What is Corporate Gothic?

As members of Joe’s Writers’ Club club threw the term “Corporate Gothic” around, again and again, I became mystified. I agreed with the consensus – that the literary genre projects something “corporate” in the setting or conflict – and gothic elements like suspense and mystery in the style; yet, at the repeated mention of “gothic”, I paused. I was excited about the project, but I felt dizzy. Pulled into a dream state, I couldn’t explain what I couldn’t explain.

It was a paradox at play, and grappling with a contradiction in terms, I couldn’t understand the meaning of “gothic” because the meaning of “gothic”, I now realize, cannot be fully understood. As I conducted google searches and followed Wiki links, I was trying to solve the unsolvable, explain the inexplicable, and locate a technical definition for a non-technical term. While my exploration resulted in less-than-substantial findings, I did come across some interesting tidbits along the way.

The countless meanings for the term “gothic” include a germanic people, a style of architecture, a typeface, a subculture, a music scene, a fashion statement, in addition to the literary genre! Like the “gothic” typeface, “corporate gothic” has its own font, I noticed, and the slight slant of its tail exhibits the old-world flourish of copperplate. (Download the Corporate Gothic Typeface here.)

The Gothic Secretary

Like the “goth” fashion and subculture, “corporate gothic” denotes a style of fashion that blends vampiric pointy-toed outfits with traditional business attire. While displaying varying degrees of sexuality, the corporate-gothic look challenges and temps the straitlaced dress code, typical of corporate culture. Television characters that feature playful versions of corporate gothic fashion include NCIS science-genius Abby Sciuto and The IT Crowd‘s befuddled employee, Richmond Avenel.

Just as the term “gothic” has numerous definitions, the literary genre goes by several names. What’s called gothic literature, gothic fiction, and gothic horror includes sub-genres like urban gothic, suburban gothic, southern gothic, and American gothic. Wiki lists the origination of gothic fiction as the Romantic Period (the late 1700s). Google defines the style of literature as having “elements of fear, horror, death, and gloom, as well as romantic elements, such as nature, individuality, and very high emotion.” Studies designate Edgar Allen Poe as the “father” of the genre; the constant mentions of Mary Shelley’s Frankenstein likely establish her as the mother.

Interestingly, monsters in gothic fiction can be within, without, or both. The monsters that appear in Poe’s texts are often innate, self-destructive impulses. Edward Rochester’s inner torture in Jane Eyre contrasts the flesh-and-blood monster in Stoker’s Dracula. Frankenstein and The Strange Case of Dr Jekyll and Mr Hyde feature both – the inner beast and the outer fiend, as the scientist proves to be more horrifying than his creation. The inner monster in Stevenson’s masterpiece resides in Jekyll, which gives way to the physical manifestation of Hyde.

The gothic monsters in Michael Crichton’s Jurassic Park – coupled with the corporate backstory – provide a notable vision of the Corporate Gothic genre. In the movie, eerie mist rises – not around a castle on the hill, but around a corporate-owned island-park, reminiscent of King Kong’s lair. The obsession with perfection of entrepreneur John Hammond functions as the destructive monster within, which gives birth to snarling dinosaur monsters that haunt and torment workers and visitors alike.

In the corporate-gothic film, Alien, mystery and suspense appear – not around a castle or island, but around a ship in space. The corporate back story involves the corrupt “company”. The inner monster, corporate’s unstrained greed, invites the hissing beasts to feast upon those that cross its path. Jurassic Park and Alien both have outer monsters in the sequels, escaping into the larger world and threatening the evolution of humankind! Horrible!

What is your favorite example of Corporate Gothic?

Julie Jirout

As a 15-year veteran English teacher, Julie Jirout’s fiction often features the promotion of literacy and the theme of justice. As Julie completed a Master’s Degree in English Education, she took linguistics classes that inspired a love of editing. When she isn’t experimenting with new recipes, reading, or watching PBS documentaries, she’s exploring the first-person voice in a new character or discussing fiction and language in her blog. With a focus on the clarity of English expression, Julie’s Blue Water Writing features bi-weekly posts. As Editor and participant, Julie provides feedback and support for its weekly podcasts and video recordings. For Joe’s Writers’ Club Corporate Gothic anthology, Julie submitted two short stories. Recently, Julie published her first Kindle Short Read, “There’s a War on Here”.

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Blue Water Writing: Corporate Gothic Real World

Throughout countless years, Amazon has provided me with easy access to hard-to-find products, which has saved me a lot of time and trouble. I’ve always found their customer service representatives to be polite and helpful. The supportive crew at Amazon’s KDP recently helped me publish my first ebook. When I came across complaints about Amazon’s Community in its forums and Quora, I was dumbfounded by the contrast between their claims and my positive experiences.

The writers were uncomfortable – not with Amazon’s Community Guidelines or with its policies – but with its lack of communication. The posts claimed that The Community’s automated system left their many questions and concerns unaddressed.  Amazon consistently addressed my questions and never left me concerned, so I wondered if the posts were fake news generated by anonymous bots.


To see for myself, I emailed The Community a question about its review policy. A chill ran down my spine as I read its automated reply. Under the notion that Amazon would never leave its customers hanging like that, I sent them a second email. To my inquiry on how I should go about obtaining reviews for that ebook, The Community never responded.


“The Community sometimes responds and sometimes doesn’t.” one person wrote.


“Word your email as simple as possible. That way, you’ll increase your chance of getting heard,” another advised. “Because you know, The Community has no phone.” 


Amazon’s Community must have a phone, I thought, searching through the side headings and drop-down menus for an 800 number or “contact us” link.  The Community didn’t have a phone. An example of Corporate Gothic Real World, they don’t respond to emails, and they don’t have a phone either. If someone were wrongly exiled or mistakenly banned from Amazon, I understand, they’ll be Nobody Home. 

Blue Water Writing: The Rising Tides of the Ebook Industry

If the print industry had its wild west, the ebook industry’s is currently experiencing a major hurricane. The rising tides are pushing past the dunes and reaching into the streets. As a first-time Kindle author, I’m having trouble finding solid ground. Reading Twitter promotions about new publications on my phone every other minute are inciting me to question my survivability. The popular book-bloggers that require two months of lead time – not for a review of a book – but for the consideration of a review, seems to me a prediction that more high winds on are the way.  Jeff Bullus‘ comments about the “over-saturated” ebook marketplace are drowned out by the crashing waves of ebook articles on the Internet. 

Cover for There’s a War on Here by J. Jirout

It’s a Category 6 out there right now, and I’m not sure that I’m really prepared. Writing the text for “There’s a War on Here” took a lot out of me – as did the creation of the audiobook. Then, reading through and applying the marketing advice on the Internet, constructing materials, and engaging in social media promotions, my household to-do list fell apart. Needing time to figure out how to work the apps and attach the links, I temporarily closed down my paying job. Spending time creating that YouTube Slideshow, my other projects were lost to the wind. As my kids are now wondering where I went, I am thinking about maybe exploring projects outside of the ebook industry.

I have gigs that provide more income and that demand less involvement, but they don’t thrill me like the pursuit of irony does. I thought about replacing my daily writing-routine with a high-energy exercise, but the adrenalin-rush of a work-out doesn’t feel anywhere near as satisfying at the completion of that perfect page.  The sparkling beauty of imagined possibilities, the crafting of pleasant-sounding paragraphs, and the construction of colorful characters positively cheer me up. It’s writing that puts a skip in my step, so here’s to sheltering in place, waiting out the storm, and staying afloat among the rising tides of the ebook industry.

Blue Water Writing: The Read-Aloud Review

Long before computers, tablets, and phones, writers wrote and edited on paper and with a pencil.  Pulling sheets through rubber rollers, dabbing glue on drying ink, and jabbing at springy keys, typing was a laborious affair. Unable to rely on spelling and grammar checks, the typewriter was reserved for final drafts only. Under these hostile conditions, writers identified issues with language by subjecting their texts to Read-Aloud Reviews.

Photo by Pereanu Sebastian on Unsplash


Using spoken presentations to check a text helped authors back in the day address problems with clarity, syntax, and diction. 
Alison Davis’ article on the Read Aloud and a recent discussion by The Writing Center praise the strategy as an editing tool. At The Write Practice, McGann takes it to another level and proclaims that the Read-Aloud will change a writer’s life. As I recently constructed an audiobook of my novelette, There’s a War on Here”, I stumbled across this editing method. 

Under the impression that the text was clear and concise, I pressed the record button and began narrating. When I came across awkward expressions or ill-fitted sentences, I stopped, fixed them, and re-recorded. As I listened to the spoken story, I noticed overused words, and again, I stopped, edited, rewound, and narrated a clean text.

When I started the audiobook, I’d thought that the manuscript was free from language issues. Each time that I edited, these snags went unnoticed. If it wasn’t for the narrating and listening process, I’d never have seen the errors. Much of the time and energy that I’ve put into editing over the years could have been saved if I simply applied this procedure.

Photo by Aaron Burden on Unsplash

Editing is visual. Language is pictorial. The written word uses optics. The Read-Aloud Review examines writing through an additional, auditory sense and accesses a different part of the brain. Editing through speaking and listening – instead of looking – expanded the scope of my awareness. Whether with recording software, text-to-voice apps, or simply my own voice, the Read-Aloud Review, as McGann so enthusiastically claims, is actually changing my writing life. 

Blue Water Writing: Where’s your Head At?

Most of the discussions on the Internet about “plotters” (writers that outline) and “pantsers” (writers that write by the seat of their pants) include an acknowledgment that authors have varied personalities, experiences, and needs. Robinson’s article discusses the different approaches that J.K. Rowling and Stephen King utilize. In contrast to the one-size-fits-all advice from NY Book EditorsKristen Kieffer’s website and Writer’s Digest’s article encourage writers to develop their individual methods. 

Using both the plotter and the pantser approach might work best for me, and the application of the methods might depend upon the surrounding circumstances.

As I began this novella, I applied both the “plotter” and the “pantser” writing method. Like a plotter, I outlined two scenes and generated a text that covered the points in the outline. During the writing process, I often reflected and edited the text. Then, like a pantser, I wrote two scenes without bullet points and without revising or rewording. The plotting method took more time and resulted in an organized and occasionally uninspired text.  The pantsing took less time and resulted in an energized, but often disjointed narrative. 

Image from NeedPix

When asked the question, “are you a plotter or a pantser?”, I answer, “Yes.” as I expect to use both techniques and according to the level of confidence that I have in the vision-details.  During the experiment, the effectiveness of the method reflected the level of vision-clarity.  When the ideas were distinct and detailed, I didn’t need an outline, and the pantsing method did not go off-topic. When my concepts were clouded and confused, a more systemic process provided the text with direction and focus.

Image from Pixabay

During less-hectic weekends and in a relaxed state of mind, a pantsing approach might be most enjoyable and produce a narration that is on-topic and inspired. After a busy workday or in a stressed state of mind, plotting might prove to be more effective and keep the story progressing. When deciding on which method or which combination of methods to use, it may be worth considering, as Basement Jaxx so aptly puts it, where your head’s at.

Blue Water Writing: Note-taking and Narrating

To avoid making the mistakes that I previously made, I utilized many of the suggestions from Writer’s Digest, and I constructed an outline before writing the text.  Some of the choices that I made in the outline were not ideal. Making my narrator a cop seemed to make sense while outlining, but the choice felt restrictive during the narration of the story. In the second draft of the outline, I changed my first-person narrator – from a retired cop – to a retired camera operator.  With this change, the narration flowed, and the next 1000 words were more enjoyable to write.  

Image by Pikist

While that change worked, I eventually came across an issue with the logistics of a scene, and uncertain of where I was going, I constructed a third draft of the outline.  The details that I added were in the form of sketches. The pictures presented only bird’s-eye views, looked very messy, used arrows to represent the characters’ movements, and referred only to the scenes that I was struggling with.  With these details, the narration resumed, and I was satisfied with the quality of the text generated.  

Initially, I thought that an outline was the solution. With an outline, I’d pay up front and rip the band-aid off fast. As I confronted the challenging aspects of the plot in the outline, the writing process would feel less like climbing up a mountain and more like sliding down one. While the outline supported the story, it was the writing of the text that revealed the holes in the outline. The best approach for me might include a continuous back-and-forth between note-taking and narration.

Blue Water Writing: Begin with the End in Mind

I’d like to discuss the notion of “beginning with the end in mind” in general terms before applying the concept to the writing of fiction. In my last post, I discussed writing goals, and in the process of articulating and working towards a goal, we “begin with the end in mind”, as we foresee a future event and then steer our actions towards it. In its humble website, Bovina Elementary School relates the concept of “beginning at the end” to how-to tasks and applies the idea to cooking, navigating, and to playing a puzzle.
Photo by PXFuel
When we read a recipe before cooking a meal, look at a map before driving, and review a picture before creating a puzzle, we are “beginning with the end in mind”.  In these examples, readers are reading the materials about the end, conceptualizing the information, and then producing a result. In these examples, writers enable readers to successfully follow a process to the desired end; the writers themselves began with the end in mind before they designed the process for the readers to follow.
Photo by PXFuel

Imagine the result if the writers of these recipes, maps, and puzzles neglected to consider the end!? If they just threw out a process that led nowhere, readers would be eating something awful, getting lost on the road, and missing those puzzle pieces forever!  Writers of how-to tasks “begin at the end” just as academic writers do when composing thesis statements.  In its ever-resourceful Writing Lab, Purdue Owl aptly alludes to the notion of beginning at the end when discussing the revision of a thesis statement, as does Shaun’s nicely-presented YouTube videos on essay writing.

Photo by PXFuel
“Begin with the end in mind” relates to the construction of various non-fiction texts, and I suspect that the concept is equally important in the writing of fiction. The outlines that I wrote for my first novella, I wrote after I composed and edited the first chapters of the text.  After my last chapter was written, I wanted to rewrite the first chapters, in light of the last chapter, but I didn’t want to throw away all of that text! Anyway, it wasn’t an efficient or effective method.  With this second novella, I am writing first and second drafts of the outline and am moving into varied drafts of storyboarding too, which I will discuss in more detail in my next blog.

Blue Water Writing: Begin by Writing Goals

Throughout my adult life, I’ve read through countless “goal-setting” articles on the Internet.  As a high school teacher, I’ve taught the process of setting and achieving a goal many times. With this writing project, I returned to the topic and looked over a few discussions on “writing goals”.  Initially, the presentations seemed simplistic and overly general, and also, a little corny, if I may say.  The advice, however, is sound, I believe, and revisiting these methods did motivate me to act.

Photo credit: Pikist

Writing Goal #1

I set a goal to write three scenes for Chapter 1, with each scene being approximately 1000-words long.  I wrote for about an hour each day.  In three days, I completed the three scenes for a total of 3000-words. The plan applied the SMART acronym on The Golden Rules of Goal Setting, which suggests that goal-setters create objectives that are: “Specific. Measurable. Attainable. Relevant. Time-Bound.” This approach also followed the advice that Writer’s Digest provides in 7 Tips for Creating Writing Goals. Viewing the potentially 30,000-word novella in 1000-word clusters felt manageable and motivational, and having an attainable and measurable goal pulled me out of stagnancy.

The completion of this “baby step”, however, resulted in the production of a text that still required significant editing. Since I’m trying to achieve clarity – efficiently – and without having to complete a million edits, I think that my writing goal should address quality, as well as quantity. Changes to the outlining process should improve the storytelling, which I’ll discuss in my next blog, as should the articulation of a goal that references quantity and quality. Since I’d like to connect to the reader with this text on an emotional and intellectual level, I’m articulating the qualitative goal in terms of the intended effect.

Photo credit: Pikist


Writing Goal #2

In the 1000-word scenes that I write – every day or every other day -, the first-person narrator should calm and console a reader that has an average or an above-average reading ability. The events that this male-protagonist conveys should excite the audience, and the unfolding of the events should move at a fast-pace. The cruise-ship settings that he relays should delight, but the antagonist’s destructive actions should horrify. On an intellectual level, the reader should walk away with an understanding that violent and offensive acts require attention and action if one is to prevent more.

Blue Water Writing: Where to Begin?

I envision this Second Novella as following the narrative style of the travel-writing genre but that includes a threat/crime. In the foreground, my narrator will describe his and his wife’s experiences. In the background, I’d like to present a crime-story drama about the dangers of lawlessness on a cruise ship.  “Tips for Travel Writing” by the Guardian’s Travel Team offers some interesting advice into travel-writing, which may offer sound advice about writing in general as well as provide insights into the reader’s expectations within this travel-writing genre.

Photo by Matthew Barra from Pexels

“Don’t start with the journey to the airport – start with something interesting, not what happened first.”

It makes sense to begin at the beginning of a story, but the beginning of a story does not always make for a strong start. Telling a story chronologically can be the best choice and make perfect sense; however, the best beginnings ought to highlight the later conflict. If I begin with a discussion of my choice of a suitcase, for example, then that suitcase ought to be later used as a weapon to murder someone. Scenes might be more effective if they accomplish more than one goal and if they, for example, develop the character and highlight or reference the main conflict or theme.

So many opening-scenes in movies and television series’ begin strong: the crime-drama begins with a high scream or a terrible death. The romance begins with a character’s lonely exposition. The action film begins with an exploding building or car chase.  While writers of fiction may be telling stories that are more literary, more personal, or more human even, we are still competing with the story-telling in films and television. To choose a beginning scene or setting that develops the character and the plot and that also captures the reader’s attention can be challenging. This difficult task may involve decisions about style and content that a writer at the beginning-of-the-story is not ready to make. A writer that is at the end-of-a-story and that has the plot and characters fully fleshed out might be better equipped to go back and master that opening scene.