
Grady Hendrix’s captivating novels often take classic horror themes and infuse them with fresh, innovative lore. From vampiric tales in “The Southern Book Club’s Guide to Slaying Vampires” to haunted houses in “How to Sell a Haunted House,” and even the chilling topic of possessions in “My Best Friend’s Exorcism,” he has a knack for reimagining the genre. However, his most recent work, the audacious “Witchcraft for Wayward Women,” published by Berkley, delves into the world of witches. This narrative is not just a fictional tale; it draws inspiration from the dark, haunting stories of his own family’s past, intertwining real-life history with supernatural elements.
Set in 1970, the novel revolves around four teenage girls who are sent to Wellwood House, a facility for unwed mothers. Their grim mandate is to give birth, relinquish their children for adoption, and pretend that nothing ever happened. However, their fate takes a magical turn when they discover witchcraft through the guidance of a librarian who introduces them to a mystical book. This newfound knowledge empowers them, allowing them to reclaim some control over their lives and destinies, creating a powerful narrative about female strength, resilience, and the pursuit of autonomy in a restrictive society.
Hendrix, who has a background as a former writer for Variety, reveals that the idea for “Witchcraft for Wayward Women” stems from a poignant family history involving two cherished relatives who faced similarly unimaginable circumstances. Their stories were hidden from the family until much later in their lives, adding layers of complexity and emotional depth to his writing process. Hendrix’s exploration into these personal histories has not only enriched his storytelling but also highlighted the often-overlooked narratives of women’s experiences in society.
“I’d say it’s not typical for a middle-aged, childless man to write a book centered around pregnancy,” he reflects. “My family discovered years ago that two of our relatives, both now deceased, were sent away as children to homes for unwed mothers. We were completely unaware of this until late in their lives. One of them managed to reunite with her child, while the other never had that chance. The idea that you could give birth and never see your child again is astonishing. One relative was sent away at a time when conventional wisdom dictated that new mothers had to care for their babies for several weeks before adoption. She not only gave birth but also raised her child for five weeks, only to lose touch until her 70s. The emotional weight of that scenario struck me profoundly.”
Hendrix’s research into this poignant topic revealed a historical reality that was alarmingly prevalent, as around 190 homes were established for unwed mothers during the notorious “Baby Scoop” era. His dedication to accurately portraying the experiences of young women led him to seek the insights of numerous experts. This meticulous approach allowed him to craft a narrative that resonates with authenticity while shedding light on the complexities of motherhood, societal expectations, and the struggles faced by women in that era.
“I realized that the only way to give this book the depth it needed was to engage in conversations with individuals willing to share their personal experiences,” he states. “I spoke with several mothers who recounted their birth stories, consulted obstetricians, and engaged with labor and delivery nurses. I even enrolled in online courses and obtained my Williams Obstetrics manual. I worked closely with an exceptional OB, but as I bombarded her with questions, I could sense her responses becoming more succinct. Ensuring accuracy was crucial, and much of what I learned diverged significantly from my initial assumptions.”
Hendrix credits his background in journalism with granting him the freedom to ask probing questions and pursue the truth relentlessly. His curiosity and willingness to learn from others have significantly enriched his writing process, allowing him to explore themes of motherhood and the female experience with a nuanced perspective.
“You can engage with people and challenge your own preconceptions,” he explains. “You can approach someone and ask them to explain things in simple terms, allowing for genuine learning. Oddly enough, I’ve had a longstanding fear of childbirth. Once it begins, there’s no turning back, and you’re thrust into an experience that you can’t escape. After writing this book, my fascination has only deepened. If anyone wants to share their birth story with me, I’m all ears, ready with a bowl of popcorn because I have so many questions. The process is truly remarkable. What I enjoy most about writing is conducting research and having conversations with real people.”
This novel is sure to spark conversations among readers, especially given that the idea has been brewing in Hendrix’s mind for years. Its release coincides with a time of intense political debate surrounding women’s rights, particularly following the overturning of Roe v. Wade in 2022. This moment, compounded by the potential implications of a Trump presidency, has given rise to a surge of horror stories where the theme of women’s bodily autonomy takes center stage, emphasizing fears that surpass those of any fictional monster.
“Since the narrative is set in 1970, I was initially focused solely on that time period,” he remarks. “However, the current political climate didn’t fully register with me. I realized that the way we’ve historically discussed unwed mothers has remained stagnant since the 1920s, continuously echoing through the 1990s and into the 2000s. Terms like ‘Welfare Mothers’ and ‘single-parent households’ are frequently used, placing the blame for societal issues squarely on women who have children out of wedlock. This relentless scrutiny is harsh and unforgiving, and what astonished me is how much we accept this narrative without question.”
Unfortunately, Hendrix observes many striking parallels between the themes in his book and contemporary life. The societal issues he tackles in his narrative resonate deeply with ongoing challenges faced by women today.
“I recently drove past a sign in South Carolina that read, ‘Seeking foster homes for pregnant children,’” he shares. “There was a significant New York Times story discussing maternity homes in Florida. These issues are still prevalent, and to pretend they are relics of the past is a disservice to reality. With the recent changes surrounding Roe, these matters are now more urgent and visible than ever.”
In addition to his writing career, Hendrix is also active in the film industry. He has written screenplays for two films: the 2017 horror movie “Mohawk,” co-written with Ted Geoghegan, and the 2019 film “Satanic Panic.” Currently, he is working on a feature adaptation of his short story “Ankle Snatcher,” showcasing his versatility as a storyteller across different mediums.
Several of his novels are set to be adapted for the screen, including 2014’s “Horrorstör,” which is in development for a movie, alongside upcoming television adaptations of 2020’s “The Southern Book Club’s Guide to Slaying Vampires,” 2021’s “The Final Girl Support Group,” and 2023’s “How to Sell a Haunted House.” These adaptations are highly anticipated by fans, reflecting the growing interest in Hendrix’s unique blend of horror and humor.
While Hendrix cannot disclose specific details regarding the progress of these projects, he does share, “We’ve recently made significant strides on all fronts. Everything seems to be moving forward a bit, which is a huge relief, especially after a period of silence where we were left in the dark.”
As for his next literary venture, Hendrix reveals it will be a significant departure from “Witchcraft for Wayward Women.”
“It’s a monster book,” he states emphatically. “A straightforward tale about a monster lurking in the woods. Notably, there isn’t a single female character in it, which is quite unusual for me. However, I prefer not to reveal too much at this stage, as the story may evolve during the writing process. For now, I can confirm it will feature a monster in the woods with no women allowed.”
In the meantime, Hendrix is excited to bring the story of the girls at Wellwood House to life for his readers and himself.
“It’s a fascinating, immersive endeavor,” he shares. “I have created detailed drawings and written descriptions of every room in that maternity home. I possess a written floor plan and a seating chart illustrating how the girls are arranged around the dinner table because I must visualize everything to make it real. For the readers to believe in the story, I need to truly believe in it myself. I must see it, hear it, and know its scents. For me, the experience is deeply visual, auditory, and sensory. I’m thrilled that this immersive quality comes through on the page, as that’s my ultimate goal.”
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