Chuck Tingle explains his turn from erotica to zombie-filled Fabulous Bodies


While he cut his teeth writing absurdist and satirical gay erotic fiction such as Pounded by President Bigfoot and I’m Gay for My Billionaire Jet Plane, Chuck Tingle — his true identity kept secret from readers behind sunglasses and a pink mask that reads “Love Is Real” — has since proven himself to be a talented and prolific horror writer.

A blue book cover displays cracked heart-shaped sunglasses Image; Macmillan

Tingle’s upcoming novel, Fabulous Bodies (out July 7), is billed to readers as “Drive meets Beetlejuice.” It’s a perfect summer blockbuster of a book that you’ll want to read on the beach or while you’re sitting poolside.

When Eddie Michaels — a piano playing rock star and queer icon à la Elton John — suddenly and unexpectedly dies, Poppy Stringer is tasked with collecting his body from the medical examiner’s office. A fashion influencer by day and grave robber that transports dead bodies across LA by night, Poppy can’t believe her luck: jobs as lucrative as these are few and far between. But what begins as a routine delivery to a client takes an unexpected and bloody turn when Eddie Michaels wakes up.

Polygon spoke to Tingle about his love for horror, whether love and horror go hand-in-hand, and what Poppy’s theme song would be. After the interview, check out an excerpt from Fabulous Bodies.

Polygon: When did your love of horror first develop? Was there a piece of media in particular that sparked that interest?

Chuck Tingle: I have a few early horror memories, but the one that really sticks with me is catching Night of the Living Dead on late-night TV. It wasn’t the original, either, it was the 1990 remake starring Tony Todd. When you stay up watching TV because you can’t sleep, there’s this sort of isolated feeling, like you’re disconnected from the whole of human existence. I remember watching these characters hunkered down in a farmhouse, feeling the same kind of isolation that I was, and suddenly I was like “Oh, I’m right there with them. The world is a scary place, but we’re all here being scared together.” It was a really powerful moment.

How does the process of writing horror differ from the process of writing satirical queer erotica?

Well, I usually write my Tinglers, which are short form erotica, in 24 hours. So the biggest difference between the two is how much I can interact with current events. If something happens on the news and there’s feelings about it that I need to process, I just sit down and write a Tingler. Suddenly, those feelings are a piece of short form erotica that’s out the next day. It’s a pretty fascinating and exciting way to distribute art. When there’s a worldwide conversation happening about some issue, that kind of speed really breaks down the barrier between artist and audience, which I think is really beautiful.

A traditionally published horror novel takes me a few months to write, but even after I turn it in, there’s going to be a whole year of that book moving through the publishing system before it’s on the shelf of your local bookstore. That means I’m usually dissecting a cultural theme instead of some specific event, although for some reason I keep stumbling into particular things that feel very current. There’s a lot of stuff about generative AI’s relationship to Hollywood in my book Bury Your Gays, and when I wrote it I kept thinking “Dang, I’m gonna need to change some of this stuff because people will think it’s too ridiculous. Nobody is going to understand what I’m talking about if I mention an AI generated performance being created after an actor’s death.” But by the time that book worked its way through the system and got released, the whole world had basically changed. Now, it seems like I wrote it just a few days ago.

You’ve written a lot of horror about queer characters being preyed on by straight society. Does Fabulous Bodies continue in that vein? What interests you about exploring that real-life dynamic through supernatural lenses?

That’s a great observation, and interestingly, I think Fabulous Bodies shifts that trend. This time around, it’s much more an example of queer culture critiquing itself. Obviously, the “stan culture” of unwavering celebrity loyalty is everywhere, but I do feel like it has a particularly strong hold on the queer community. We love our icons, which is great in some ways, but it can become a little toxic in others.

As far as using horror to talk about queer issues, though, I really just feel like my interest is more of an inevitable product of who I am as an artist, not necessarily some universal thing. I love horror, and I love exploring sexuality through art, so this is just what comes out of me. It’s not any sort of master plan.

What have you learned at this point in your horror writing career that you wish you’d known at the start? How has writing horror evolved for you over the course of five novels?

We are obviously always learning as we move through life, but there’s nothing that I wish I’d known from the start, because I like art that captures the moment it’s written. Imperfection is the only real “perfection”, and any amount of extra sanding down doesn’t necessarily make a sculpture better. Would all the songs of young punk bands be better if they went back and rerecorded them as adults? Made sure everything was a little less rushed and in tune? I don’t think so.

So as far as I’m concerned, the thing we are trying to capture is ruthless honesty at the moment of creation. Everything I’ve written is a product of its own unique moment. Sometimes that means it’s a little off kilter, but that’s where all the flavor and beauty is.

Fans know your slogan and philosophy at the core of your work has been “Love is real.” Familial love plays a large role in Fabulous Bodies, and queer love in general has been an important part of your writing. Why do you think horror and love go hand in hand?

People are often curious why someone with such a positive message would be so drawn to a genre known for its darkness, but I feel like that’s kind of the point. If you want to shine a light, there’s no better place than the dark.

Tonally, Fabulous Bodies is a little different from your previous works. How did you figure out where you wanted to land on the balance of gag-worthy body horror and undead hijinx?

This will probably surprise a lot of people, but when I write, I rarely set out to be funny. This goes for my horror, as well as my short form erotica. It’s totally fine if people laugh, though, and I can objectively step back and think “Oh, that’s a funny situation or idea,” but humor is almost never my intent.

Comedy and horror work in a really similar way, though. They both deal with something unusual that breaks through into our daily life, and how someone reacts to that breakthrough is generally going to determine if it feels funny or scary. It’s absurd to find a clown in a sewer, for instance, but the tone and the way that idea is handled will shape the genre.

I have always had a high tolerance for things that others might feel are too absurd to “work” in a story, and I kind of associate this with my autism. Having a neurodivergent mind can strip away a lot of preconceived notions about how things are typically done or reacted to. As an autistic person, I tend to look at these ideas like “Why not? Do I care if it’s typically done this way? Is there a reason for this rule?” Then, I choose to either follow it, or I chart my own path. Most of the time I chart my own path.

To circle back, I think this perspective just kind of inherently starts making things funny. I’m constantly straddling this line between absurd in a funny way, and absurd in a horrific way, because I think my internal meter is slightly off.

Is there a genre or style of horror you haven’t written in yet that you would like to try one day?

I’m fortunate enough to have these large, multi-book contracts with my publisher, so if I have a style or subgenre idea, I’m just gonna write it. There’s nothing stopping me in a business sense. The real issue is finding a story that moves me enough to actually write it. There has to be an emotional reason to explore whatever subgenre I’m interested in.

For instance, I’ve had an idea for a vampire book for a really long time, but there were a few things about it that I just couldn’t get right. But the second I realized what I wanted to say emotionally, the whole thing just fell into place. I’m about halfway through that one, but the thing is, I usually have one or two books already finished at any given time, so the vampire book is deeper in line and will probably come out three years from now.

It’s far enough away that I usually wouldn’t even mention it, but it’s kind of the perfect answer for what you’re asking.

What would Poppy’s theme song be? Did you listen to any music in particular while writing this book?

Poppy’s theme is definitely “A Star Like Me” by Eddie Michaels, but that’s a fictional song, so if we’re talking about something real, then I’d say Rocket Man by Elton John. Just an incredible song musically, but the lyrics also really fit: someone with a professional life that’s isolated them from their family, and a sort of bittersweet recognition of “well, I’m really good at this job in the middle of nowhere, but I also miss everyone down on Earth.”

Every one of my horror novels has a thematic musical genre, and Fabulous Bodies was groovy seventies rock, so Rocket Man fits.

If you could spend an evening with one deceased musical celebrity, who would it be and why?

Sammy Davis Jr. would be a wild time.

Are you reading or watching any horror right now that you’d recommend?

Headlights by CJ Leede is coming out this summer and it’s fantastic. Highly recommended.

And now, here’s an exclusive excerpt from Fabulous Bodies. The book comes out July 7.


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