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Interview Overview
In this episode, Daniel Willcocks sits down with bestselling horror author Eric LaRocca for a candid conversation about the strange, sharp edge of modern horror — and what happens when a book suddenly detonates into viral success.
Best known for Things Have Gotten Worse Since We Last Spoke, LaRocca reflects on the “perfect storm” behind the book’s breakout moment, from unforgettable cover art and a razor-hook title to the unsettling intimacy of telling horror through emails and chat logs. They discuss why LaRocca is most drawn to human monsters, the creative pressure that follows sudden visibility, and the importance of protecting your art from the noise of reviews and online commentary.
Along the way, the conversation dives into LaRocca’s writing journey, their love of giallo-style titling, the influence of Clive Barker and splatterpunk on queer horror, the role of community in sustaining a writing life, and what LaRocca believes truly makes horror work: characters you can’t look away from. The episode closes with book recommendations, an unexpected theatre pick for the apocalypse, and where readers can follow LaRocca’s work next.
Interview Transcript
(Note: This is not a word-for-word transcript, but has been cleaned up for reading on this Devil’s Rock Books blog post).
Daniel Willcocks:
Welcome back, wordsmiths and story seekers. I’m your host, Daniel Willcocks, broadcasting from the shadowy halls of Devil’s Rock HQ.
This week I’m on the road — and for those watching on YouTube, I’m in a very different location. I don’t have any of my usual setup, but I really wanted to get this interview out to you, because the conversation you’re about to hear is packed with gold.
Today I’m joined by the bestselling sensation in horror, Eric LaRocca.
A little context: this interview was recorded a couple of years ago, but I don’t think enough people heard it. Around that time, I launched a charity project called Writers of Horror, created to support horror writers. Behind the scenes were people like Daisy, Stephen, Julie Hiner and Rob — you’ll know Rob by now.
Julie Hiner and I ran the Writers of Horror Podcast for about nine weeks, and we had some incredible guests: Josh Malerman, Jonathan Janz, Chad Lutzke — and Eric LaRocca.
Eric’s books are deep, weird, dark and brilliant, and I’m a big fan. This conversation happened not long after Things Have Gotten Worse Since We Last Spoke went huge — viral on TikTok, with a stunning cover and a title that grabs you by the throat.
We talk about what it means to rocket into success, how you handle the aftermath, where the ideas came from, why Eric believes the scariest monsters are human, and the creative pressure that comes after visibility. We also talk Clive Barker, and plenty more.
And before we jump in: if you want behind-the-scenes podcast stuff, come join me on Discord at devilsrockbooks.com/podcast.
Also — if you’re a horror fan — there’s a big Halloween book sale happening right now. Myself and Rob have coordinated it, and it includes a smorgasbord of incredible authors — including Joanna Penn, J.D. Barker, Iain Rob Wright, Izzie Al-Malhfi, Sylvester Barzey and more. The sale runs until 31 October, and you can find it at twistedtalesbooks.com/halloween. Link in the show notes.
Right. With that — holy cow — enjoy this conversation with the one and only Eric LaRocca.
Eric, how’s it going?
Introduction
Eric LaRocca:
Hi! Thank you so much for having me. I’m really, really excited to be here and chat with you. I think this is going to be great.
Daniel:
Absolutely. I’ve got a lot of fun questions for you.
So, for people listening: Eric LaRocca is a Bram Stoker Award–nominated, Splatterpunk Award–winning author of several works of horror and dark fiction, including the viral sensation Things Have Gotten Worse Since We Last Spoke.
A lover of luxury fashion and an admirer of European musical theatre, Eric can often be found roaming the streets of their home city, Boston, Massachusetts, looking for inspiration.
I want to jump away from the bio for a second, because I was doing some research — some light stalking, obviously — and I found you’re a big fan of monsters. Is that accurate? And what are your favourite monsters to read or write about?
Monsters, Humanity and the Real Horror
Eric:
Yeah — I grew up on the classic Universal monster movies. My first intro to horror was Creature from the Black Lagoon. My mum showed it to me when I was eight or nine, and it left a huge impression.
I’m definitely interested in monsters, but in my own writing I’m more interested in human monsters — the worst possible thing a human can do to another human being. That’s what really fascinates me.
My tastes shifted as I got older. I started watching transgressive South Korean films like Oldboy and I Saw the Devil, and then the New French Extremity stuff like Martyrs and Inside. Those films left a massive impression.
It’s more unsettling to me when we analyse what humanity does to itself — how we hurt one another. So now, the monsters I gravitate toward are human.
I read a lot of Jack Ketchum and Poppy Z. Brite — like Exquisite Corpse. Those are far more unsettling than a traditional vampire or werewolf story. I love those classics too — Dracula, Frankenstein — but human monsters are the most visceral and uncomfortable to me.
I’m a bit of a pessimist about humanity. I think we’re awful to each other.
I also have a book coming out in March from Titan called The Trees Grew Because I Bled There, a collection of short fiction, and that whole collection is basically human beings doing awful things to each other — relationships rotting and decaying, and people eventually rotting and decaying too.
Daniel:
We’re similar there. I include monsters in my fiction, but often they’re a tool — a way to illustrate what people become in the dark corners.
And I find it fascinating that so many people say, “Oh, I’d never read horror”, but then they’ll watch true crime that’s honestly worse than anything we’re writing — because it actually happened.
Have you encountered that reaction?
Eric:
Absolutely. I find true crime really hard to watch because it’s real. Horror fiction is make-believe — even if it’s possible, the characters and events are invented.
But true crime? Those things happened. I have to be in the right headspace for it. It’s a different kind of discomfort.
Daniel:
That makes total sense.
So — for people who might be newer to your work — are you happy to share a bit about your writing journey?
Writing Journey
Eric:
Of course.
I grew up in a small isolated town in Connecticut. That’s where I learned to write and read, and where I discovered how much I loved horror.
I went to college and studied fiction and playwriting. A lot of my early work was theatre — stage plays — and then I eventually moved into fiction and short stories.
I started working with small presses like Weirdpunk Books, which published my debut novella Things Have Gotten Worse Since We Last Spoke. And that went viral — which was a fascinating roller coaster ride.
Now I publish with Titan Books, and I’ve got material coming out through them over the next couple of years.
As I mentioned, The Trees Grew Because I Bled There is coming out 7 March — it’s a re-release of a short fiction collection I originally published in 2021. It’s been out of print, so now readers can access it again.
My work focuses on horror and dark fiction, and it often concentrates on queer characters and the LGBTQ community — exploring different experiences and voices.
That’s the broad overview.
Daniel:
And for me, your name really exploded into my circle through that book — the cover, the title, everything. Let’s talk about that.
Going Viral: Can You Manufacture It?
Daniel:
How do you cultivate a viral sensation in publishing?
Eric:
I wish I had the answer — because if I did, every book would go viral.
I’ve reflected on it a lot, and I think Things Have Gotten Worse was a perfect storm.
You had that insane cover art by Kim Jakobsson — visually arresting, instantly grabbing attention.
You had the title: Things Have Gotten Worse Since We Last Spoke. Who doesn’t want to pick up a book with that title? It’s a phenomenal title.
And you had an unconventional storytelling format — chat rooms and emails — which helped it stand out.
But you can’t really replicate that easily. Every book has its own life. Some books do well and fade. Some have no response, then years later suddenly explode.
And you can’t buy “going viral”. It has to be organic.
I self-published a novella called You’ve Lost a Lot of Blood in March 2022. I used Kim Jakobsson again for the cover. It did really well — over 20,000 copies — which is fantastic for a self-published book. But it didn’t reach the same viral level.
And I think part of the viral element was that Worse was polarising. Some people loved it, some people hated it. That creates conversation.
But I don’t recommend anyone sits down thinking, “What can I write to piss people off?” That’s the wrong reason. You should write compelling stories you believe in. There has to be heart behind it.
So… I wish I had one definitive answer. I can see factors, but not a single formula.
Daniel:
That makes sense. You can do everything you can to set up the spark — cover, title, story, marketing — and then you release it and hope it catches.
When it did catch… what did that feel like?
The Emotional Aftermath of Success
Eric:
At first it was incredible. I was floating. I felt validated and appreciated. I wanted my work to reach people beyond the horror genre, and it did.
But it’s also difficult because it’s hard to live up to that initial success. Everything since then has been great — but it’s hard not to compare.
And there’s so much attention, and criticism coming from every direction.
I had to learn to protect myself creatively. If I let too much negativity in, it dilutes what I’m working on and the art suffers.
So I try not to spend time reading Goodreads or YouTube comments. Those reviews aren’t for me — they’re for other readers.
The book is published. The conversation is between readers now. I try to stay out of it.
Unless someone tags me — then I’ll say thank you.
It’s been a huge learning experience: navigating the industry, being a better writer, understanding how to function in the horror sphere. But it’s also been rewarding. I’ve met so many great people through that book.
Daniel:
I love that framing: reviews are reader-to-reader. Authors get stuck in the negative rabbit hole, because brains are wired that way.
You’ve also said the lesson is: all you can do is keep writing forward.
Has your writing process changed over time, especially after the success?
Process Changes: Outlining, Community and Growth
Eric:
It’s changed a lot.
I used to be impulsive and reckless. I wouldn’t outline. I’d just start writing, back myself into corners, and it made it harder.
I learned that I need to outline. I need notes. I need to immerse myself in the world and characters first.
If there’s a problem in the outline, it’ll still be there in the draft — so it’s better to solve issues early.
I’m also lucky to have a phenomenal agent. I can send proposals, she’ll read them, and tell me what isn’t working — and why.
But even without an agent, writers should find community — a group, a workshop, friends. Writing is solitary and isolating. Community helps you flourish.
Grad school was amazing for that. Two years of like-minded people creating, supporting each other. I don’t regret a second.
You need people you can text when you get a bad review — instead of posting publicly. Talk to your friends. Keep it grounded.
That’s a big lesson I’ve learned.
Daniel:
Community is massive. Most family and friends don’t speak the language of creative work. Just having someone who gets it is huge.
Was building your community difficult, especially as your visibility grew?
Community and Changing Circles
Eric:
I’ve always been shy about reaching out because I don’t want to bother people.
But I had friends in the horror community before Worse, and they’ve stayed with me.
Because of the book’s success, I’ve also been able to meet authors I’ve idolised for years — and connect in ways I couldn’t before.
I feel really fortunate. It’s priceless to be surrounded by people who understand what you’re going through.
And New England has a lot of exceptional horror authors — so I’m in a great place.
Daniel:
Nice.
Titles: The Poetry of the Hook
Daniel:
Let’s talk titles, because this fascinates me.
You’ve got:
Things Have Gotten Worse Since We Last Spoke
You’ve Lost a Lot of Blood
We Can Never Leave This Place
They Were Here Before Us
Everything the Darkness Eats
The Trees Grew Because I Bled There
They’re poetic. They’re statements. They’re memorable.
Is that influence? Or is it something you’ve helped shape?
Eric:
I don’t know if I’ve influenced people, but I was definitely influenced by giallo film titles — Argento, Bava.
There’s one called Your Vice Is a Locked Room and Only I Have the Key — titles like that make you stop and go, “I need to watch that.”
Giallo films are gory murder mysteries that came out of Italy and Europe in the ’70s and ’80s, and Argento is a pioneer of the subgenre.
I love a good title. Crafting a compelling title is hugely important to me.
I can’t really start working on a piece until I know the title. It might change later, but I need that foundation at the start — the stability of naming it.
Daniel:
That makes total sense. A title can be a compass.
Influences: Clive Barker and Queer Horror
Daniel:
Let’s talk influences. I know Clive Barker is a big one for you. What is it about his work that speaks to you, and how does that shape your writing?
Eric:
Clive Barker is probably my biggest influence.
I read Books of Blood in high school or college, and before that I didn’t really see queerness in horror — not explicitly. I saw coded figures, but not openly queer characters.
It wasn’t until I read “In the Hills, the Cities” that I saw a gay couple in horror fiction. That was a seminal moment. It reshaped my relationship with the genre.
Before that, I wondered if I belonged in horror. My writing felt like bland carbon copies — leaning Stephen King-ish, but without identity.
Barker made me realise: I can be queer, write in this genre, and I belong.
And beyond that — Barker writes depravity and brutality with lyrical prose. He marries beauty with degeneracy. That juxtaposition is fascinating.
I try to replicate that: sumptuous, lyrical description — and then veering into gore and splatter.
I’m also a huge fan of Poppy Z. Brite, Caitlín R. Kiernan, and the splatterpunk movement of the ’80s and ’90s — when writers were audacious and did what they wanted.
And Michael McDowell — The Elementals, Blackwater — phenomenal, and another important gay horror voice.
Daniel:
It’s great seeing more inclusivity in horror now — and the Horror Writers Association feels like it’s pushing that forward.
Eric:
Absolutely. I’m a member, and they’ve made exceptional strides. More voices at the table. I’m proud to be part of it.
Responsibility, Pressure and Writing What You Believe
Daniel:
With your upcoming books — The Trees Grew Because I Bled There, Everything the Darkness Eats — what are you trying to achieve with your writing now compared to earlier?
Eric:
Now I have a bigger platform, so there’s more responsibility. I try not to write for an audience while writing — but I’m aware the work will reach people.
I can’t write something if it isn’t in my heart.
Earlier, I wrote bland work — carbon copies. Now, if I’m not connecting, I stop. Life is too short to write things you don’t believe in.
If I can’t stand in a room and say, “This is my art — do with it what you will,” then I shouldn’t write it.
Now I have a strong internal detector. I ask: Am I in this? Am I somewhere in these pages? If not, I move on.
Daniel:
That pressure shift is real. You get readers, then the brain says, “Now write what they want.” But they liked you because you were you.
Any tips on detecting when you’re in it, versus when you’re just forcing something?
Eric:
There’s always that inner saboteur saying, “This is bad, people will hate it.”
But there’s a difference between “this is bad” and “this doesn’t have me in it.”
If you know yourself — truly — you can tell. A lot of this is self work.
I spent years not wanting to be queer, not wanting to be who I was. Now it’s like: what you see is what you get. If you don’t like it, that’s your problem.
If you do that work, you’ll know quickly whether a story needs to be told by you.
What Makes Good Horror?
Daniel:
Big question: what makes good horror?
Eric:
Characters.
When you care about them — or at least you’re invested in what happens — the horror hits harder. You don’t want them hurt. You don’t want them dismembered or haunted.
Characters are the most important part.
I’ll be honest: I’m more of a plot person. Characters are my Achilles heel.
I edited a book coming out in 2025 and the main work I had to do was character work. The plot was fine, but I missed opportunities to strengthen dynamics and arcs.
That’s what editors teach you — and again, community matters. You need people who want the best for you and can gently say, “This isn’t working — and here’s why.”
So yes: characters.
Daniel:
That’s interesting because in the finished work, your characters feel extremely real. But that just shows how much of the craft happens behind the scenes.
Eric:
Totally. I owe so much to editors and their guidance.
And I tell younger writers: get as many eyes on your work as possible before print. Because once it’s out, it’s out forever. You can’t take it back.
Underrated Authors
Daniel:
Who are a few underrated or underappreciated authors people should know?
Eric:
David Demchuk — Canadian horror author, openly gay, phenomenal queer horror. The Bone Mother and Red X are incredible. He deserves far more recognition.
And Joe Koch — transgressive queer, hallucinatory body horror, surreal and lyrical. The prose is so sumptuous you want to devour it.
Daniel:
Love those answers. Adding them to my list.
Apocalypse Theatre Question
Daniel:
Two questions left.
The world is on fire. One theatre remains. You have four hours left on Earth. You can watch one final show. What are you watching?
Eric:
A musical called Elisabeth — premiered in Vienna in the early ’90s, based on Empress Elisabeth of Austria.
It’s dark, sung-through, beautiful music. It explores her life and her relationship with Death — who is an actual character in the show. It’s stunning. I listen to the music constantly.
Daniel:
I’m going to check that out — and I’ll put links in the show notes.
Where to Find Eric LaRocca
Daniel:
Where can people find you and your work?
Eric:
My website is ericlarocca.com.
I’m active on Twitter and Instagram — @hysteric_teeth — and I’m also on Facebook.
I don’t have a mailing list yet, but for now, following me on social media is the best way to stay up to date.
Daniel:
Final question: “hysteric_teeth” — what’s the meaning behind that?
Eric:
Teeth terrify me — I’m unnerved by them.
And I liked the wordplay: my name is in there — “E-R-I-C” is in “hysteric”.
It was a title idea at one point that didn’t go anywhere. Not a great book title, but a memorable username.
Daniel:
It’s perfect — fun and memorable.
Eric, thank you so much for joining me. It’s been an absolute pleasure.
And to everyone listening: we have many other episodes. Head over to devilsrockbooks.com/podcast to find out more.
One final time from myself and Eric — catch you later.
