DOOM SCROLLING: Author Matt Serafini joins Josh Jabcuga to discuss his new novel, FEEDERS, the horror of algorithms, and his work with Vinegar Syndrome
JOSH JABCUGA: Matt, this is our third interview for Cereal at Midnight. Last time we talked, almost three years ago, your novelization of William Malone's Scared to Death was published. Since then, Vinegar Syndrome Press put out a lavish edition of your novel Madman, which is based on the screenplay of the rather notorious movie. Next up, on May 20th, your novel Feeders, which is already garnering early buzz and strong word of mouth, is being released by Gallery Books. This is your tenth novel, and if I'm not mistaken, the first being released by a major publisher. First off, congrats on the milestone and all your success. Without spoilers, what can you tell us about the genesis of Feeders?
MATT SERAFINI: Thanks, Josh. Always appreciate the conversation, my friend. You are correct that Feeders is my tenth book and my first with a traditional publisher, Simon & Schuster’s Gallery Books. It’s been a blast to work with them.
And it’s funny, when you ask about the book’s genesis, well, it definitely goes back a ways. Years ago, I started to notice that social media wasn’t bringing out the best in us. And what was once made to bring us together was instead driving us apart. Whether we’re talking about casual cruelty or the side effects of unrealistic expectations, like comparing your ‘boring’ life to the endless ‘excitement’ of other’s posts, and any number of other ways too, of course.
It just seemed to me like social media started making us collectively miserable. And even worse, the tech companies know it. Their algorithms want us engaged and addicted and so they’re always showing us things that make us emotional, and that level of manipulation began to horrify me the more I thought about it.
I didn’t want to tell another “influencers sure are crazy” story, even though that’s obviously a significant part of Feeders. Here, the algorithm is the real monster, all the things it does to us along the way.
JJ: You've hit on a number of things here, but I agree with you: the algorithm can be a monster. At the risk of sounding like the old guy screaming for the kids to get off his lawn, I remember when social media actually seemed more positive, and didn't seem to be poison Kool-Aid. The Shocklines message board, for example--these places where people like you and I got our feet wet, finding other likeminded readers in the genre, and the thrill of being able to converse with authors--seasoned pros or aspiring--which inspired us to, well, chase our dreams. But in a different way. A positive way. There was camaraderie and healthy competition. Where do you think things went south exactly, with the cons seemingly outweighing the pros? And do you think the toothpaste can be put back into the tube?
Social media isn't going anywhere, of course, but it will evolve.
To answer your question as to where things went wrong, well, I think slop really sums it up. My feeds today are full of endless engagement farming, and how much more 'online marketing' can we really stomach? (now please go and buy my book) I'm not even talking about brands, though. Everyone today considers themself a brand. People sit around trying to figure out how to get paid for posts and videos and so they're happy to dance to whatever the algorithm wants. I mean, people will avoid certain words and change the meaning of other ones just to get around content filters. They wind up spouting gibberish to side-step demonetization. So, yeah, most platforms started feeling grossy inauthentic long ago, but it's harder to avoid now.
And I think that has created a growing demand for authenticity and sincerity.
To tie all of this back into Feeders (my new novel, coming May 20 through Gallery Books), it's part of what drives the novel's main character, Kylie. The story revolves around a mysterious social media app called MonoLife. Dark web software that rewards only the most dehumanizing behavior. And Kylie's morbid curiosity segues rather quickly into a weird liberation the more she uses it. I do want to say: because we've done a lot of theorizing so far, while Feeders is very much a commentary on all the things we've discussed, it is first and foremost a really kick-ass horror ride. And of all my work to date, it is far and away my favorite.
JJ: Speaking of all your work, Matt, if we can get a little inside baseball for a moment...with this being your tenth book...you've put in the 10,000 hours and then some, you've more than paid your dues...but what are some things you've learned over the course of your career, as far as developing as a writer and finding that distinct Serafini voice? In some ways, up until now, you were a cult, almost underground writer, but you're working with a major publishing house. I'm assuming they were cool with letting you be you for Feeders, and not try to put a muzzle on you or soften the edges of your material?
SERAFINI: I think your instincts just get better for this stuff the more you do it. Whether that's in terms of your story/structure/pacing or a little bit of everything. Starting out is a lot like fumbling through the dark. You have a general idea of where you'd like to go and maybe you get there by the end. But more experience gives you more confidence and control over your work and so eventually, navigating the darkness becomes a little easier.
As for working with Gallery Books, they were 100% cool with the material. They really got it. Its satirical outlook, the graphic violence and its overall bleak nature. Working with them was awesome because I always had their full support and that's an amazing thing.
JJ: Back in October, Heath and I made a road trip to the Archive in Toronto. It was great seeing copies of your Madman novel there, in the flesh. Can you share with us how working with Vinegar Syndrome Press came to fruition? Speaking from experience, working on licensed material and adaptations can sometimes present its own set of distinct challenges. What was the process like for you, and what might you have taken away from the experience?
SERAFINI: Vinegar Syndrome reached out to me after one of their guys there read my Scared to Death novelization. They were looking at producing a few novelizations of their own and thought I'd be a good match. For a while it wasn't certain which property I'd be doing, but I am such a fan of the company that I was on board for doing any of their titles. It wound up being Madman and I pitched them a take they enjoyed. My idea was to expand the story, show a little more of the camping season and use the spectre of Madman Marz sparingly at first. Like a true campfire legend before he shows up for real. I love that type of setting (summer camp) and time period (early 80s) so it was a dream to write.
I think whenever you're doing an IP you have to set aside your ego to a certain degree. Like, you've been given the privilege of working with someone else's world and to me that means making sure you're making a reasonable effort to please the fans of that property. In all the novelizations I've done (there's a few more I can't talk about yet) that's been my approach. And the challenge is always: How can I best serve this material while putting a little of myself in here? Obviously some of that comes naturally since you're the one writing the book, but I think when you're handling IP you're really doing right by that movie/series first and foremost.
JJ: We should probably talk about Vinegar Syndrome proper. It's no secret that you and I are both huge fans of the company and their physical media releases. I can't let you go without getting a few of your favorite discoveries since the last time we talked. Anything that really took you by surprise in the way that only VS releases, or even OCN partner labels, tend to do?
SERAFINI: I like seeing Vinegar Syndrome expand into new avenues. Just this week, I was unreasonably excited to see them announce a 4K of Dirty Work. One of my favorite comedies! I wouldn't have expected that from them, but knowing they put in some real effort to resurrect the R rated "preview cut" is one of the reasons I adore them. As for some recent favorites? Well, they finally put my beloved Iced on disc! And I always look forward to their "Homegrown Horrors" box sets. Inside volume two is a movie called Moonstalker that I'd never seen before but it became an instant favorite. Kind of an off-season Sleepaway Camp sequel. I was also glad to get a nice 4K release of The Prophecy (the one with Christopher Walken). One of my favorite 90s genre efforts and one of the most underrated horror movies even today. It's in a nifty box with Parts 2 and 3 as well so you really can't go wrong.
JJ: Anything else you want to close with...the floor is yours.
SERAFINI: Thanks for a fun conversation, Josh. I hope some of your readers will consider giving Feeders a shot on May 20. Pre-order the paperback, ebook or audiobook whenever books are sold!
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Joshua Jabcuga is a freelance writer. This is his ninth piece for Cereal at Midnight, including an interview with Terror-Vision’s Brad Henderson. Outside of CaM, his work includes an adaptation of Joe R. Lansdale's novel Bubba Ho-Tep and the Cosmic Blood-Suckers for IDW Comics. It was his fourth series including a Scarface prequel, the horror anthology DOOMED, and a tie-in for The Mummy. Recently he finished up six years as a digital content provider for All Elite Wrestling, which can be seen on the streaming platform Max, as well as the TBS and TNT channels. Jabcuga has teamed with Heath for three audio commentaries for Cereal at Midnight (John Carpenter’s They Live, Batman , and The Rocketeer). Follow Josh on X and Instagram— @Jabcuga
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