Cosmic horror, otherness, and creativity

What if the source of your best writing isn't something you control — but something you learn to collaborate with? How can ancient ideas about the muse, the daimon, and creative genius transform the way you approach your work? And what might happen if you stopped fighting the silence and let it become your greatest creative ally? With Matt Cardin, author of Writing at the Wellspring.

In the intro, thoughts on bookstores and Toppings; 20 ways authors can signal humanity and build reader trust [Wish I'd Known Then]; Learning from Silence – Pico Iyer; ProWritingAid spring sale; Bones of the Deep – J.F. Penn.

Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started.

This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn 

Matt Cardin is the multi-award-nominated author of eight books at the convergence of horror, religion, and creativity. His latest book is Writing at the Wellspring: Tapping the Source of Your Inner Genius, which is fantastic. I actually blurbed it as follows:

“A guide for writers who welcome the dark and hunger for meaning. . . . If the page is a threshold, this book will show you how to cross.”

You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. 

Show Notes

• How Matt balances a full-time academic career with his creative writing life
• The ancient concept of the genius, the muse, and the daimon, and why creativity is about collaboration with something beyond yourself
• Why the silences that come into our creative lives, including writer's block and inertia, might actually be gifts rather than obstacles
• The stages of the creative process
• Living into the dark, and embracing uncertainty
• How Substack and blogging can organically grow into books

You can find Matt at MattCardin.com or www.livingdark.net.

Transcript of the interview with Matt Cardin

Joanna: Matt Cardin is the multi-award-nominated author of eight books at the convergence of horror, religion, and creativity. His latest book is Writing at the Wellspring: Tapping the Source of Your Inner Genius, which is fantastic.

I actually blurbed it as follows: “A guide for writers who welcome the dark and hunger for meaning. . . . If the page is a threshold, this book will show you how to cross.” It is a great book. So welcome to the show, Matt.

Matt: Well, thank you, Jo. It's really a pleasure to be here, especially since, as you and I were briefly acknowledging before we started recording, we have overlapping interests to a great degree. So it's really great to make official contact with you.

Joanna: Indeed. So, first up, before we get into the book itself—

Tell us a bit more about you and how you got into writing.

Matt: Well, I'm one of those people whose story is probably typical in some ways, in that I really wanted to do it from the time I was a child. My father was a great writer, although he was an attorney. He wasn't a professional writer.

Something about books and reading when I was a child really seriously enchanted me. I was very frustrated when I was so young—and I vividly remember this—that I couldn't read, because I loved the books that were read to me.

I craved being able to read them for myself. So as soon as I gained that ability in school, it was off to the races, so to speak, and for some reason, a desire to tell stories myself came along with that.

Being a “writer” was one of the earliest life desires, job or career desires, that I expressed. I was one of those young people really into fantasy, horror, and science fiction. So I was reading a lot of it and trying to emulate it and write a lot of it. There was a cinematic component—I was a movie fanatic as well.

I won a local Authors' Guild short story writing contest when I was a senior in high school and began trying to write stories seriously in college. Then my interest in horror and religion became dominant over time, and that's what I ended up writing about.

Joanna: Has your interest turned into paid work?

That's the other thing, because there's an interest and then there's making writing more of your income and your business.

Matt: Right. Well, actually, although I have made and do make money from my writing, it has always, always, always remained on the side. My main career, as far as my moneymaking life, first started off in video and media production, which is formally what I got my undergraduate college degree in.

Then I switched into education. I taught high school for some years, and then now for the past, good Lord, 18 years, I have been in higher education. First as English faculty who also taught some religion courses, and then now for the past several years in the administration. I'm Vice President of Academic Affairs at a college.

My writing has been something that I pursued as an avocation. As far as earning money from it, that didn't happen even with my first publication, which happened on the internet in 1998, I believe, with a horror story titled “Teeth.” It was just free—I didn't get paid.

That led to paid publication of that story three or four years later, when it appeared as my very first print publication in a Lovecraftian horror anthology from Del Rey titled The Children of Cthulhu. It appeared as the final story, and that was the first time I had received a paycheck. It was a professional per-word rate.

Since then I've had several books published and more stories and essays and that kind of thing. I've had income sometimes from writing and sometimes I haven't.

My first book came out of that story. I attended the World Horror Convention in 2001, actually before that Lovecraftian anthology was published, but it had been placed.

At the World Horror Convention, which was in Seattle that year, I met one of the two editors of that book, and that led to me having my first short story collection, Divinations of the Deep, which was not for much money, but it attracted a lot of good attention and some good reviews.

So it's been like that all along. I mean, I've made a couple of runs at saying I would love to just be an author, as it were, but that doesn't seem to be in the cards for me. And honestly, I'm glad it's not.

I have made the most money from some academic editing projects that I've done. I created and edited a two-volume encyclopedia of the history of horror literature, for instance, for a big academic publisher. Those are work-for-hire projects that I get paid for.

Making money on my own creative vision and my own creative work has been intermittent. It really has proven over time that not having my primary creative, spiritual, and philosophical drive hooked to what I earn my bread by has been a blessing.

I don't want to take this thing I love and make it be how I have to grind to earn my money. I want to keep it in a protected space. That has been spontaneously what's happened with my writing career.

Joanna: Yes. I think as you say, there are a lot of benefits of that, especially where you are writing at this convergence of horror, religion, and creativity.

Your writing is very deep. I would say it's on the edge of academic. I don't want to say it's completely academic, because a lot of people will find that difficult. But I think Writing at the Wellspring goes very deep while still being open to non-academic readers.

As you say, I think if you had wanted to make a living with your books, you would've had to have gone in at a lighter level, perhaps. Do you think that makes sense?

Matt: Yes, I know what you mean. I want to specify, I know that neither you nor I are saying anything about this as any kind of criticism or condescension to anyone who does make their living as a writer. I mean, I believe you do.

Joanna: Yes, exactly.

Matt: And that's fine. There really are people who have had significant commercial success from books or other things they've written that don't appear to be making huge concessions to being commercial.

You can make a living as a writer, I think, and really follow your muse and not feel like you have to pander or cater or cheapen it.

Then there are people who have perfectly happily decided to commercialise their work and tune it in whatever way is currently popular. That's fine. Every writer, every creative person should do what is right for him or her, in my opinion.

In my particular case, I think what you said is right. I do think that I might have needed to change some things, to back off, to word them differently.

Whenever I've tried to exert deliberate control like that, it just turns out that it's not something that my creative spirit wants to do. I don't really feel like I'm in contact with the work anymore. I'm fine with that. I don't think I'm doing a sweet lemons type thing. It really is the way it just needs to be.

If it ever proves that me doing it strictly the way I want to do it, going however deep I want regardless of trying to appeal to a paying readership—if it turns out that at some point aligns with boatloads of money coming in, that's fine. That's perfectly fine. I'd be open to that.

Joanna: Yes.

Matt: I would be open to that.

Joanna: You mentioned muse there, and with Writing at the Wellspring, the subtitle is “Tapping the Source of Your Inner Genius.” So I think this is a good place to talk about it. As you mentioned, you are leaning into your muse and your inner genius, and you use other terms—daemon or daimon.

I think sometimes people find the word “genius” particularly very difficult because it has the connotation of brilliance in some form. So how can people think about this?

How can we lean into this [genius] side of ourselves?

Matt: Honestly, one thing that I would suggest people do is I would refer them to the TED Talk that Elizabeth Gilbert gave some years ago—was it 2009, 2010, 2011? It's one of the more popular TED Talks. Elizabeth Gilbert spoke about. I think it's sometimes given the title “Your Elusive Creative Genius” or something like that.

Her whole talk is about the way in her own creative life, and as she recommends to others, it has been very important for her to seize on the older model that we're talking about.

The most clear articulation of it is that it used to be the case—and we're talking about in ancient Western history, back to the Romans and even earlier to the Greeks—that genius was not something that you identified a person as being. It was something that a person had. And I would also say importantly, maybe had them too.

In ancient Roman culture surrounding art and poetry and that kind of thing, the genius was the spirit that might, say, live in an artist's studio and would provide the same service to that artist as the Greek muses provided to someone who was writing epic poetry or history or something like that.

That understanding of it has continued in various ways down through history. But there was a fateful transition as Western culture went through what we commonly call the Enlightenment and the Renaissance as well.

This was where the term “genius,” while it didn't lose all those connotations of being an inspiring spirit—something that a person both has and maybe has hold of them—did become internalised to the point where we speak of people as being geniuses., which is exactly what you're talking about.

I agree, some people listening to this probably have some reservations about this. They don't want to call themselves a genius because we tend to mean that's a super brilliant person, some kind of prodigy who is possessed of amazing artistic, creative, or intellectual skills.

Again, that is the result of a cultural, philosophical, psychological, historical transition that occurred several centuries ago. And you still see the older meaning of it being attached sometimes. You think of people who we call geniuses being touched by something.

Well, the older version—where you think of the genius, which in the way I use it in this book and also in my first book on creativity, A Course in Demonic Creativity—the genius is equivalent to the muse, which is equivalent to that other figure that you mentioned, the daemon or the daimon.

It refers to a separate—what seems for all the world to be a separate—centre of intelligence or entity or influence. The thing that gives you both your creative drive and also your ideas, and serves as the source of what comes to you naturally to write. It's more than just ideas.

When you talk about the ancient Greek daimon, there was a whole well-developed tradition of that in ancient Greek philosophy and religion. A daimon was, in one famous sense, a spirit that you were born with, that the gods had given you. It was like your double, your higher self.

It was the thing that represented your character, your interests, the blueprint and the outline that your life was supposed to follow.

There are great books written about that. There's a book by the psychologist James Hillman titled The Soul's Code. A lot of people have read it. It lays out the daimon theory and gives it application to modern instances. The idea is that everybody has a genius or has a muse or has a daimon.

For writers, my recommendation is to say, whether you believe it or not, whether you take it as a metaphor—which is fine—or whether you want to get somewhat mystical and delve into the idea that maybe there's really a spirit or something, it doesn't matter.

Productively, with practical, measurable results, you can learn to relate to your creative impulse as if you are collaborating internally with someone else.

It's the centre of why you're interested in writing what you want to write, why you want to write the way you want to write, and even the types of things that unfold in the course of your career—both your creative career and the rest of your life, in the mould of the ancient daimon.

I have found that to be a vein of great power and meaning in my own life. I do it exactly the way I'm describing. I don't actually believe it, but I don't disbelieve it. I find that in experience, it really doesn't matter. It works and it may as well be true.

Joanna: I mean, obviously the book has a whole load of ways we can tap into that, but I did like that you talk about stillness and silence, because I feel like that is actually increasingly difficult as authors.

Obviously it's noisy online and we're meant to be doing things like social media or interacting with people online. And then the world is just noisy. The news is noisy. There's lots of things.

How can we use this idea of stillness and silence? Also, any other ways we can practically tap into this side?

Matt: Sure. One thing that wanted to say itself in this book was some things I had been thinking and feeling about silence for a long time. As you say, it can be difficult these days to find what feels like the silence that we need to even get our work done.

We're talking about the muse or the genius. How can we even hear it when it seems like the clamour of all the pulls that we have on our outward attention has become truly a cacophony?

We have opted for this in many ways through our engagement with social media or other things, but in other ways seems like it's been thrust upon us. What I want to point out, that has been of extreme importance to me, is that many silences come into our lives as creatives that we resist.

It's not just that we can't find the silence and the space that we feel like we need so as not to drown out our creativity. It's that we have unwanted silences come in, like writer's block. Or even if it doesn't feel like a block, just inertia. Just stasis.

I don't know about you, but I have many, many times found myself grappling with what, for all the world, feels like a totally natural, organic sense of wanting to slip into complete inertia, just total stillness. And that feels like it has been in conflict with my creative drive.

It's like I have this residual desire and also a sense of duty that I really should be writing. Maybe I have an idea in mind and I'm just not working on it. Or maybe I'm in the middle of a project and I feel like I'm abandoning it. Or maybe nothing's coming up, but I feel like it should be.

I'm pushing myself, but there's a division in me where I also just want to leave it alone. Whether that means actually just sitting there silently at my writing table or in meditation, or maybe just going about regular daily life and forgetting about trying to fulfil this creative calling.

I really think there's a vein of gold to be tapped in the silences that come to all of us. Because as I said, that can be in the middle of daily activity. We have this kind of franticness, some of us, about our creativity. We get wrapped up in it. We feel bound to it.

The thing that so much of the time we want to think is a gift—we're proud of it, we cherish it, we like our writing—also becomes a burden.

This fantasy of just chucking it all, of just saying, “I would love to be free of it. It's like something that's weighing me down. I'm sorry that I roped myself into it. I would love to just sink into complete silence.” This sort of meditative thing, or just muteness—hey, that is valid to hear. That's valid to heed when it comes up.

I mean, sometimes we have gotten ourselves into situations where we have external responsibilities and deadlines, and it's important to try and honour those and not be a bad person on the level of just fulfilling practical obligations.

It's also important to recognise you've got silence offering itself to you in all kinds of ways. The more important silence is paradoxically the one that we so often resist if we're creative people and feel like we have to be making.

The more important silence is not whether or not your outward conditions seem like they're a clamour and they're chaotic and they're distracting and they're full of pressure. It's that inner silence.

So I recommend paying attention to when it comes up. And for practical ways—they are endless. Take advantage of early mornings. A lot of people have found great value in getting up earlier than they are used to and making a practice of that, and either just meditating or free writing.

Maybe using, for example, Julia Cameron's famous practice of morning pages, which has been valuable to me sometimes.

Or doing things like—as I've said about the muse and the genius and the daimon—personify your unconscious mind and maybe write down a dialogue between yourself and your creative spirit, whether about your current project or just about your life and your creativity as a whole.

There are various tricks to get in touch with this unconscious part of you, and I really am convinced out of practical personal experience that it's not necessary to have outer silence and outer spaciousness when you can find it within yourself. You can find it through some of these exercises for getting in alignment with what your creativity wants to do.

You can get in touch with it if you're paying attention to what you might not recognise as a gift—offering it to yourself. If things go quiet and you think, “Oh no, I should be doing something”—why not let that be a place where things can germinate? Why not let that be the silence that you might not be able to find on the outside?

Joanna: Yes, and I'm feeling guilty here because of course we are producing a podcast episode for people to listen to. I find personally that one of the places I can find silence is when I walk. It's not obviously silent outside, but I am definitely guilty of always listening to podcasts, often at very fast speed as well.

Sometimes when I go for a walk, I just deliberately do not listen to anything—don't listen to an audiobook, don't listen to a podcast—and a lot comes up there.

I have my phone with me, and when I get back from those walks and jot down things that come up in my mind, I will have so many notes of things that have come up in my brain during the walk.

It's really difficult, isn't it? Because I know you also love input. You do a lot of research. As I said, your books have a lot of research in them, and so we both like doing the research. But also I definitely find that has to be balanced with the time for letting it come out again in some form, with that mental silence.

You also talk about being uncomfortable, and I feel like sometimes that silence can be uncomfortable as well.

Matt: Yes, it can be. There's no telling what might come up when you are faced with silence. Again, it's one of those things—even the outer kind that we think we crave. Sometimes it's a bit frightening when it comes up, which is why we try to fill it with things, like this podcast episode for example.

There's a threshold that you can notice you cross sometimes, where what was a natural desire to connect with something that you heard about and found interesting becomes a bit frantic.

Where now, really, what might be good is if you shut off—didn't go for the next podcast episode or didn't go for the next click to the website—if you just shut the browser and just sat there and did something else.

You're kind of, with a little desperateness, trying to fill the void. What you described about needing to get quiet and let things happen—yes.

I love reading and research, but the classic stages of the creative process—first codified, I think, by Graham Wallas, if I remember correctly—they still work. It's really good sometimes to have a model and understand how it works.

You have what's sometimes called the preparation stage. All the input, all the research, all the brainstorming, all that kind of thing.

Then the incubation stage can be vastly important. That can get frightening, both because the silence seems somehow threatening, like something about you is going to be exposed. Or maybe that you're going to lose the thread of whatever it was and it's never going to come out.

But really, if you just stop and let your muse, let your genius do its thing, let your unconscious do its thing, it will suggest itself again. It will come up on its own. Ideas will come back.

You'll realise, “Oh, I didn't know what I was going to do with that character. I didn't know how these ideas were going to come together. I didn't even know what this idea for a story, a book, or an essay was going to be.” It comes back up, and with you working with it, it shows what it wanted to be all along.

This whole thing about doing the preparation and then allowing it to incubate and germinate and then sprout when it wants to, that still works.

Part of the reason that we're scared of the silence, I'm convinced, is because each of us operates in our psychological selves as a closed system. It's like we each comprise our own cosmos, so to speak.

I know you know that I have worked in horror literature, the literature of cosmic fear. In cosmic horror, as laid out by the likes of Lovecraft and others, the basic effect has been analysed as constituting a disturbance of the universe.

That's the horror of cosmic horror—the world is transformed into this nightmarish thing in a cosmic horror story, where there's a haunting, threatening presence that's out of the ordinary and it's somehow bound up with the narrator's interior world.

Life reveals itself as supernaturally or ontologically something nightmarish—there are awful forces that are about to erupt all the time. And whether anybody's into cosmic horror or not, I think it's pretty accurate to say that we each constitute our own world, our own cosmos.

A lot of the noise that we make—the mental noise and the complications we introduce into our own lives—is, usually unconsciously, trying to stave off confrontation with the otherness that is outside the barrier of our personal sense of self.

The weird thing is that that otherness is actually in us, and in fact, we can approach it in the figure of the daemon or the daimon or the muse. So creativity is fraught.

You're dealing with something that you might want to think, “Oh, this is great, it's going to be the source of my ideas, it's going to fulfil my creativity.” Well, yes, but it is frightening to think about the fact of something about yourself being beyond yourself and perhaps being out of your conscious control and somehow guiding your destiny.

A lot of people have trouble getting along with their own unconscious, which is another way to put it. There's a horror, a fear, a dread effect that comes when we feel like we are out of control.

We all face that ultimately—when it comes to our death, for example. There are some spiritual traditions that talk about dying before you die, that being basically the way to enlightenment in those traditions.

Recognising and coming to terms with the fact that this thing that is you, that you call yourself, is transitory. It is only there by being enclosed within and swamped from without by this thing that is not you, which is a sort of void to which you'll return.

In the book, I deal with some of that, and I talk about it from a non-dual spiritual viewpoint, because ultimately for me, these creative questions have become inseparable from spiritual questions.

Joanna: Yes. And obviously people know about my book Writing the Shadow, which is how we really connected around this Jungian idea of the shadow and the darkness. I agree with you—there's some really interesting things at the juxtaposition of all of these topics, which we could talk about for a long time.

I do want to ask you around your idea of “living into the dark.”

Because I feel like you do take things beyond just the writing into this idea of living into it. So maybe talk a bit about that. And obviously synchronicity, which is a Jungian psychology concept.

Matt: Living into the dark is the thing that forms the overarching ethos or perspective for me of all this. I got the term from “writing into the dark,” which actually comes from the American science fiction and fantasy author Dean Wesley Smith. He wrote a book titled Writing Into the Dark, subtitled “Writing Without an Outline.”

It's a great book. I recommend it to anyone. It is about forsaking and foregoing the felt need to outline writing in advance and trusting your creative mind to be able to make up a story in real time. That draws on the deep nature of storytelling to come out right.

Therefore you write into the dark, as if you're walking down a road where you have a lantern and you can only see one step ahead. You haven't mapped out the territory.

It was a great metaphor. I had already been thinking in that direction about life and about creativity for some time when I first came across that book. I devoured it and recognised it described how I had already been writing anyway, which is one reason it was so powerful for me.

Then it edged out into a broader understanding for me that I had also been coming up with, that I just ended up calling “living into the dark.” None of us knows where anything is going, that much is obvious. But living into the dark goes farther than that, to embrace this understanding.

I think of this in connection with what so many people, either personally or because of jobs they have where they're required to think like this. I think of this in terms of the famous five-year plan that so many of us want to draw up.

There's nothing wrong with a five-year plan or a ten-year plan or a one-year plan. You can come up with that for practical purposes and try and chart where you're going, but we too often forget that that's just a fantasy exercise.

We are not actually thinking into the future, nor are we ever actually thinking into the past. Remembering the past, predicting or projecting the future—both are events that are happening right now, in this moment, which is always now. It's no less now than it was when you and I first started this conversation.

Past and future are projections—mental projections right now. And everything is unfolding in the present in real time, which effectively means what's going to come next is coming out of—well, we don't know where it's coming out of. Darkness.

Living into the dark is living with full-on contact with, and awareness of, and embrace of this fact that we don't know what's coming up. That encompasses all of life and all of creativity.

That same darkness, if it's helpful for you to take on this emotional tenor—which it is for me—can relate to the darkness in cosmic horror fiction, or to some of the rich traditions of darkness, like in Daoism with the yin contrasted with yang. Yin is the dark, moon, feminine aspect of things—the receptive source of the universe.

This idea of living into the dark, of just accepting that we're all on this journey on a path where we can only see one step ahead, even if that far, has been meaningful to me. It's been meaningful to my creativity, and I recommend it to anybody to whom it appeals.

It takes a lot of pressure off. I think that's a guiding meta-theme for me—trying to take the pressure off us from trying to control things that can't be controlled, and more stepping into that flow of understanding: what's going to come to me is going to come to me, and my posture toward it, whether I align with it or not, is what's going to determine my experience of it.

You mentioned synchronicity. It's interesting. It's verifiable.

I know a lot of people have verified it for themselves. Maybe some people listening to this have too.

It's verifiable that when you really get in tune with this present-moment thing and get in tune with your creativity—and you can tell when you're aligned and not, when you feel blocked or when you feel resistance or not—when these things align on their own sometimes, strange coincidences do happen.

Jung talked about synchronicity as an acausal connecting principle. That was probably due to the fact that the psyche is not separate from the fabric of the world that gives rise to it, so that we might have subjective things—impressions, fantasies, dreams—that we rather uncannily see mirrored in objective events.

Like the famous thing that clarified and coalesced that for him: a psychotherapy session with a patient who was describing a dream she'd been having about a scarab beetle.

Then he heard a tapping at the window of his office and he went there and opened it, and there was a European beetle—a kind of scarab beetle, much like the Egyptian scarab—that was there.

He held it up and said to the woman, “Is this your beetle? Here is your beetle.” It just blew her mind. It opened new levels of the therapy that she was receiving. Those kinds of things happen. I've had them happen.

Joanna: Me too.

Matt: If you're a long-time writer or reader, you're familiar with the library genie—the library daemon, we sometimes refer to it as—the book that, just at the moment you think of it and realise, “Oh yes…”

You're doing your study, and it doesn't have to be a library, it could be on the web or whatever. You finally realise what it is that you need, what you've been looking for, and in some cases it literally falls off the shelf onto someone's head.

What do you make of those when they happen? At the very least, it rattles your cage. You might enter a state of suspended judgement about whether we really are living in a kind of magical cosmos full of real correspondences.

It's a bit like the daimon or the muse: is it a metaphor? Is it just an interpretation, or is it something real? Probably the best place is one of profoundly, actively embraced agnosticism, and just take it for what it is.

Joanna: Yes, and leaning more into your intuition. I think you definitely demonstrate that in the book as well, really exploring a lot of very interesting topics.

Now, we are almost out of time, but you do have a Substack, The Living Dark, where you publish essays, and you've also got all kinds of really interesting books. I want people to go have a look at some of the other stuff you've written, especially if you enjoy horror and religion and all of that kind of thing.

So just to ask, how do you decide when something is an essay on The Living Dark, and how do you decide when you are going to put it in a book or in some other way?

I feel like a lot of authors are thinking about Substack but don't necessarily know what to put on it. I think I first connected with you on your Substack, where I was like, “Oh, this guy's writing interesting, weird stuff.”

How do you use Substack as opposed to writing for your books?

Matt: Sure. Let me answer by first talking about what happened previously with that first book on creativity that I mentioned, A Course in Demonic Creativity. I had all kinds of thoughts and ideas coming up, seeded over many years of practice and reading about the daimon and the daemon and the genius and the muse.

In 2009 I founded a blog—it was just a WordPress blog—and I titled it Daemon Muse. I attended to it for two to three years. A lot of people ended up reading it. I really did not have any plans, not even any back-burner plans, of taking the material that I published in posts there about this way of creativity and making it a book.

I did realise about a year and a half in that essentially I had a book I had already written in those posts. So it took some work, and I spent six months making it all into a coherent book.

By the way, that book was only ever published as a PDF, which is still free on my website, MattCardin.com—although plans for the first-ever print edition of it are in motion right now. That was published in 2011.

When I went to Substack and started my newsletter there in 2022—and by the way, it wasn't originally called The Living Dark; my first title was “Living Into the Dark,” and then I changed it about a year, year and a half in—I kind of am doing the same thing.

It's been a while since I took anything and thought, “I'm writing a book with it.” I write what comes to me to write. You know how Substack Notes is Substack's own version of social media, kind of like Twitter used to be or like X kind of is now.

It happens all the time that I write things that just stay in contact with people as a Substack Note—some short thing. And then I realise I wanted to say more about that.

Or you have what happened just this morning. Three or four hours before you and I were talking, I started writing a Substack Note and it got so long I realised I had something that could be a post to The Living Dark. So I switched over and finished it that way.

The book Writing at the Wellspring came together after I had written things for a couple of years at The Living Dark and realised that I could trace a path through about a third of the posts that I had ever published there, and had the makings of a book.

So that, plus other material from earlier in my life—there are things from my private journals from years ago in Writing at the Wellspring—plus some new material, ended up turning into that book.

So I'm not thinking about the difference, is what I'm saying. I find writing at my Living Dark newsletter to be a needful and enjoyable creative outlet, partly because I have some 3,800 readers now and it feels good to be in contact with them and to have that audience and to know that there's that eye on what I'm writing.

That's partly because I just have the freedom to work it out to my satisfaction and publish it there. I'm already halfway forming another book that will be of a different focus, to come from things that I have published there.

So for me, there's an organic relationship between Substack writing, or any kind of blogging, and the writing of books.

If people haven't thought about that, they might want to consider it. If you have one already or if you're thinking of starting a blog on Substack or anywhere else, maybe you have things that can guide you to a book that already exists and you just haven't realised it.

Joanna: So where can people find you and your books and everything you do online?

Matt: Well, The Living Dark that we're talking about is at www.livingdark.net—and it does require the three Ws at the beginning to get there. Then my author website is MattCardin.com, and you can go to the books page there to get a link to all the books I've published and read about them.

Joanna: Great. Well, thanks so much for your time, Matt. That was fantastic.

Matt: Thank you, Jo. I really appreciate the invitation.

The post Writing At The Wellspring: Tapping The Source Of Your Inner Genius With Matt Cardin first appeared on The Creative Penn.