblivious to the mirror that the novel’s story would ultimately become.

“As I was writing the book, I was so firmly locked into Immanuelle’s perspective that during the first draft I don’t think I even realized how sick the world was until I reached the end of the first draft,” she said. “It was a very organic process in that I was sort of discovering the depths of the darkness of this world alongside her. After finishing the book and reflecting on it, I kind of realized how much of that mirrored my own coming of age and how it kind of mirrored the darkness at play in our world.”

The more we discussed Immanuelle and her journey in The Year of the Witching, it became apparent that there was a definite connection between the author and her character. What we didn’t realize is that the connection was forged almost from the beginning when that first image of the character came to her.

“When I first got that image of Immanuelle in the woods, I saw that she was mixed race,” Henderson pointed out. “At the time, I remember thinking oh she’s like me. I’m not biracial. I’m black, but I’m mixed with a lot of stuff. I don’t normally see characters like me or see myself reflected, and there is this kind of longing to read books about horror or witchcraft or things like that but with characters that I could identify with and who look like me. I think, just as a reader, it’s just wanting to read stories and embrace characters that reflect me for once.”

Henderson says she and Immanuelle also share a fascination with the darkness, something that plays out again and again in the novel.

As I said from the beginning, this novel has been one of the most talked about debuts of the year in genre fiction. Much of that has to do with the fact that Immanuelle stands up to the patriarchal system of Bethel and though there is a love interest built into the story, she never relies on him to save her or protect her during her ordeal.

Funnily enough, Henderson admits this is one area where Immanuelle takes on the qualities she wishes she possessed.

“I think that the fact that her love interest, she doesn’t really need him or rely on him I would love to be that way,” the author explained. “To have that strength to say yes there’s this person that you love but you’re independent of them and you don’t need them to be strong or to accomplish things. I don’t know to what extent I succeed in that, but that’s something that I value. I definitely want to be more like Immanuelle when I grow up!”

With the novel finished after the long editing process, Henderson faced the Final Boss of authorship: the publish date. She had not idea just how intense the moment would be when The Year of the Witching went out into the world nor was she prepared for just how vulnerable it would make her feel.

“It’s a wonderful and terrifying feeling,” she said. “The process isn’t complete until people read the book and respond to it. I think it’s a vital part of the whole creating, writing, publishing process. At the same time, I think I’d be lying if I said it wasn’t bittersweet because it does feel like I’m giving away a piece of myself. It feels like it’s a little less mine. I think that’s wonderful. The story belongs to other people now in a way, but at the same time I feel like I’m giving away a piece of myself. It almost feels like I put my diary up for sale.”

Despite or maybe in spite of this, Henderson is currently working on a sequel book that will dive into what happens after the events of the novel with the changes that have taken place in the world of Bethel. It’s something we will certainly be looking forward to with its release set for 2021.

As our conversation came to a close, I could not help but reflect again on what Henderson had created in The Year of the Witching. Here is a novel that is both terrifying and heart-wrenching filled with characters that leap from the page and a world that is so real you can almost feel it as you read. And all of this was born from a single image that popped into her mind of a girl, a witch, and a forest.

This is the alchemy of writing at its best. This is the obsession to create at its most vital, and like her protagonist, Henderson simply had to see the journey to its end. We, the audience, are as enriched by that process as she is as an author.

The Year of the Witching by Alexis Henderson is available for purchase at bookstores across the country and online from Amazon, Barnes and Noble, etc. Pick up a copy today!

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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