StokerCon 2026

In the 20th century, horror moved out of the realm of antiquarians, mad scientists, old dark houses, and forgotten villages–and into the modern world! Richard Matheson pioneered the idea of the common man as a horror protagonist in I Am Legend and The Shrinking Man and decades later, Stephen King made the everyman central to the genre with characters such as Carrie White, Jack Torrance, Johnny Smith, Stu Redman, and others living ordinary lives invaded by horrors they never sought or contemplated. Ira Levin wrote about an ordinary young couple starting out in New York City in Rosemary’s Baby, and Joyce Carol Oates wrote about teenage murderer, Richard Everett, in Expensive People. What made this brand of horror so popular. How has it influenced the genre? Did it hold it back creatively or help expand interest to general readers?

Writers with lived experience and who face mental health challenges, yet continue to write, will share their journey. How do these challenges present themselves? How do writers deal with these challenges while typically playing multiple other roles (parents, caregivers, employees) yet persist to write and publish and stay engaged with the Horror Writing community? In a supportive, non-stigmatizing environment, panelists will discuss these experiences, and how it expresses itself in their horror fiction. Is horror fiction itself a coping skill? Walk for a mile in their shoes and discuss how horror and hope intersect in facing mental health symptoms with courage and resilience.

This panel is part of the HWA Mental Health Initiative.

Guest of Honor Linda D. Addison is one of the most esteemed (and beloved) speculative poets of our time. Join Linda and fellow panelists as we honor her influence, share advice about working collaboratively on projects, discuss the growth of dark poetry, and reflect on the importance of community within horror.

Join LAA recipient Jonathan Maberry, Justina Ireland, Alma Katsu, and moderator Dennis Crosby for a discussion of what makes characters fascinating and memorable, especially over time in a series. Explore ideas and techniques for building worlds that readers want to visit again and again, and characters they love to spend time with. How can authors grow characters and keep them interesting over multiple books and years?

In the early 2000s, a new subgenre peeled itself off of horror and slithered forward, picking up the detritus of other genres on its way. Bizarro fiction is the genre for people who don't like to color inside the lines. Too funny, too weird, too off-beat for traditional horror publishers, the bizarro community coalesced around the same purity of storytelling as children: no boundaries, no limits, and an internal logic that assumed it didn't matter how things would happen in the real world. From surreal lit fiction to pulpy insanity, and weirding up everything from spaghetti westerns to noir, Bizarro has come into its own over the past two decades, but still maintains a strong tie to its roots in the horror scene. How is the Adult Swim of literature helping shape modern horror? Let's talk about that.

Join Guest of Honor James Tynion, Clay McLeod Chapman, Hailey Piper, and moderator Erika T. Wurth for a discussion of the writing life, balancing creative and commercial goals, how to connect with readers, and build a successful writing career while realizing your creative visions. Explore how to market your work, protect your copyrights and intellectual properties, and build strong collaborative relationships.

Most authors know—and many quickly learn—that an editor is more than a simple curator of stories. A good editor can be the difference between a flawed gem and a brilliant masterpiece. What can we gain from viewing the work of editing as an art in its own right? How does the craft of editing vary from place to place? What happens when authors push back on certain edits?

Join Guest of Honor John Shirley to explore horror writers’ relationship to death,  as a fact, an anticipation, and beyond. Is death a release or a harvesting? Does the contemplation of death improve the writing of horror? Does horror fiction help readers cope with fear of death?