Exploring Creativity, Independence, And The Haunting Worlds Of The Eaton And The Paper
John K. Addis discusses his creative journey, blending psychological depth with supernatural horror, his inspirations, self-publishing success, and upcoming projects, offering insights into his award-winning novels and unique storytelling approach.
John K. Addis is a name that resonates with creativity, versatility, and an unrelenting passion for storytelling. A design and marketing professional by trade, Addis has carved a remarkable path across multiple artistic disciplines, from composing music and directing films to creating comic strips and performing in a rock band. Yet, it is his literary achievements that have truly captured the imagination of readers worldwide. His debut horror novel, The Eaton, not only became an Amazon and Audible bestseller but also garnered multiple awards, cementing his place as a master of the genre. Addis’s ability to blend psychological depth with supernatural horror has drawn comparisons to the likes of Stephen King, though his meticulous approach to crafting endings sets him apart as a storyteller of unique vision.
In this exclusive interview, Addis offers a glimpse into the creative process behind his works, including his semi-autobiographical novel The Paper, which reimagines his childhood in Michigan with a supernatural twist. He also reflects on the challenges of transitioning from other creative fields to novel writing, his influences, and his decision to remain an independent author despite the success of The Eaton. With a new project on the horizon, revisiting the plot of his first attempted novel, Addis continues to prove that his creative well is far from running dry. It is a privilege to feature this extraordinary author in the pages of Reader’s House, and we invite you to delve into his world of haunting tales, vivid characters, and boundless imagination.
“John K. Addis is a masterful storyteller whose award-winning novels captivate readers with psychological depth and hauntingly vivid imagination.“
A recent critic said your novels “blend psychological depth with supernatural horror.” Why is this important to you?
As a genre, horror often carries the stereotype of having undeveloped characters, particularly in film, where frequent deaths leave little time to explore motivations and backstories. That’s not to say I avoid genre archetypes altogether—I enjoy putting my spin on tropes like The Final Girl, The Cynical Skeptic, or The Doomed Couple. But novels provide time and space to let characters breathe and grow, making it far more impactful when supernatural events unfold. Fear resonates with the reader more deeply when weird things happen to genuine, complicated people who are more than mere fodder for the plot.
How much of The Paper is based on your own childhood experiences in Michigan?
The Paper is a quasi-autobiographical tale from my time growing up in the small town of New Haven in the late 1980s. I really did publish a hometown newspaper at age 11, and I really did write articles about the creepy abandoned house at the end of our street, which all the neighborhood kids believed was haunted. In the novel, however, the house truly is haunted, and I imagine how this change might have impacted specific events and friendships during my coming-of-age years.
Can you share more about the creative process behind your debut novel, The Eaton?
It’s a little embarrassing, but the core concept of The Eaton came from a vivid dream I had about being chased by a monster through an old, abandoned hotel. Initially, it wasn’t meant to be a novel; it started as a weekly “serial” blog to entertain my friends and family. That’s why each chapter ends with a twist or hook to encourage readers to “tune in next week”—a trick I borrowed from Charles Dickens.
After about ten weeks of posting in this way, I realized I wanted to refine the story and rework it into a proper novel. This meant drafting chapter outlines, creating blueprints and physical maps, and even using character tokens to track everyone’s location in key scenes. I also did a lot of historical research into Victorian-era Eaton Rapids, Michigan, particularly for the chapters set in the past.
Was it always your intention to publish independently, or did you first try traditional publishing?
I considered submitting the first draft to agents and publishing houses, but I struggled to find anyone willing to take on horror from an unknown author. In the 1980s, there were over a hundred U.S. publishing houses specializing in genre fiction, but after the consolidation of the early 2000s, most were absorbed or shut down. Besides, although I knew that self-published novels rarely sell over 100 copies, I was surprised to learn that the average traditionally published novel only sells 500 to 1,500 copies in its first year, and I’d have to give up the rights to my intellectual property.
I decided to start my own imprint with the ambitious goal of selling 1,000 copies of The Eaton, which would be a rare feat for a self-published title. To my surprise, it sold over 10,000 copies in its first year. Traditional publishers took notice, but by then, I knew I wanted to remain independent.
What challenges did you face transitioning from other creative fields to writing novels?
Writing stories has always been my first creative love. I tried writing a full-length novel in college, The Vacancy, but only made it halfway through before switching to amateur filmmaking instead. Unlike other creative pursuits, novel writing requires a great deal of long-term discipline, which I didn’t have in my teens or twenties—and, honestly, I barely have in my forties!
Are there any authors or works that have significantly influenced your storytelling approach?
My favorite storytellers, and therefore the most likely influences on my style, are Jeffrey Eugenides, David Mitchell, and Ray Bradbury. Many readers compare my writing to Stephen King, which I think is fair, and intentional. I’ve been a huge King fan since my teens and have read almost everything he’s written. No one in our genre is in his league.
That said, my approach differs from King’s, for better or for worse. He famously writes without planning his endings, letting the story unfold naturally. I, on the other hand, meticulously plan my endings first. As the saying goes, I believe a good ending should feel both “surprising yet inevitable,” and for me, that requires knowing where I’m headed from the start.
Are you currently working on anything new?
Yes! I’ve decided to revisit the plot of my first attempted novel, The Vacancy. I’ll be starting from scratch since my writing skills have grown considerably since college, but I still believe the plot is strong and worth exploring.
The biggest challenge is finding time to write. Between running a 20-person design firm, taking Master’s classes, serving on nonprofit boards, performing with the Black Barn Band, and trying to be a present father and husband, it’s a lot to juggle. But as most writers will tell you, when a story takes root in your mind, it consumes your thoughts. It’s like a nagging little demon that refuses to leave until you let it out, no matter how busy you are. In fact, I might have to start right now! “Susan was torn from her nightmare by the sound of a scream…”
