York College Alum: Dr. Cassandra O’Sullivan Sachar Shares How She Turned a Love of Horror Into a Writing Career
From Classroom to Creepy Narratives: A Career Shift
Dr. Cassandra O’Sullivan Sachar ‘99 has spent more than a quarter of a century shaping young minds in English classrooms while quietly harvesting her own craft behind the scenes. After earning her hands‑on experience as a middle‑school and high‑school English teacher, she pivoted toward full‑time creative writing, carving out a niche that now anchors her in the horror genre. The journey showcases how a steadfast academic foundation can coexist with, and even fuel, a successful fiction career.
York College Roots: A Foundation Built on Support
York College of Pennsylvania first offered O’Sullivan a scholarship based on her high‑school GPA, an early indication that the college would play a pivotal role in her life. Originally a Political Science major, she soon discovered that her passion for English outshone the political arena. While still a student, scholarships, small‑class interactions, and a faculty that provided independent‑study options helped her complete a Theatre minor and, later, the graduate courses necessary for her teaching credentials. Explore York College’s writing programs and discover how our faculty support student‑writers in pursuing graduate degree plans.
Teacher‑writer Dual Path: Teaching, Research, and Storycraft
Upon graduating from the University of Delaware, where she earned her Master’s of Instruction and Doctorate, O’Sullivan returned to the college level, first at Bloomsburg and eventually to front‑row creative‑writing courses at the university. She still teaches composition and future‑teacher preparation courses while developing her own narrative voice. The overlap has saved her considerable time: teaching short story fundamentals dovetails with the work she does on her horror collections.
Balancing Course Load with Creative Production
Arcane topics such as character motivation, plot pacing, and world‑building are a staple in her curriculum. Students often compare the clarity of a fictional universe to the organized notes of an academic syllabus. O’Sullivan remarks that it is “simpler to step out of the classroom to write a story than of the other way around” – a sentiment echoed by many educators who juggle administrative duties with personal projects.
The Horror Factor: Why Fear Becomes a Tool
Her love of classic horror writers such as Edgar Allan Poe and Stephen King is woven throughout her stories. Yet the genre became a natural outlet when O’Sullivan confronted her own anxiety. By channeling quirky fears – from stairs to autumn chills – into plots, she creates suspenseful scenes that remain safe for readers meanwhile offering catharsis for her own mental space.
Short Stories versus Novels: Choosing the Right Form
O’Sullivan’s first collection, Prepare the Coffin: Tales of the Macabre, features 17 short stories set in the fictional Blackthorn, Pennsylvania. She notes that the shorter format allows her to experiment with pace while still traversing a cohesive narrative ecosystem. New readers are invited to follow Blackthorn’s recurring settings and characters in future pieces, offering an interconnected reading experience akin to literary universes cultivated by long‑standing genre authors.
Research, Revision, and the Myth of Perfection
She’s been candid about the mental hurdles that come with creative work – the fear of rejection and the temptation toward perfectionism. In a workshop setting, she encourages students to submit their work regardless of perceived flaws. “Rejection is part of the process,” O’Sullivan says, “and that’s a lesson every writer needs to internalize.”
Using Chapter‑by‑Chapter Guidance
During revision, she applies the Chekhov’s Gun principle: every detail included should later serve a purpose. This rigorous detail management tightens the narrative and ensures every seemingly trivial item carries emotional or thematic weight at the story’s culmination.
Publishing Pathways: From Self‑Press to Established Journals
Beyond her own collections, O’Sullivan edited a themed anthology, Dark and Dreary: A Basement Horror Anthology, under her self‑started press, Screaming Scorpion Press. Her leadership role in the project provided insight into the responsibilities of an editor: from manuscript testing to design coordination. She famously handled the layout with help from her husband and daughter, heightening the personalized touch behind the press.
How to Begin Publishing Through Your Own Press
For aspiring writers, she recommends: 1) Identify a niche you’re passionate about, 2) Establish clear editorial standards, 3) Build a modest brand presence, 4) Coordinate with print‑on‑demand services, and 5) Network with local literary circles. These steps eased her transition from scholar to publisher, enabling her to support community writers and preserve her creative freedom.
Thematic Depth: Karma, Survival, and the Human Condition
While the bulk of O’Sullivan’s output resides in horror, she mixes ready-to‑read themes: karma governs the fates of Blackthorn’s characters; the undercurrent of survival infiltrates her protagonist’s journey; and the suggestion that “darkness is not all there is” appears in her novel, Darkness There but Something More. Her works highlight that even in terrifying circumstances, stories can champion resilience and redemption.
Community and Feedback: The Power of Writers’ Groups
O’Sullivan has long advocated for writer’s groups, describing them as “environmental support” for creatives. She encourages new authors to join local or online circles where feedback is constructive and not clouded by personal bias. “Paying it forward as an author is not just a service; it’s a strategy for growth.”
Practical Advice for Budding Horror Writers
From her portfolio of experience, Dr. O’Sullivan lists key pointers for those embarking on a horror writing career:
- Start with an outline. Even a loose framework saves time during revision.
- Draft without perfection pressure. The first copy is a draft – not a masterpiece.
- Use sensory detail. Build atmospheric tension with what readers can touch, gasp or anticipate.
- Subvert expectations. Readers know classic horror tropes; twist them to maintain fresh suspense.
- Publish in stages. Begin with short fiction in niche journals before pursuing a full collection.
How to Find the Right Processor
She recommends starting with quarterly literary journals that focus on speculative fiction and then moving to larger, well‑established outlets. Each submission should be tailored to the journal’s guidelines, and it pays to track feedback for continuous improvement.
Action Steps for Aspiring Writers and Students
If you’re a student looking to combine education and creative ambition, consider these actions:
- Apply to York College’s English and Writing programs today – our curriculum supports both academic and creative writing tracks.
- Schedule a free consultation with the admissions team to discuss graduate pathways in creative writing.
- Join a local writers’ group or online forum; share your draft and receive constructive critiques.
- Start a blog or short‑project portfolio to showcase your writing style to publishing houses.
- Respond to rejection reviews positively; treat them as learning tools.
Those readers fascinated by the world of horror fiction and education may wish to explore more of O’Sullivan’s collection, agree to a brainstorming session, or consult for personal development in creative writing. Access her full bibliography and upcoming events via her official site. Shared experiences inspire new champions of horror literature and support a community that values constructive growth and fearless storytelling.
Join the Conversation
We invite writers, readers, and scholars alike to comment below with your thoughts on the intersection of teaching and creative horror. If you prefer a more direct dialogue, contact the admissions office to learn how our programs can accommodate your creative ambitions. Your next story begins with a single decision – take it now.
