"He’s the Devil" is queer horror at its best

Blending camp, gore, lust, and tension, He’s the Devil is the latest addition to the queer horror canon. Author Tobi Coventry shares the vintage horror that’s inspired him, how his love of film influences him, and how he managed to make his debut novel feel so alive.

Michael Collina: It feels like we’re currently in the middle of a queer horror renaissance. What first drew you to the genre?

Tobi Coventry: I’ve been a horror fan as long as I can remember, ever since I heard about The Exorcist—a film that made people faint in the cinemas, and which I was never ever allowed to watch. I became obsessed with the power of something that could terrify like that, and I think I always will be! I think most horror has something queer about it; it’s all about the crossing of lines and boundaries. I love horror stories, and I love stories that are queer. There was only one kind of book I was destined to write!

What can you tell us about the cover of He’s the Devil? The visual of blood and eyeshadow is giving horny queer gore in a way that feels like Carrie-meets-Drag Race.

When I spoke to my editor Katie about what I hoped for in a cover, I said I wanted people to feel both horny and scared at the same time whilst looking at it. We played with some references, and looked at vintage horror covers that felt both horrible and glamourous at the same time, as well as a lot of vintage Stephen King. Katie actually showed me an early Carrie cover that I now want hung on my wall. I think everyone agrees that the cover we’ve got (designed by Georgie Proctor) is nothing short of a fabulous masterpiece, both pulpy and sophisticated all at once.

What inspired you to write this novel? Was any part of Massimo inspired by a real-life flat-sharing experience?

The novel actually started out as a film idea, about two people sharing the same demon. I then began exploring this idea in new ways, while looking to retain both the intimacy and the anxiety of the original concept. And what is more stressful than sharing your home with someone you can’t get rid of? Massimo is not based on anyone specific, more a manifestation of my phobia of sharing personal space, which really got my imagination jumping.

Though He’s the Devil is your debut, your day job as a literary scout for film and TV has you reviewing a lot of books. Did you find yourself writing with a future adaptation in mind? How did that affect your writing process?

I think very visually, and almost everything I write starts out as a scene or a set-piece, and is heavily influenced by my love of film. I do tend to examine a moment and think, "Would this be exciting on screen? Would it come to life? Is anything actually happening here?" I’ve watched a lot of horror films, and so I also find myself thinking, "Have I seen this particular scare before—is there a way of twisting it to make it feel original?" And sometimes the film I’m dreaming up is just playing in my mind, and I have to find the best way to capture it in words. So, I definitely think about adaptation as I write, but mostly in the way of wondering if the work feels as alive as a really great horror film.

That work also means you know the importance of a good performance. He’s the Devil is beautifully brought to life by actor Omari Douglas. What was the casting process of this audiobook like?

Talk about a pinch-me moment. I had given a few names to the team, and I was really hoping for a screen actor because Simon’s POV is so intense, I could imagine it would be a challenge to get under his skin. When I heard they’d chosen Omari, I was ecstatic. Omari is next level, and I had been a fan of his for years—as an actor he is steady, kind, and bold, with this wicked gleam in his eyes. His performance is pure genius. He’s delivered a performance that is sexy, scary, and funny all at once.

As someone who is constantly consuming stories, are there any audiobooks or podcasts that you would recommend to listeners after finishing your book?

Great question. I live in the countryside now and end up walking around and around fields a lot, so I’m always listening to something. And as someone who reads a lot for work, being read to will always feel luxurious and fun. In terms of horror podcasts, I’d say Alice Isn’t Dead is the most amazing, uncanny, Lynchian piece I’ve ever heard, and Willy Hudson’s episode of Brock Media’s Eerie is also a masterpiece—you’ll never listen to a voice note again.

For audiobooks: Daisy Johnson’s The Hotel is wonderfully produced, eerie, and sprawling, and The First Bad Man by Miranda July is another weird and wonderful story of cohabitation. If you want proper, horrible horror in your ear, just go for Stephen King. Start with The Girl Who Loved Tom Gordon, move on to Pet Sematary, and then finish off with Cujo.

If you’re after true crime, I’ll Be Gone in the Dark by Michelle McNamara is absolutely riveting; People Who Eat Darkness by Richard Lloyd Parry is really up there; and so is Helter Skelter by Vincent Bugliosi and Curt Gentry, which will leave you checking the doors and windows for weeks.