Poltergeist Nightmares

by Rachel de la Fuente

Many moons ago, during the height of Blockbuster’s popularity, Saturday nights were movie night for my family. Each Saturday, we’d go to Blockbuster and we’d each pick a movie. I always picked something from the kid’s section, my mom’s taste varied, and my dad either chose action or horror.

Rachel... Is that you?

Rachel... Is that you?

This particular story happens when I was around seven years old on the fateful day my dad decided to rent Poltergeist.

I’d been put to bed, and my mom and dad had settled into the La-Z-Boy and sofa, respectively. My parents didn’t close the door to my room once I was in bed, so I could hear what went on in the living room.

I don’t recall, now, just how long I waited, making sure they weren’t going to get up to go to the bathroom, or grab a drink or snacks. Finally, however, I deemed it “safe”. I carefully crept out of bed, ensuring I didn’t make a sound, and put on socks to keep my feet from making noise on the linoleum flooring in the kitchen. I thought I was so clever.

Like a sloth, my path to the kitchen was slow, but determined. My house was laid out in such a way that if I stood at the juncture of our kitchen and dining room, I could see the TV, but my parents couldn’t see me.

I reached the little breakfast bar, and stood, eyes wide. I didn’t dare sit down, as that wouldn’t give me enough time to run back to my room if one of my parents stood up.

I’ve long forgotten at what point I started watching the movie. What’s fixed firmly in my memory is that pilfered steak crawling across the counter and exploding (for lack of a better term), that chicken leg covered in maggots. I watched, in open-mouthed, wide-eyed terror as a man began ripping his face off.

Gruesome!

Gruesome!

You often hear about the fight or flight instinct, but the third option, freeze, gets left out. I froze. I couldn’t make myself move at first. But when his hands clawed at his skull, I turned tail and ran. I didn’t care if my parents heard; I didn’t care if I got in trouble; I just knew I never wanted to see something so scary ever again!

I jumped in bed and pulled the covers over my head, shutting out the world in a safe cocoon in the way only children can. Every time I closed my eyes, that horrible scene played out again and again, scaring me anew.

But, at seven, you can only stay awake for so long, and I drifted off into a fitful sleep, plagued by dreams that would haunt me for years to come.

In fact, it wasn’t until I worked up the courage to watch Poltergeist in its entirety (nearly fifteen years later) that my nightmares finally ceased completely. If only I’d stuck around for another couple moments to see it was only an illusion, I might never have suffered from the nightmares at all.

The experience was just one of the many times my “brilliance” got me in trouble as a child. What movie gave you nightmares, and how did you finally get them to go away?

 

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I hope you enjoyed this brief glimpse into the silliness of my childhood. If you’d like to learn more about me, you can check out my website, Facebook, Instagram, Twitter, or YouTube. If you like my writing, be sure to keep an eye out for my first book, The Most Special Chosen being released March 3, 2018 by Burning Willow Press.

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Gas Mask Horror

Is this Mugatu's fall line?

Is this Mugatu's fall line?

A Rant by Michael Schutz

I can't wait 'til the next day!

I can't wait 'til the next day!

Have you noticed the proliferation of gas masks on horror movie posters? What’s with all these respiration-impaired monsters and villains? Sometimes our heroes wear the masks. That’s the worst; that means that we’re about to sit through 88 minutes of reductive post-apocalyptic tripe.

Here's Another.

Here's Another.

Muted colors and dust blowing. Vaguely identified zombies or cadres of armed survivors. Symptoms of a quickly made, bad movie in a saturated genre.

No one survives... the Death Tunnel!!

No one survives... the Death Tunnel!!

I bet someone in our stronghold won’t heed the rules. Will their leaving cause a failure of security leading to an invasion from outside forces? Ooh, maybe a child in our camp will get sick. Is the only cure located out there in the horrible new world order? Or will she turn into one of the monsters and destroy what we’ve worked so hard to build? That’s a metaphor for the state of the world and our loss of personal freedoms, you know! After playing Texas Hold’em on my phone through two-thirds of The Hatred, I’ve decided to make a stand. Got a gas mask on the cover? Skip!

Hated It!

Hated It!

This one looks pretty cool.

This one looks pretty cool.

Another one?

Another one?

This one was pretty good.

This one was pretty good.

Wait... what's going on here?

Wait... what's going on here?

2005? My God, they've always been around!

2005? My God, they've always been around!

And you thought the summer of '69 was bad.

And you thought the summer of '69 was bad.

Gas Mask: The Movie!

Gas Mask: The Movie!

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

A New Perspective

by Mark Allan Gunnells

 

As a gay author (or an author who happens to be gay, whichever way you prefer to think of it), I have a very particular interest when it comes to writing horror fiction. I want to present the reader with something familiar then give it a twist by offering a perspective not often seen in horror fiction. Namely, a gay perspective.

Growing up an avid horror fan, I rarely saw any representations of gay people, and what representations there were tended to be stereotypical and borderline offensive. Things have gotten a little better these days, but more often than not gay characters in horror fiction play supporting roles and are not often front and center. One of the things I want to do through my writing is change that.

In a lot of my work, I like to take traditional scenarios and situations (tropes, if you will) and insert gay characters. May seem like a little thing, but this new perspective can often breathe new life into a standard formula. In my novel Sequel, for instance, I placed gay characters in the midst of a very traditional slasher story. In The Quarry and its follow-up The Cult of Ocasta, my main character had to deal with a combination creature-feature and possession tale while also navigating issues of sexuality and romance. However, never have I played with the concept of taking a standard horror trope and tweaking it with a gay perspective more than in my novella Asylum.

Here I took a very standard zombie set up, filched right out of the Romero playbook, and trapped a disparate group of survivors in a small space, fighting the onslaught of the undead while also dealing with personal demons and interpersonal conflicts amongst themselves. Only instead of trapping them in a farmhouse or shopping mall or military bunker, I chose to trap them in a gay club. Instead of having a group of straight characters with one token gay character, I had a cast made up almost entirely of gay men with one token straight female.

When I started writing this piece, I had no real mission, no intention to make a statement. I merely wanted to take a familiar situation and put in people that readers are not using to seeing in those situations at the forefront and see what developed from there. Just as a natural extension of these characters and their concerns, the story ended up dealing with issues of bigotry, persecution, self-loathing, addiction, loneliness, sex, love, and strength. The framework for the story was nothing new, but by using these characters, I felt something new came out of it. A story at once familiar and yet unique.

I was so thrilled when Apex Publications recently put out a new edition of Asylum, including a brand new story “Lunatics Running the Asylum” set in that fictional universe, and I hope that the story continues to engage people through offering a new perspective on a traditional horror trope.

 

Mark Allan Gunnells loves to tell stories. He has since he was a kid, penning one-page tales that were Twilight Zone knockoffs. He likes to think he has gotten a little better since then. He loves reader feedback, and above all he loves telling stories. He lives in Greer, SC, with his husband Craig A. Metcalf.

Buy your copy of Asylum today! 
https://www.amazon.com/Asylum-Mark-Allan-Gunnells-ebook/dp/B004GEAMOA/

 

 

 

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Turning a Villain into a (Sort-of) Hero

by Andy Peloquin

Old School

Old School

Anytime talk of "villains" and "antagonists" comes up, authors will wax poetic about the importance of complex villains. This means that giving villains plausible motivations, redeeming qualities, and "good" traits makes them more realistic and less like the moustache-twirling, evil-laughing baddies from older literature.

I like to take things a step further. Instead of relying on these mechanisms to paint my villain in a more sympathetic light, I prefer to flip things on their head and turn the more traditional "villains" into the "heroes" of my novels. Well, perhaps I should say the protagonists/main characters…

The Last Bucelarii Book 1

The Last Bucelarii Book 1

Take, for example, my dark fantasy series The Last Bucelarii. In the first novel, Blade of the Destroyer, I introduced "the Hunter of Voramis", a ruthless, relentless, immortal assassin. He drops four bodies in the first chapter, and the first few chapters of the book showcase his cynicism and coldness toward people in general and his victims/targets in specific. Later in the book, it's discovered that he is a half-demon. Killer, demon: these are two words you'll usually find associated with the VILLAIN of any story.

The Anti-Heroes

The Anti-Heroes

So how did I turn a half-demon assassin into a "hero"? Well, let's be clear: it's an anti-hero, which Wikipedia defines as " a protagonist who lacks conventional heroic qualities such as idealism, courage, or morality." Think the Punisher, Deadpool, or Judge Dredd. These characters aren't "heroes", in that they stand for justice, virtue, and righteousness, but they have some heroic traits that keep them out of the realm of "villains".

Reading the first chapter of Blade of the Destroyer, you see the Hunter's casual attitude toward death, and his callous disregard for human life--both villain traits. But in the second chapter, you see the Hunter interacting with beggars, lepers, and other outcasts he's befriended and actually sort of "protected". All of a sudden, there's a bit of humanity to this villainous character.

A few chapters later, you're introduced to a child he saved from dying years before. This child actually looks forward to talking with him, and he has a bond with her. Enter a few more humanizing traits.

Slowly, through the course of the book, the traditional villainous elements become minimized while his humanity comes through. He fights to protect the innocent, proves he has moral guidelines he will not break, overcomes personal difficulty, and makes the "right" choice when given an opportunity. All of these things drag him firmly out of the realm of "villain" and into the more heroic realm. He walks the fine line between villain and hero in the morally grey realm of anti-heroes.

I've LOVED every minute of writing this character. It's a challenge to see how far from "hero" he can stray without actually becoming a proper "villain". It requires regular reminders of his humanity (strengths, weaknesses, flaws, failings, successes, and desires), as well as showing that ultimately, he is going to make the right choice (even at great personal cost). By using the "heroic" traits—few as they may be—to paint him in a positive light, you can connect with him, identify with him, and ultimately root for him. A villain becomes a sort-of hero, a character you want to succeed!

Own your copy of Peloquin's Blade of the Destroyer: The Last Bucelarii Book 1
https://www.amazon.com/Blade-Destroyer-Last-Bucelarii-Book/dp/1515038955/

Author Bio:

I am, first and foremost, a storyteller and an artist—words are my palette. Fantasy is my genre of choice, and I love to explore the darker side of human nature through the filter of fantasy heroes, villains, and everything in between. I'm also a freelance writer, a book lover, and a guy who just loves to meet new people and spend hours talking about my fascination for the worlds I encounter in the pages of fantasy novels.

Find Andy Peloquin here:

Twitter: https://twitter.com/AndyPeloquin  

Facebook: https://www.facebook.com/andyqpeloquin

YouTube Channel: https://www.youtube.com/channel/UCYAKG5k06vcmc02Uy4fGLfA   

https://www.amazon.com/author/andypeloquin  

https://plus.google.com/100885994638914122147/about 

Newsletter Sign-Up: http://andypeloquin.com/join-the-club/

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Breeder by Douglas Clegg

Shame! Shame on me--I had never read Douglas Clegg until last year when I saw Goat Dance at a used bookstore and thought, "Hey! We're Facebook friends." That novel blew me away. How I'd gone so long without Clegg, I had no idea but knew that was remedied.

My next Clegg was this one, Breeder. I had no doubt that I'd like it--Goat Dance had a clarity and might that couldn't have been a fluke. But Breeder was better than I could have imagined. Bold and daring like Barker's Books of Blood, Breeder presents amazing imagery, gore, dread, flashes of humor, and a true human story. The characters of Breeder lived and breathed, building the framework on which the horror hangs. There's a 70s vibe to Breeder, but unlike Burnt Offerings (for example) Clegg weaves his character development into the quickly appearing horror. We don't need to wade through a third of the book to get to know these people.

A comparison to Rosemary's Baby is inevitable, and the nods to Levin's classic are clever and reverent. But times have changed, and Clegg wields a hammer (reference intended) as well as a scalpel, and Breeder is just downright brutal! Where lesser horror novels dance around what may happen, Breeder fulfills every promise. It's a thoroughly satisfying read with no lulls, only ever-increasing horror.

Phenomenal novel! Five Dweller Heads!

Review by Michael Schutz

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Horns by Joe Hill

You've got horns, Harry!

You've got horns, Harry!

Our antihero, Ignatius ("Ig") Perrish, wakes after a night of his usual debauchery to find that he's sprouted horns. His new appendages come with a terrible--if sometimes terribly useful--ability to pull the truth out of all those he meets. As he continues his transformation into Devil, a murder mystery unfolds. Not so much a whodunnit, though, Horns is more of a why-does-anyone-do-anything, "what lies in the dark depths of man" novel. 

Joe Hill writes some mean, spell-binding prose. It's lyrical and reads fast because he sucks me right in. He does meander a bit, but at least when he does, he tells interesting back stories. I watched the movie first, and my terrible memory doesn't remember it that well, but I don't think that it even scratched the surface of Hill's novel.

Though well-rounded as far as variety of character and an ever-more-involving plot, I didn't find that Hill adequately explained why Ig turned into the Devil. Hill throws a lot of ideas at us, as if to cover up the fact that he can't explain it. I feel a bit bamboozled, but Horns is fun and exciting, with intensely interesting insights and turns-of-phrase. The story of what Lee does to his mother is cringe-worthy enough to win the Jack Ketchum Award.

I am going to mention that he has his dad's belligerent view of homosexuality. As in King's work, Hill uses homosexuality as a prank, a punishment, or some villainous trait. I've never thought that King meant anything by it--just an old-school Maine blind spot. But Joe Hill represents a new generation. To some of you this may seem like a non sequitur, but this is important to me. If he's going to write about it, why does he think it needs to be some nasty secret?

Overall, a good read. Four Dweller Heads!

Review by Michael Schutz

 

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Author Spotlight: Andy Peloquin

In his own words, Andy Peloquin is "first and foremost, a storyteller and an artist—words are my palette. Fantasy is my genre of choice, and I love to explore the darker side of human nature through the filter of fantasy heroes, villains, and everything in between. I'm also a freelance writer, a book lover, and a guy who just loves to meet new people and spend hours talking about my fascination for the worlds I encounter in the pages of fantasy novels.

Fantasy provides us with an escape, a way to forget about our mundane problems and step into worlds where anything is possible. It transcends age, gender, religion, race, or lifestyle--it is our way of believing what cannot be, delving into the unknowable, and discovering hidden truths about ourselves and our world in a brand new way. Fiction at its very best!"

1.    Where did you grow up?

I was born in Tokyo, Japan, where I lived for the first five years of my life. I then moved to a tiny town on the tip of the Boso Peninsula. I was fortunate enough to live on a mountain (forests, waterfalls, hiking trails, beautiful views) that was a short drive from some of the best surfing beaches in Japan.

 2.    Who did you read as a kid?

Probably the major influence in my reading life was Sherlock Holmes. I read a lot of the classics (Phantom of the Opera, Gulliver's Travels, Robinson Crusoe, etc.), but it was Sherlock Holmes that started me down the path to speculative fiction. I fell in love with this fictional, mystical, dark world the author painted, which led me to Tarzan, Solomon Kane, and John Carter of Mars. From there, it was a short leap to Conan the Barbarian and I was hooked!

 3.    Were movies a big influence?

I can't say they were. I didn't watch too many movies as a child, but spent a lot of my time reading. I'd read pretty much anything I could get my hands on.

 4.    When did you start writing? When did you decide to pursue it as your career or vocation?

I started writing in my teens. I had an arts teacher who instilled in me a love of creating. As a bored teenager with no internet access but too much time on my hands, I had very few channels for my energy. Writing happened to be one of them, and I fell in love with the ability to tell stories.

I really only took it up as a career in 2014. I found some of the older pieces I'd written and turned them into novels (one of which become BLADE OF THE DESTROYER, my first novel ever).

 5.    Why do you write, and what drives you?

I write fantasy, but it's darker fantasy. I do get to use monsters and magical creatures, but I prefer to use the darker side of human nature as the enemy. It's a thrill to showcase how our own desires and psychology can do things far worse than anything a werewolf, vampire, or demon ever could.

 6. Who inspires you?

I'm inspired by the authors I love to read: Brandon Sanderson, Scott Lynch, Michael Sullivan, and others. I've fallen in love with their characters, worlds, and stories. I want to emulate that—I want people to be as fascinated by my writing as I am with theirs.

7.    What inspires you?

I find inspiration in everything. I often get amazing ideas while I'm running, lifting weights, or driving, but I can get inspired by TV shows, comic books, novels, random pictures, even just an off-handed remark or a typo in a file.

 8. How do you dream up your characters and situations?

They just come to me. The stories usually start with a premise (an assassin that everyone's afraid of, a girl having to be tough to survive in a male-dominated world, etc.) and slowly take shape as I think about them. The stories flesh themselves out in my head before I sit down to write, so things will usually flow when I actually get to creating. 

 9. Is there a single thread/ idea/ belief which appears in everything you write?

It's a quote I created that is now a tattoo on my forearm: "There is no evil, only desire and what you will do to obtain it." The "what you'll do" is the only thing that separates my heroes and anti-heroes from my villains.

 10. How can we find you and your work? 

You can find me on my website/blog, at http://www.andypeloquin.com, where I post random thoughts and musings, book reviews, articles I write about the psychology of my characters and worlds, etc.

I'm also all over social media as Andy Peloquin:

Twitter: https://twitter.com/AndyPeloquin  

Facebook: https://www.facebook.com/andyqpeloquin

YouTube Channel: https://www.youtube.com/channel/UCYAKG5k06vcmc02Uy4fGLfA   

https://www.amazon.com/author/andypeloquin  

https://plus.google.com/100885994638914122147/about 

Newsletter Sign-Up: http://andypeloquin.com/join-the-club/

10 Things You Need to Know About Me:

  1. Hot wings, ALWAYS!
  2. I never forget a face, but rarely remember a name.
  3. I'm a head taller than the average person (I'm 6' 6")
  4. Marvel > DC
  5. I was born in Japan, and lived there until the age of 14.
  6. Selena Gomez, Skrillex, Simon & Garfunkel, Celine Dion, and Five Finger Death Punch are all in my writing playlist.
  7. Aliens are real, but it's self-centered of us to believe that they would come to visit Earth.
  8. Watching sports: suck. Playing sports: EPIC!
  9. I earned a purple belt in Karate/Hapkido/Taekwondo.
  10. I dislike most Christmas music, aside from Trans-Siberian Orchestra.

 

A Few of My Favorite Things

Favorite Books: The Gentlemen Bastards by Scott Lynch, The Stormlight Archives by Brandon Sanderson, Sherlock Holmes by A.C. Doyle, Warlord of Mars by E.R. Burroughs

Favorite Songs: Wrong Side of Heaven by Five Finger Death Punch, Prayer by Disturbed, I'm an Albatraoz by AronChupa, Look Down from Les Miserables, Shatter Me by Lindsay Sterling and Lizzi Hale

Favorite Movies: 300, Red Cliff, Shoot Em Up, Love Actually, Princess Bride

Favorite Comics: Anything with Deadpool, Wolverine or Doop in it

Favorite Foods: Hot Wings, Meat-Lover's Salad, A good sandwich (made by me), Yaki Soba, Sushi

Favorite TV Shows: The Flash, Daredevil, Agents of S.H.I.E.L.D., Hawaii Five-0, Brooklyn 99, Firefly (too soon!), The Last Ship, The Walking Dead, Game of Thrones

 

And check out Andy Peloquin's Child of the Night Guild (Queen of Thieves Book 1)

"They killed my parents. They took my name. They imprisoned me in darkness. I would not be broken."

Viola, a child sold to pay her father's debts, has lost everything: her mother, her home, and her identity. Thrown into a life among criminals, she has no time for grief as she endures the brutal training of an apprentice thief. The Night Guild molds an innocent waif into a cunning, agile outlaw skilled in the thieves' trade. She has only one choice: steal enough to pay her debts.

The cutthroat streets of Praamis will test her mettle, and she must learn to dodge the City Guards or swing from a hangman's rope. But a more dangerous foe lurks within the guild walls. A sadistic rival apprentice, threatened by her strength, is out for blood.

What hope does one girl have in a world of ruthless men?

Fans of Sarah J. Maas, Scott Lynch, and Brent Weeks will love Queen of Thieves…

Buy Links:

Amazon Kindle and Paperback: https://www.amazon.com/Child-Night-Guild-Queen-Thieves-ebook/dp/B01N1TC3VW/

Amazon Canada: https://www.amazon.ca/Child-Night-Guild-Queen-Thieves-ebook/dp/B01N1TC3VW/

Goodreads: https://www.goodreads.com/book/show/33412715-child-of-the-night-guild

 

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Author Spotlight: Rob Shepherd

If you haven't read Rob Shepherd, you're missing out. He's a terrific author and a recurring guest of Darkness Dwells. I (virtually) sat down with Rob and we talked about early influences and writing philosophies. Enjoy!

1. Where did you grow up?

I grew up in a small town called Corringham in Essex in the UK. Small place that seemed a lot bigger and full of adventures when I was a kid. The area is almost unrecognizable now compared to when I was a young child.

2. Who did you read as a kid?

I spent a lot of my time as a kid reading Roald Dahl, Agatha Christie, Charles Dickens. Later progressing to discover Edgar Allen Poe and Oscar Wilde. Though interspersed in amongst these were Jules Verne and Arthur C Clarke, particular favourites as a child.

3. Were movies a big influence?

I suspect they were, inadvertently, as I had no ambitions of writing at that age. I was more interested in being stolen away from the world and transported into an entirely new one that was being created by the movie. I was always drawn to ideas that revolved around different realities, dimensions and ways that you can access them, even at that young age.

4. When did you start writing? When did you decide to pursue it as your career or vocation?

I dabbled briefly in my teens but being a very insular, shy and introverted kid, it never amounted to anything, and I certainly didn't have the nerve to let anybody read anything, never mind sharing any of it publicly. Which is probably no bad thing; it was pretty terrible, even worse than my work now. Lol. But I really started much later, after life had thrown some pretty rotten curve balls my way. It became a tonic for my unspoken thoughts and feelings. I wasn’t and have never been a big blogger, expressing that in an open forum, being silently and not so silently judged according to my thoughts and perceived privileges by nameless and often faceless strangers, so telling my thoughts, ideas, pains, sadness and hurt and so on through stories was and continues to be a powerful and cathartic way of communicating with people and telling people my own story in a strange way. I began to add humorous little episodic stories on a social media site and it seemed to attract a number of people, eventually from all over the globe. One of those people became a dear friend—very good at listening, helping me through some tough moments, and also genuinely, amazingly encouraging and insistent on how I needed to tell the world more of my stories and never failing to tell me I had a talent. Fast forward many years and several books and many anthology contributions later and here I am. No richer in the pocket, but richer for the experiences I have had as a result, getting to know and share work with some of the best authors on the entire planet who, like yourself, have since also become some of my dearest and most cherished friends.

5. Why do you write, and what drives you?

The main reason that I write is because I love it. It is a passion that I can not live without doing, one way or another. I always end up needing to tell a story, whether the wider public ever gets to read it or not is largely irrelevant because the art and act of writing is what attracts, addicts and drives me every time, every day. However, the thought of leaving people, readers feeling decidedly unnerved, with a distinct feeling of unease does keep me going back and writing another story and twisting them just to see how far I can go. It is an addictive feeling.

6. Who inspires you?

There are so many people who inspire me, from classic greats like Poe, Dickens, Wilde and others, through to modern literary legends such as Clive Barker, Stephen King, Dean Koontz, Graham Masterton and Joe Landsdale. However, the biggest influences for me right now are fellow indie authors, all who put out the most incredible work, from Horror, sci-fi, dark fantasy, erotica, thriller and suspense. People such as Jasper Bark, Carmilla Voiez, Nicola Jane Taylor, Kindra Sowder, TJ Weeks, Kerry Allen Denny, Alex Laybourne, Paul Flewitt, Jason White, Anthony Crowley; the list just goes on and on, there are so many people I could mention. I am influenced not just by their talent, stories and ideas, but also by their kindness, generosity and humanity. That influence is much more keen and important than anything else.

7. What inspires you?

Anything and everything. Music, film, but most of all, throwaway remarks or comments not intended to be remembered let alone to gain immortality. But a simple statement given in a particular way, dialect or even the language used can give the basis for a story, even if it's just an idea.

8. How do you dream up your characters and situations?

Much like the rest of the story, characters and situations grow organically. The story dictates which direction it will go in, likewise it dictates which characters will grow and how they will turn out.

 

9. Is there a single thread/ idea/ belief which appears in everything you write?

It has to be the idea of a different reality/dimension/plane of existence that exists within our own and that depending on what we want, demand, desire of ourselves and our lives, we can access that sphere of alternative realm, that polar world of you like. A world that reflects your heart and it's deepest desires.

10. How can we find you and your work?

Facebook: https://www.facebook.com/OfficialRobShepherd/

Google+: https://plus.google.com/+RobShepherdAuthor

Amazon: https://www.amazon.com/Rob-Shepherd/e/B00C2VW65W

 

Author Bio:

Born in Essex, U.K in 1978. Rob still lives in Essex with his wife, son, daft dog and grumpy old cat.

Rob's books to date include; Life With Boris Karloff!, Sofiah, Stripped Unconsciousness, The Grays Anatomy, Friends Like Us (novella, taken from The Grays Anatomy) & The Caretaker. Rob has featured in many anthologies including Dark light 2 (by S.J. Davis), Liphar – Short Stories Vol.1 & Unleash the Undead (Collated & Edited by Samie Sands), Kevin Hall's Thirteen 2: The Horror Continues, Horror on Halloween Night and A Picture Is Worth 1000 Words both also by Samie Sands. Keep an eye out for appearances in more anthologies to come.

Rob has also written scripts for several short films, such as Silentwood Films' “Sofiah” & other forthcoming short films, as well as feature length films due for completion soon. 

Rob is working on many more new books, scripts, films & projects. 

Rob is scheduled to appear in several new horror anthologies as well as appearing at Author and Book signing Events across the UK during 2017 & 2018 and is scheduled to release further books of various genre over the next 12-18 months

 

 

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Portrait of the Horror Writer as a Young Man by Michael Schutz

Portrait of the Horror Writer as a Young Man

The non-horror enthusiast wrinkles his nose and asks me, “Why do you write that stuff?” How dare he! His subtext being that horror is inherently lesser than “literary” endeavors. In answer, I’ll recite the standard defense: horror is a commentary on modern life; horror is a reflection and metaphor of societal fears. Now that’s all well and good, but really I just like to scare and be scared. But that question got me thinking. Honestly, why do I write this stuff? Well, as a writer, I write what I like to read. So the real question is “Why do I like that stuff?” Here’s why.

That swing!

That swing!

Michael Schutz’s first book was Robert Louis Stevenson’s A Child’s Garden of Verses. That was also my second, third, and possibly fourth book. As my parents tell it, I kept ripping them to shreds until I finally matured enough to recognize what a book was! Eloise Wilkin Stevenson illustrated the Little Golden Book edition that stayed by my side for many years. Her paintings haunted my childhood. Every one of them found a way into my dreams during my young years. “The Cow” in her field… raking the leaves for those “Autumn Fires.” And recurring semi-nightmares of me on a swing, coming untethered and flying high, high, ever higher into the sky. 

Galloping... Galloping... galloping

Galloping... Galloping... galloping

But of all of them, the last illustration mesmerized me most. Accompanying “Windy Nights,” a scared little boy tucks his blanket up to his chin as he hides from the galloping… galloping… galloping of a mysterious man riding by (the wind during a storm). Outside the window, ghostly wisps tangle through skeletal trees. A dark house lurks nearby. And the seeds were planted.

October Country.jpg

The next major event occurred sometime around the fourth or fifth grade (I’ve said sixth grade in previous interviews, but upon reflection, this happened earlier) my dad introduced me to The Basement. A used book store tucked away in the actual basement of an old department store. He opened up a magical world for me that day. The boxes of browned and savory old paperbacks held my attention. Remember Alfred Hitchcock Presents… anthologies? And next to those, the works of Ray Bradbury. Something Wicked This Way Comes. Long After Midnight. The October Country. I spent that summer immersed in the fantastic and macabre worlds that Bradbury weaves. They kindled a fire inside me. A celebration of the dark and mysterious. Stories so artfully written and woven together that I couldn’t put them down.

Something Wicked This Way Comes.jpg

Those gristly stories set the stage for a monumental discovery. Browsing through my neighbor’s garage sale, I found The Stand. By some guy named Stephen King. I’d heard the name in passing. He was supposed to be pretty good. I don’t remember, but I suspect that The Stand’s length appealed to me most of all. I craved a long, lasting experience, and that novel promised to deliver it. My ten-year-old self polished that baby off in a week or less. And I swallowed that hook right down my gullet.

I suffered the flu right afterward!

I suffered the flu right afterward!

The next time I pedaled my bike downtown to The Basement, that hook was set. A friend of my parents had regaled us with this creepy story; a book she’d just read about cats dying and coming back to life. Some scary kid pulled from the grave. I asked old Earl the bookkeep if he had a book called Pet Sematary. “Oh,” he said. “Stephen King.” And pulled the paperback down from the shelf. Stephen King had written that one, too? I dropped my fifty cents in his hand and rode home like a boy possessed. Which is exactly what I became after the first couple pages of that book. Those of you who’ve read that one (I hope all of you!) know that that novel is perhaps the darkest of King’s work. A novel he worried would turn off his burgeoning number of fans. Oh, I loved it! That book sent a lightning bolt through this sixth-grader’s skull. I read through all of King’s books and stories over the next couple of years.

And I never looked back.

Oz the gweat and tewwible

Oz the gweat and tewwible

All I ever wanted to do was write. What better genre for me than horror? From those early illustrations for Stevenson poems, into the masterwork of Bradbury, and finally through the floodgates of Stephen King, the dark and macabre have always drawn me in. Now I can share my own twisted tales with the world.

Thanks for reading. Stay dark, my friends.
 

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Savoring the Cheese: An Appreciation of 80's Horror Paperbacks by Evans Light

If you’re reading this article, you’re likely already a fan of horror fiction.

Maybe you’re just now beginning to explore the wide world of the horror genre that exists once you venture outside of the stacks of King, Koontz, Rice and V.C. Andrews titles crowding the horror sections of bookstores that bother to have one.

Or perhaps instead you started your trip towards horror fiction as a kid who devoured every Goosebumps volume that R.L. Stine pumped out, and as you grew up so did your tastes.

If you were really lucky, then you were a teen or young adult in the 80’s, a glorious period when horror ruled in just about every form of media: theaters bursting with the latest gory masterpiece, mom-n-pop video store shelves brimming over with the craziest low-budget stuff you could imagine, horror-themed metal blasting from half the radio stations on the air.

Cheesy.jpg

I’m completely aware that 80’s worship is in full swing. From SUPER 8 to STRANGER THINGS and a hundred other throwback projects in between, you can barely walk in a straight line these days without plowing through piles of acid-washed, big-haired synth-pop crap entertainment. Don’t get me wrong, a little nostalgia from time to time is fun, but it’s getting to the point I’m about to hang myself with a leg warmer.

But there’s one thing I don’t think I’ll ever stop appreciating the 80’s for gifting upon the world: a massive tsunami of horror fiction.

My god, those books.

Spinning racks stuffed with a seemingly never-ending supply of fresh pocket paperbacks, with leering, lurid, oversaturated, foil-stamped, embossed, step-back covers an apparently required-by-law  fixture in nearly every grocery and drug store. Those covers promised unspeakable horrors and unthinkable depravities specifically designed to subvert and pervert innocent young minds. Even better, they could be had for barely more than a pocket full of change and without a moment’s hesitation from the clerk no matter your age.

Those were the days.

I was lucky to be a teen in the late eighties and enjoyed my fair share of horror fiction back then, although in those pre-internet days there was such limited information available anywhere about pulp horror that buying a paperback was frequently a leap of faith based on little more than a glorious cover and a blurb on the back, a leap that more often led to crushing disappointment rather than a hidden gem.

But there were gems, those books of unexpected greatness and perfectly perverse pleasures that kept us coming back again and again, full of hope for just one more. Even if a book turned out to be a stinker at least the cover looked cool as hell on the nightstand.

My path to becoming the fan of vintage horror fiction that I am today wasn’t straightforward. Even though initially reared in a very sheltered environment, I loved spooky tales from a very young age. My brother Adam and I would scour the library for anything dark and unusual that we were allowed to get our hands on. Fortunately, books that were viewed as “classics” slipped through the filters of our censors. As a result we devoured such great foundational horror as Edgar Allan Poe, Nathaniel Hawthorne, H.G. Wells, Ray Bradbury, Richard Matheson and Shirley Jackson. Little did we know at the time that we taking exactly the right classes for our horror education. An occasional episode of the Twilight Zone here and there pushed me further towards my current direction.

Around the age of 15 (1987-88) I was finally granted the freedom to pursue most any entertainment I saw fit, and the timing couldn’t have been better to enjoy the golden age of horror paperbacks. Being a typical teenager, I had little lasting affection for the books I’d buy and simply passed them along for others to enjoy once I finished. With adult life intervening during the mid-nineties and beyond, my focus shifted much more towards writing horror than reading it.

It was really only during my initial forays into publishing towards the end of 2011 that I became aware of the massive volume of pulp horror that had been released during the late 80’s and early 90’s, and then again during the 2000s (a renaissance which I completely missed at the time, probably due to a houseful of kids).

At some point over the last few years, I got the idea to attempt to assemble a complete collection of mass market horror paperbacks from the modern golden age of horror. Abandoned collections are being donated to thrift and used book stores at increasing rates for bargain-bin prices these days, and this bolstered my (inaccurate) belief that amassing a complete collection of 80’s horror paperbacks would be a fairly simple feat to accomplish (it hasn’t been), and would give me an invaluable reference library for my own ongoing endeavors as a horror author (it has).

I have a sneaking suspicion that these 80’s horror titles are being discarded at such an alarming rate right now that quite a few of them will likely become rare and valuable collectibles before too long. Some titles have already spiked in price over the last couple of years, particularly novelizations of 80s horror films.

Even after several years of dedicated collecting and cataloguing, I still don’t have a firm grasp on exactly how many mass market horror paperbacks have been released since 1980, but the number is well over 10,000 for certain. My own personal paperback collection is hovering around the 5,000 mark, and is still far from comprehensive. It’s gratifying to know that many of the books in my library have been found for a dollar (and often much less).

Everyone has a compulsion, some call it a vice, something to help occupy the part of our brains that would otherwise be incessantly wrought with worry and drive us to insanity. Some people fix that part of their mind with drink or drugs. Some watch television or play games.

To each his own.

Personally, I enjoy collecting, reading and writing horror fiction.

Could be worse, I suppose.

Collecting is an odd thing, an uncomfortably close relative to hoarding but separated from it by a tenuous gap of alphabetization and being able to walk through a room unhindered. Perhaps a self-justification but I consider myself not a collector, but rather a preserver. A protector of what has come before. The beauty of the technology books represent is that they require no electricity to read, have no software to become obsolete. So many items in a technological civilization evaporate into junk and are rapidly discarded as they lose value and purpose, but a book can provide a window into the mind of its author for as long as eyes remain to read it. A book is a slice of consciousness set down in ink, moments in time frozen and preserved.

Storytelling is a form of magic, and books are perhaps the most comprehensive form of immortality that exists.

But what about those glorious cheesy 80’s horror covers? What makes them particularly special?

There is so much talent on display by mostly unsung artists on the covers from this era, it is sad that so few of them were ever (or ever will be) credited. Tracking down who is the creator of what can be exceedingly difficult, especially for publications released prior to the digital age from publishers that no longer exist. It’s truly a pity.

Personally, I’m drawn to covers that possess the capability to reach across the room and command your attention, covers that use a thrilling burst of color to draw you in and reward closer examination with a wealth of hidden detail. Beautiful foil and embossing each provide a special kind of cheap thrill, and perhaps if you’re lucky you’ll find a second glorious painting peeking through a cleverly placed step-back hole carved in the cover. The story told on these magnificently garish covers is often completely unrelated to the tale that unfolds between them. In many cases the cover provides more fulfillment than the story inside, and that’s fine by me. Sometimes a great cover is enough. Other times, less frequently for certain, both the cover and the book prove to be a forgotten jewel. That’s when things get glorious. That’s what keeps me searching.

Even though horror fiction as a genre has seen it fortunes fall significantly since those high cotton days, it’s still alive, still fighting to make a full comeback. Fans new and old find themselves awash in more books than could ever be read in a lifetime, all the thousands that have come before, all the new books that are coming still.

Here you’ve seen some of my favorite cheesy horror covers. Let me know in the comments which of your favorites I’ve missed!

 

About Evans Light

Evans Light is a writer of horror and suspense, and is the author of Screamscapes: Tales of Terror, Arboreatum, Don’t Need No Water and more. He is co-creator of the Bad Apples Halloween anthology series and Dead Roses: Five Dark Tales of Twisted Love.

Evans lives in Charlotte, North Carolina, surrounded by thousands of vintage horror paperbacks. He is editor-in-chief and co-owner of Corpus Press, which specializes in original horror and weird fiction. He is the proud father of fine sons and the lucky husband of a beautiful wife.

More information on Evans and his work can be found at the following links:

Amazon Author Page: https://www.amazon.com/Evans-Light/e/B0075WB5WI

Goodreads: http://www.goodreads.com/author/show/5816392.Evans_Light

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Top Five Books That Scared the Bejesus Out of Me

Aren’t the holidays a great time to snuggle under the blankets and watch your favorite scary movie? Or curl up with a horror novel? I sure think so. Of course, I love horror for any occasion. I watch, read, and write horror all the time. Yet rarely does a written story actually scare me. Sure, suspense gets me whipping through pages. Nasty images haunt me. Narratives thrill me. But few books truly frighten me. Many of you have assured me that I’m not alone in that regard, but while that gives blessed comfort, I still wish that stories and novels terrified me the same visceral way that movies can. Bemoaning my state got me thinking about the cherished few books that did scare me. One thing is for certain, when the written word frightens, it packs a wallop! Here, then, is a list of books that have scared me silly.

CAUTION: SPOILERS AHEAD

1. Ray Garton’s The Loveliest Dead

This novel is a tour de force of fright. Kids are creepy anyway, am I right? Dead kids even more so. Garton turns his masterful mind to the ghosts of abused children and the spirit of one horrible predator. Quirky but relatable characters add the spark of reality that’s the framework for suspension of disbelief when the crazy happens get going. He captures the fear of dark basements and puts us right there in the middle of it. His suspense hits the perfect pitch. The images he creates are depraved—in the best sense. This is the horror novel as its best. Every time the ghosts rose up, I sank down further in bed, pausing to listen to the noises of the house creak around me. This book made me paranoid about what might be in the other room or just beyond my bedroom windows. Garton nearly changed my mind about reading just before bed. The Loveliest Dead is exactly what I want out of a scary story. Almost more than I bargained for.

 

2. Josh Malerman’s Bird Box

Right out of the gate, Malerman steeped me in unbearable paranoia. Just what I want out of a suspenseful read! Bird Box is a prime example of horror without blood and guts. Instead of solid nightmare images, the entire book is the even better elixir of persistent dread. I read this over the course of a day and half, and every moment of that time, I felt like in was on a roller coaster as it sets out slowly climbing to the apex before dropping. Chugging unrelentingly forward, the book weaves a macabre spell. I needed to take a short break from the story because every little sound around me set my nerves screaming. What Malerman achieves in Bird Box is as refreshing as it is astounding. He takes away our sense of sight and infuses every little sound with terror.

 

3. Jay Anson’s The Amityville Horror

One of my favorite scary movies of all time. I found the book at my used book store (this was many blood moons ago), and thought it would be a fun read. Fun? Even for me, this book redefined that term. Granted, haunted house stories are my weakness, but I hadn’t—and still haven’t—experienced this must terror while reading about things going bump in the night. That the events really happened (insert debate about the Lutzes and arguments about hoaxes and money-making schemes) added a layer of intensity that just about drove me crazy with fright! It’s a horrifying account of the spirits and noises and all the foul things that befell this family in their new house—the most famous house in horror. The scene where a malicious presence materialized at the foot of the boy’s bed haunts me to this day. Just thinking about it, I’ll need a nightlight tonight.

 

4. Bentley Little’s The Haunted

As with the Poltergeist movie, it’s Little’s characters and family drama that set the hook for The Haunted. Once I cared about these people, all he had to do was reel me in with an increasingly frightening series of events. And not just scary, but truly bizarre events and compulsions in the best Bentley Little tradition. The clincher for me was all that weirdness in the loft. That had a particular edge to it that worked into my psyche. It helped that at one crucial point, a loud crash out in my hallway sent me investigating. Other people in the house had heard it, but nothing had been disturbed. I’ve always wondered if the power of the prose conjured a presence!

 

5. Stephen King’s Gerald’s Game.

Yes, the king of horror has given me literal nightmares for years. Intense plots, complex characters, and suspense with gruesome surprises make him one of my favorite authors of all time. But when I turn out the lights, I’m not scared of Pennywise or Cujo or Barlow. As harrowing as a King novel can be, they don’t leave me frightened as I walk to the bathroom in the middle of the night. Until Gerald’s Game. Not the book as a whole, just a section. But what a section! When that freak finds our heroine handcuffed to the bed and stares down at her. Just stands there. Watching. Reminiscent of the malefic force appearing at the bedside of children in The Amityville Horror. It’s one of those moments where I had to put the book down and listen careful… Were those footsteps in the other room that I just heard?

There you have it—the five books that frightened me beyond the limits of reason. What are some of yours? I can't wait to hear about them! Until next time, stay dark my friends, and stay out of the attic… and the basement… and the garage…

Comment

Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

My Paranormal Experiences by Pedro Iniguez

The horror writer at work

The horror writer at work

As a Horror writer, your job is to disturb or unsettle your readers while sometimes giving them something to think about. Usually that’s done by drawing from the darker aspects of life or imagination in the hopes that you can more or less convince your audience that there may be something out there lurking in the shadows. It’s a bit of a tricky thing to pull off though, as not too many people readily believe in things like the supernatural.  “Write what you know,” is the old saying, but how can you do that if you’ve never seen a ghost? Or a demon? How do you describe something so unbelievable to a non-believer?

When it comes to the paranormal, I find myself in a unique position. Since I was a child I’ve encountered numerous supernatural occurrences. Even now at 30 years old I occasionally see things I can’t explain. Some say I’m drawn to it; others have told me I’m a medium. Who knows? All I can do is share what I’ve seen and let people make up their own minds. Perhaps someone out there has shared some similar experiences. 

Now, before you say anything, no, I’m not making this up and no, these experiences didn’t traumatize me and turn me into some demented writer. I’m an average person with average thoughts and average problems (work, too many bills, missed deadlines, etc.).

I hereby share some of the crazier things that have happened throughout my life, in chronological order. This isn’t the whole list (that would take forever) but included are the most notable ones.

The farmhouse across the street

The farmhouse across the street

My first experience occurred when I was around 7 or 8. I was at my friend’s house, which happened to be on a cul-de-sac. We were playing hide-and-go-seek, and the rules were that we could hide anywhere in the house except outside, as that would be cheating. Naturally, I decided to cheat and ran outside. I saw a tall Caucasian man in farmer overalls walking across the street, except he was semi-transparent and had a slight bluish glow to him. I was frozen in fear and felt all the little hairs on the back of my neck get all prickly. After a few seconds I turned tail and ran back inside. Years later I discovered that a mortuary sat at the foot of the street, which I was oblivious to as a child. Also, many years later I also discovered that Eagle Rock, the town that I live in, also used to be a farming community in the early 20th century.

When I was about 9 or 10, I lay awake in bed one night and saw what looked like the grim reaper phase through my bedroom wall and into my bathroom. Only thing was that the reaper was covered in white not black clothing. This happened a total of three times within the month. Mind you, I was awake and fully conscious during this. Unfortunately nobody else witnessed the sight.

My grandfather passed way in 2005, if I remember correctly. On the night of his death, two of my cousins—in two different towns in Mexico—had the same dream: My grandfather, dressed in a white suit, walked towards his recently dug grave. He told them that he was at peace. That’s where their dreams ended. Word got back to my relatives later the next day. About a week after that, I had trouble sleeping. My sister and I shared the same bedroom, and I turned to her to see if she was awake. I saw my grandfather materialize in a white suit directly in front of me. He had the same bluish/transparent glow of the old farmer’s ghost. I could see through him and see my sister sleeping. He told me that he was at peace and in a great place before he started to phase out. I said, "Wait!" and he reappeared and replied, "What is it?" I said, "I miss you," and he replied, "I miss you, too." He then faded away. I was fully alert and awake for all of this. No sleep paralyses, nothing.

One evening in March of 2007 I was on the phone with my then-girlfriend. I had the sudden urge to look outside my bedroom window where I witnessed a basketball-sized ball of light hovering in my backyard. It was blue and radiated very little light outward, like a self-contained light. It zigzagged in ways no modern aircraft could do. I didn't feel a sense of fear, though. I felt as if it were simply observing. I was shocked and yelled, "What the hell is that?" That's when the ball of light arched into the night sky and zapped out of view. I ran outside to catch another glimpse of the UFO, but it was gone.  My family ran after me and asked what happened. After I explained what I’d seen, I got the usual scoff of nonbelief.

Summer of 2007. I lay on the couch around 2AM, trouble sleeping, staring at the ceiling. I began to close my eyes when I felt a heavy hand slam down on my left pectoral from behind.  When I looked, there was nothing there. I tried to sit up, but the invisible hand pushed me back down. Hard. I tried to scream, but no words escaped my mouth. Numbness spread across my body. I was raised Catholic but consider myself an agnostic, but at that moment I began to pray the Lord’s Prayer in silence. I heard loud hissing from behind me, and the creature loosened its grip until it was gone. Then and there I felt an aura of power and peace surround me like never before. I relaxed into sleep and thought perhaps it was just one of those sleep paralyses/ succubus moments I’d read about. I awoke the next morning to shower, and as I took my shirt off saw a large hand print on my pectoral, made by a hand far bigger than mine or anyone in my family. Luckily, that event never traumatized me. I felt at peace after that night.

Two years ago, my girlfriend and I took in a newborn Chihuahua into our family. His eyes were still shut, and we nursed him for about a month. He was expected to open his eyes in about another two weeks. I came home tired from work and crashed on my girlfriend’s bed while she cared for the pup. I knocked out and fell into a deep sleep. I suddenly woke and looked at my girlfriend and said, "He's going to open his eyes today." I immediately fell back asleep. I awoke a few hours later and soon after the pup opened both eyes.

Marie Laveau's tomb

Marie Laveau's tomb

In 2014 my girlfriend and I visited New Orleans. We were on a haunted tour visiting Saint Louis cemetery (where the famous Voodoo Queen Marie Laveau is laid to rest). We lagged behind the rest of the group because my girlfriend was busy snapping pictures. We walked past a particular tomb, and I told my girlfriend that I had a bad feeling all of a sudden. We came to find out later that tomb belonged to a notorious con-man and killer from long ago.  On the last day of our trip, while my girlfriend slept, I once again had trouble sleeping. I stood and stared out the window of our hotel. An orange orb of light hovered in and around the sky rises like the blue ball from many years before! It didn’t have the drone of any toy aircraft, and nothing maneuvers like that.

The closet with strange noises 

The closet with strange noises 

About a year ago I was in my girlfriend’s house. It was late at night, and I couldn’t sleep (I tend to have trouble sleeping as you can see) so stared off into the darkness when a shadow figure—all black, head to toe—tiptoed across the room. He spotted me and crouched at the foot of the bed, disappearing into the dark. Now this was near her closet, where we both hear random scratching and knocking coming from the inside on occasion. This has been going on for two years since she moved there. Even she hears the knocking from within the closet.

I’ve encountered a broad range of experiences throughout my life ranging from premonitions, communication with the departed, demon attacks, and UFOs. Surprisingly, none of these events had any real bearing on my desire to be a writer. But having all those experiences to draw from doesn’t hurt when trying to shape my fiction. After all, it is said that all fiction has some kernel of truth to it. With mine, the truth leans toward the supernatural. As scary as that is.

Pedro Iniguez lives in Eagle Rock, California just outside the hustle and bustle of Los Angeles. Besides writing, he has a love of film, comics, and books. His cyberpunk novel Control Theory is due to be released in the Fall from Indie Authors Press. 

Find Pedro Iniguez on Amazon:

                                                                    https://www.amazon.com/author/pedroiniguez

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Top Six Halloween-Themed Flicks by Michael Schutz

Nope. Not gonna limit this to a top five. What is this obsession with rounded-off lists? If you follow the Darkness Dwells podcast—and if you’re here, I sure hope you do—you know my lists are filled with honorable mentions, anyway. So let’s get it on!

look behind you!

look behind you!

Autumn's unique spookiness has come. Skies go gray. Darkness comes early. Trees shed their leaves, which in turn scrape along the sidewalk like witches’ nails at your door. "Recently Added" scary films fill up our streaming services. It’s a horror lover’s Christmas. This year, I’m not only watching horror movies, but feasting my nerve endings on movies about our greatest holiday. Here are my personal top six movies about Halloween.

the night bugs ate your brain

the night bugs ate your brain

6. Season of the Witch

No, not the Nicholas Cage tripe. I’m talking Halloween III, the sequel that (in)famously departed entirely from the budding franchise. There’s a lot of hate for this movie because of the lack of Michael Myers, but if you scrub the weird Halloween III nonsense from the back of your mind, Season of the Witch can really satisfy. The movie has a cool David Cronenberg feel. It’s one of the few movies that happily kills a kid during its runtime, with the threat—nay, knowledge—that many more little body bags will be filling up soon. Happy, Halloween… Halloween… Halloween. Happy, happy Halloween… Silver Shamrock!

don't sit so close!

don't sit so close!

What's the big deal? They're only pumpkins. 

What's the big deal? They're only pumpkins. 

5. Tales of Halloween Another Halloween descends upon Anytown, USA, and the freaks, ghouls, and demons roam the streets. With ten segments, this anthology film plays more like a miniature ABCs of Death than tighter collections than, say, Trick ’r Treat. As such, I found that a few of the stories were clunkers. Of course, that’s the beauty of having so many—what I don’t like, another viewer will love. Don’t get me wrong, characters show up in different segments, and references are made to other goings-on we’ve seen, so there is a unifying thread. Just about all of these tales are horror/comedy, for all their blood and viciousness, which maybe you’ll like more than I did. Overall, this is a great way to spend an hour and a half, and another costumed youngling gets added to the growing body count of this list. Also that little “twick-o-tweat” alien is adorable.

Jesus is satan!

Jesus is satan!

4. Satan’s Little Helper An extremely low budget and inexperienced cast (except for the big name star on this project, Amanda Plummer) don’t hamper the effectiveness of this creepy Halloween nightmare one bit. In fact, writer/director Jeff Lieberman uses these production limitations to his advantage and creates an experience that feels like it’s happening to people we know. It’s like combat journalism right there at the front. Gritty. Now, Satan’s Little Helper is decidedly a horror/comedy, but it falls on the dark side of humor. Like, pitch black. This is what stranger danger is all about, folks! Blasphemous glee abounds even before Jesus shows up at the door with bloody palms.

Kids with burlap sacks over their heads are terrifying 

Kids with burlap sacks over their heads are terrifying 

3. Hellions If you haven’t heard of this one, you’re not alone. Not many people do, unless you regularly take Netflix’s pulse, so to speak. Hellions is a freaky little movie, but it packs a big wallop. What strikes me most about this one is how well it constructs the dramatic skeleton on which all the flesh and blood of the horror hangs. Truly impressive. Great writing and performances create a young woman in trouble. The dialog between her and her doctor in the beginning is commendable. Usually with these cheap, small horror and thriller movies, real-life situations come off stilted. This scene works, as does the later conversation between her and her mother. Again, it’s an exchange that rings true. It also gives great glimpses at the family dynamic, shades in our heroine, and adds an elegant backstory to the mother. All of this results in a verisimilitude which bolsters our suspension of disbelief through the coming nightmare. Hellions explodes like a piñata filled with Halloween candy! Creepy kids, spooky dolls, blood, surrealism, and home invasion horror meld together in a whacked out tapestry of horror.

it stinks like a dead whore out here

it stinks like a dead whore out here

2. Trick ’r Treat This movie burst onto the scene in 2007 and became the new Halloween classic. In Crypt Keeper comic-book anthology style, the movie shows the weird and scary happenings in Warren Valley, Ohio on a particular Halloween night. With characters from different segments bumping into each other or passing through the frame, Trick ’r Treat has a terrific connected feel, where I felt Tales of Halloween fell a little short. Each segment engages the audience with suspense and scares and a good amount of violence and dread. Yet a sense of ghoulish fun runs through the whole movie as well. Great surprises—and even more paedocide. For as darkly gleeful as Trick ’r Treat is, it pulls no punches.

Death has come to your town.

Death has come to your town.

1. Halloween John Carpenter’s classic slasher flick about the night HE came home stands immutable in the top slot. I know it’s about as surprising as Thriller taking the number one best video in every MTV countdown, but this horror classic deserves all the praise. Halloween ushered in the golden age of American slasher flicks, became the first slasher franchise, and introduced a musical score that is synonymous with horror and All Hallows’ Eve. Carpenter created this horror masterpiece with suggestions of gore, but kept the blood as cleverly absent as the missing slicing and dicing of Psycho and The Texas Chainsaw Massacre. Using that inside-out Shatner mask truly did give all of us 70s and 80s kids a blank screen on which to project all our fears. Michael Myers reigns supreme as the Emperor of Halloween.

It is the boogeyman.

It is the boogeyman.

There you have it—my personal Halloween favorites. What would you add? Anything else you think should conquer the top spot? Let me know! I’m off to watch House of 1,000 Corpses (for the umpteenth time) and She Who Must Burn. And to eat all the Halloween candy myself. Stay dark, my friends, and enjoy your tricks and treats!

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Author Spotlight: Josh Matthews and Hell Gate

By Josh Matthews

I admit it. I’m a horror and science fiction junkie. Zombies, vampires, kaiju, giant insects, sharknadoes, big monsters… I enjoy it all. My wife jokes that I’ll watch anything, which is true. However, if I was forced to pick my favorite subgenre, the one I enjoy reading and writing the most, it would be apocalyptic and post-apocalyptic fiction.

I’m not snobbish about my apocalyptic fiction. It doesn’t matter how society is destroyed or what becomes of it as long as it’s the end of days. Of course, I enjoy a good zombie apocalypse or a world ravaged by natural disasters, and I’m fascinated by the cautionary tales of nuclear war from On the Beach to The Day After. The stark realism of The Road is just as intriguing as the barbaric, action-packed landscapes of The Road Warrior or Mad Max: Fury Road or the post-apocalyptic dystopian societies of The Hunger Games and Snowpiercer. Sure, in almost every case the genre is dark and depressing. Yet in most works in the genre, I always see a glimmer of light in the gloom because there are survivors, and as long as some of us are alive we can rebuild society. Apocalyptic fiction appeals to me because it represents a reset button. In one massive, destructive, world-encompassing event everyone on Earth is now equal. We’re not divided by wealth, status, or national origin. Race, religion, and sexual orientation become irrelevant. All that matters is surviving the holocaust and the type of society that emerges from the ashes.

That’s the world I strive to create in the Hell Gate series. Sixteen-year-old Jason McCreary is trying to survive in a post-apocalyptic world overrun by demons from Hell, demons that are here because his mother opened gates into the underworld during a scientific experiment that went wrong. Through the course of the series, Jason and a small group of adventurers travel the world attempting to close these portals. Once on the road, they discover an environment more frightening than anything they could have imagined and demons more terrifying than they had encountered before. Through it all, Jason struggles to keep his humanity and his sense of what is right as he battles all sorts of monsters from Hell, knowing that the decisions he makes now will affect the outcome of the world’s future.

If you’re a fan of end of the world fiction, or if you just enjoy seeing the world overrun by all sorts of demons and monsters, then please check out the Hell Gate saga. I’ll see you at the apocalypse.

 

Josh Matthews is a former New Englander who now lives in north Florida with his wife, teenage daughter, and four lovable but exasperating pets. Josh used to work for the U.S. Government where he had the opportunity to travel around the world and be exposed to numerous cultures, many of which will appear in the Hell Gate saga. He has always been a fan of horror novels and monster movies, and sees the Hell Gate saga as his way to share that love with a new generation of fans.

Website:  http://hellgatesaga.blogspot.com/

Facebook page: https://www.facebook.com/HellGateSaga/

Twitter:  https://twitter.com/HellGateSaga

 

 

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Why Gay Fiction?

By J. Daniel Stone

So. Gay Fiction.

 Why do those gays always want to disturb normality? Utopia was just fine before alternative lifestyles demanded equality. 

 What is Gay Fiction (capitals intended) after all? Said character is attracted to the same sex, right? Said character lives her/his life as a member of the LGBTQ community, right? Those are not the sole definitions, obviously. I can go on for pages and pages about what gay fiction should or should not include, how a responsible writer should or should not cover gay characters. Because fiction writers, after all, are mere reporters of reality, shaping its malleable meat for the entertainment of the reader. But remember, we are reporting. And as far as horror goes, my good friend Kathe Koja says it best: “The real world is stranger than anything anybody will ever come up with, and things happen in the real world that you cannot do in fiction.” Let that simmer a bit.

 Speaking of reality, I have a newsflash. The LGBTQ community exists! They are real people who undergo all the same strife and wonders of life as you do. Yeah, you! Cis-gendered, heterosexual reader. They love and hate, eat and breath. They have sex; they have families of their own. They contribute to the better good of society, and sometimes to the not so better good, natch. So why do we show up so infrequently in fiction, and specifically for this post horror fiction? Is it the small number of our population? Is it that the writers who are writing have no gay people in their lives? Is it that they turn a blind eye to us? Is it the old "write what you know" technique? Well, let me just drive home my point.

 Readers frequently ask me the same three questions:

 1. Why write about gay characters? We can't relate.

2. Why write about gay sex?

3. Does gay and horror mix?

 And I do my best to answer them:

 1. Because I’m gay, and a person, and I exist. So you will find people like me in my work. Oh, you can't relate? Well, I can't relate to the life of hoarders or Bravolebrities, but I have an open mind that wants to learn and observe to better myself. Why not try that?

2. Sex? Because we all have it! Stop the nonsense. Thanks!

3. Gay and horror mix perfectly. A genre that can't be easily classified and a sexual orientation that defies complacency. What doesn't mix about that?

 So there you have it, folks. Gay people exist. We come in all shapes, sizes, colors, genders and orientations. Try to include us. We aren't going anywhere.

 

J. Daniel Stone is the pseudonym for a hotheaded Italian kid from NYC. He has been a menace to society since 1987 and has, at various times, prepared bodies for the morgue, broke up fights between gerbils and used fire to change the color of the carpet in his bedroom. These days he can be found terrorizing local book stores, art galleries and dive bars boasting about his two bastard children: The Absence of Light (2013) and Blood Kiss (2016). Somewhere, out there in the dark, one can find more of his illegitimate spawns at places like Grey Matter Press, Icarus: The Magazine of Gay Speculative Fiction, Blood Bound Books, Prime Books, Crowded Quarantine Publications and more. In 2016, readers selected his work to be featured in DREAD--THE VERY BEST OF GREY MATTER PRESS. 

Find him on Livejournal and Twitter @SolitarySpiral

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Martyrs 2016... Really?!

The original 2008 French Martyrs shot to the top of my favorites lists before the credits ran. That film shatters expectations and flies out there on the edge of storytelling and filmmaking. Eachmoment when I thought I’d figured out where the movie was headed, the story turned in a new direction. Every shift elevated the suspense and upped the stakes. More than gore, more than overall dread, the film wrapped me into a complete experience. Like all great art, the film changed me. Enlightenment had dawned and crushed my soul. Jason and I even podcasted about it here:

http://www.wheredarknessdwells.com/darkness-dwells-podcast/2015/6/2/episode-05-martyrs-2008

I came to this American remake with some skepticism, but honestly, for the most part I kept an open mind. For my troubles, this lame attempt crushed my spirit.

Okay, so I enjoyed the first quarter. Drawing out the relationship between Anna and Lucie worked well. Not better than the clever way the original sped through this front matter to deliver us into the heart of the film, but I’ll call this opening a draw.

The first killing spree really sparked my hopes. I figured that if the Goetz brothers had the pluck to murder the whole family, then they just might deliver an awesome remake all the way through.

But the movie quickly fell apart.

I'll give you something to cry about

I'll give you something to cry about

First of all, Anna needed to shut up and stop crying. That worked my nerves. The movie meandered through too much, What are we going to do now? for my taste. Here the American esthetic started tearing through the careful weave of writer/director Pascal Laugier’s 2008 film. It’s never enough to show peril and let the characters struggle—let alone show fortitude. Lots of moaning and groaning and pointed conversations about Do you believe me? I don’t know if I believe you. That back-and-forth added nothing. That’s the film equivalent of a bad writer “telling” instead of “showing”.

But let’s get to the underground chamber, shall we? It’s what we’ve all been waiting for.

Who was better?

Who was better?

Anna finds the imprisoned young girl, Sam, and the weight of American clunkiness buckles the foundation of Laugier’s elegant original film. Remember how you felt during in the 2008 film when you saw that poor woman, hardly even human anymore? She’d been broken by inexplicable torture. The steel restraints had dug into her head so badly that we had that incredible Cabin Fever moment when the removal of the metal peels off the skin. Were you as off-balance at that point as I was? Not in this remake. Little Sam is none the worse for wear. Chained in a room with some smudges on her face. How kind of these nameless torturers to pad the restraints so the metal doesn’t chafe her wrists.

Things devolved from there.

The original evoked a sense of despair, of utter desolation when Anna finds herself alone, captured. Her good deed in helping her friend has damned her. No one will rescue her. But this redesigned film muddies all those pure emotions. We have three young women in peril now. Without a single heroine, our allegiances are divided. It’s horrible what’s happening to Lucie, yet we feel relief that Anna is unharmed, though imprisoned. And nothing at all is happening to little Samantha. So the visceral and immediate horror instilled by the original has been erased.

Laugier’s film took us through every step of the cult’s enlightenment ritual. We felt every punch, every humiliation just as Anna felt it. Her captors had no rage, took no pleasure from the beatings. The torture was a job, efficient and methodical and all the more horrible for it. In this new version, a mishmash of terrible things happens to a character at least partially removed from our sympathies—because Anna acts as a filter for the experience. We are not allowed to experience the punishment.

Thank god you don't have steel stuck in your face

Thank god you don't have steel stuck in your face

Being an American film, Martyrs 2016 needs to feature a rescue attempt. Are we so fragile that we can’t handle nihilism? Empathy formed the basis of the original’s success. We felt Anna’s hopelessness. This version, like almost all American movies, is propelled by hope. American endings are either relief as the hope pays off, or cathartic despair as the hope fails (and you’ll only find that in independent films). I suppose that’s a reflection of our American dream. Beginning in earlier childhood, hope is kindled in every American’s heart—work hard (or at least find an edge over the rest of the suckers) and get rich, move on up, be successful. Foreign films have the upper hand here, as their writers and directors understand the concept of hopelessness. I daresay that Europeans have a richer and tougher history. Just about every country’s national consciousness includes years of conquest. Generations struggled and died under tyrannical rule. As a result, Europeans seem to have a concept of happiness with being who they are, where they are. Steinbeck once said that the American poor “see themselves not as an exploited proletariat, but as temporarily embarrassed millionaires.” That hopeful-to-the-point-of-delusional mindset translates into our films, and it’s just not the correct philosophy for darker films. That’s why so many American horror films are trash. It’s like none of us understand the concept that life doesn’t get better. Again, in independent film we can find more realistic despair because those filmmakers know about poverty and struggle. They don’t have a budget of millions of dollars and paychecks whether or not their film succeeds.

The French Martyrs features a climax and denouement of meted-out revelations, each more shocking than the previous. The American Martyrs has a shoot-out. The subtlety of the original is corrupted; the integrity disregarded and shat upon. The French film’s coup d'état is shorthanded into frenzied bloodshed. The delicate final moment of the film is blurted out by a minor character, lost in the confusion of violence.

Martyrs 2016 shows everything that is wrong with American cinema. There had to be the sense of a buddy-film. The rescue attempt. The final shoot-out. The sensibilities of the French version are ignored. The emotional impact is thrown aside in favor of a big finish. Instead of pointed, deliberate violence we have the typical American presentation of throw-everything-at-’em. Such a disappointment. Stay dark my friends... and stay away from this one.

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Michael Schutz

Michael Schutz was born and raised in the frozen tundra of Wisconsin, where the macabre tales of Ray Bradbury and Stephen King kept him warm at night. He’s seen way too many horror movies to be healthy and blogs and podcasts about them on Darkness Dwells. Watch for his new novel, Edging, from Burning Willow Press in spring 2017. He is the author of the novel Blood Vengeance and the novella Uninoch. His short fiction has been featured most recently in Dark Moon Digest, Sanitarium, and the anthologies Beasts: Revelations, Beyond the Nightlight, and Cranial Leakage: Tales from the Grinning Skull. He lives with his three naughty cat-children in northern California. 

Contest!

If you've been listening to the show, then you know that we've been talking a lot about the latest Crystal Lake Publishing anthology, Gutted: Beautiful Horror Stories. Now's your chance to win a copy of the anthology along other books by some of the authors who have recently appeared on the show. To win, all you have to do is tell us of your love for The Darkness Dwells Podcast. Details below.
 

The Prizes


3rd place: an ebook copy of Gutted: Beautiful Horror Stories.

2nd place: ebook copies of Gutted, Little Dead Red by Mercedes M. Yardley, Paper Tigers by Damien Angelica Walters, and We are Monsters by Brian Kirk. 

1st place: The Physical copy of Gutted along with all ebooks in 2nd place.

How to Win:

Send feedback for the Darkness Dwells Podcast and tell us how we're doing in one or all three ways listed below. The more you participate the better your chances are of winning.

1. Email your feedback to darknessdwells74@gmail.com and tell us what you like about the show. This will get your name into the drawing hat once.

2. Email a mp3 of your voice to darknessdwells74@gmail.com and verbally tell us your thoughts. This method will get your name into the drawing hat twice.

3. Write a review on iTunes or Stitcher or wherever you subscribe to Darkness Dwells and take a screenshot of said review once it's live. Email the screenshot. to darknessdwells74@gmail.com. This will get your name into the drawing hat three times.

4. Do all three and get your name entered into the hat four times!

All entries will be read/played on the show.

As always, thanks for listening and reading!

5 Amazing Things To Do With A Superpower

by Kerry Alan Denney aka The Reality Bender, author of

Marionettes, Dreamweavers, Jagannath, and Soulsnatcher

What would you do with a superpower? Well, for starters, let’s pick just one... an unusual one, as far as powers and superheroes go.

For the sake of convenience—and shameless self-promotion on my part—let’s choose the power that David Flint has. David is the protagonist and first-person narrator in my forthcoming supernatural thriller Marionettes (Juju Mojo Publications – May 31, 2016).

David is resuscitated after drowning in a flood, and returns to the land of the living with an uncanny ability: He can “jump” into other people’s bodies and minds, and control their thoughts and actions. In essence, David “becomes” that person, taking over their every voluntary physical function—and leaving his vacated body vulnerable while he controls that person. He can control anyone within a six-mile radius from his own body, basically making anyone he jumps into become his human puppet. Any distance farther than six miles from his temporarily vacated body, David loses control and returns to his own body.

After discovering his new ability, David thinks of himself as the Marionette Man. He reads his human puppets’ minds, knows their every thought, their past experiences, their familiarity with their family, friends, associates, and acquaintances, and is totally in control of their bodies and minds as if he is them until he leaves them and returns to his own body. If he chooses, during the time he’s controlling them, he can let them know they’re being completely co-opted and manipulated—or he can hide his presence from them, leaving them terrified and wondering why they’re doing and thinking things beyond their influence.

Pretty frightening, huh? To totally lose control of your own body and mind, and know that another has taken over your every physical and mental function. Would some people believe it to be a form of demonic possession? Talk about a waking nightmare!

 In DREAMWEAVERS, anything can happen when dreams merge with reality... including murder.

So what could a person do with this awesome power David has? Let’s start with David’s own list of 5 amazing things.

 1: Take the Bad Guys Down

With David’s power, you could infiltrate gangs, cartels, and evil corporations without their knowledge or awareness. If you can’t realistically start from the top, gradually work your way into the upper echelon. From a safe distance, perform covert reconnaissance into the group you wish to destroy, “jump” into the body and mind of any flunky at any level of the group, and climb—or rather body-jump—your way to the top. If you wish, kill the ruthless human detritus as you go. If your puppet is attacked, compromised, or killed, jump into the person who’s disabling your puppet and move on up.

With power-mongering corporations—such as big pharmaceutical companies or Big Oil, for just two examples among many—finagle your way into the top dog and force them to reveal their secrets to the whole world. Make them send out bulk emails containing crucial evidence of their illegal activities and unethical or immoral business procedures to the police, FBI, Homeland Security, and any and all applicable law enforcement agencies. Hell, make them send those emails to the general public, so there would be no way that any corrupt officials within those law enforcement agencies could hide it from us—you and me, my friends. Make those corrupt individuals, gang leaders, mob and drug cartel bosses, and wicked executives hold official publicly announced press conferences in which they lay it all out—with indisputable evidence of their wrongdoings—on camera, a method where they can’t take it back after the deed is done and after you’ve returned control of their bodies and minds to them. Make them post videos of the exclusive reveals on YouTube. Talk about giving the evil subhuman scum among us a dose of their own medicine! The internal conflicts alone that would spring from such an invasion would effectively make them crumble into ruin without our further outside interference. Public accountability would eventually become the norm, impossible to avoid or evade.

The only thing David Flint doesn’t know—and is afraid to find out the hard way—is if his mind will die and not be able to return to his body if he’s killed while controlling one of his human marionettes. So extreme caution is advised in life-or-death situations: Be ready to jump into someone else if you think your current marionette is about to take the eternal celestial dirt nap.

 2: Level the Political Arena

Whether we all admit it to ourselves, to our families, our friends, our neighbors, our colleagues, and even our enemies—or don’t admit it, and continue to hide in pathetic denial—we all know by now that our political leaders are corrupt across the board. They no longer have the best interests of humanity in mind in their continual struggle to achieve more power, more riches, and yes, more control over the masses over which they preside. Because of them, too much killing has been done in the name of deities, power-mongering, the acquisition of territory, and the despicable and barbaric lust to subjugate the masses. There’s that control factor again. These people are the greatest poison to humanity that could ever be imagined. The time has come to turn the tables against them, in the most drastic fashion.

With the expert assistance of a cadre of benevolent and compassionate Marionette Masters, we could invade the minds of our political leaders—both despots and supposed humanitarians—and force them to reveal all their secret agendas to the whole world. Such a global exposition of nefarious vendettas would force even the most ignorant of people’s eyes and minds to open. OPEC and their affiliates need to die the horrible death they so richly deserve so that the brilliant scientists of our world can no longer be stifled or stymied under their autocratic authority, and can work together to develop the clean and ever-replenishing power source that heretofore has lain just beyond our grasp because of a small percentage of the world’s tyrants’ desperate and contemptible desire for dominion.

Of course, if our hypothetical Marionette Masters were corrupt, we could be in for a whole new world of calamity. Therein lies the rub: Humanity, in its oh-so-brief geological infancy, is plagued with the barbaric desires of the worst of our kind. An infusion of collective awareness, through the help of those who could invade, read, and share our very thoughts with our fellow humans, could possibly be the best deterrent to such an unmitigated disaster—and could even prevent our extinction.

Okay, I’m hopping off my lofty pedestal now. I’d just like you, my fellow humans, to know that I trust and have faith in the best of us to bring out the best in us.

 In JAGANNATH, an intelligent shape-shifting alien reads the minds of the humans it absorbs, and transforms into monsters from our darkest nightmares.

3: Cure Terminal Diseases

What an amazing feat it would be for several of our Marionette Masters to hop into the minds of the most accomplished doctors, scientists, and medical research specialists and absorb their vast wealth of knowledge about the human body, diseases, afflictions, and our infinite capacity to heal. Accumulate that knowledge—not just what’s in their journal articles, papers, essays, and other various publications but also their remarkable ability to analyze, diagnose, and prescribe the proper treatment for each affliction, their incredible talent for comprehending biological functions and reactions to various stimuli.

Now gather together all the greatest minds—and the apprentices and trainees too—in various conferences all over the world, and share with each of them, one by one, all that cumulative knowledge. The process would take months, even years, but imagine all the advances possible with such an undertaking. It’s not entirely implausible that many of these specialists, once confronted with such a vast wealth of aggregate knowledge, might have so-called “Eureka!” moments, and discover solutions that were once blocked simply by lacking the awareness of a colleague’s previously unshared expertise.

With a power of this magnitude, working together as a species, who’s to say we wouldn’t eventually cure cancer? Or even better, diminish or even eliminate the effects of aging?

 4: Be the Human Truth Machine

Why not? In Marionettes, David’s partner Dana McGee, who has the same uncanny ability as David, points out how the power could be used this way. In criminal trials, jump into the minds of the accused and determine beyond the shadow of a doubt whether he or she is guilty or innocent. Acquire from their minds the elusive evidence that either incriminates or exonerates them. With the assistance of a Marionette Master, detectives could get inside the heads of their suspects. We could even eliminate once and for all the horrible tragedy of prosecuting and punishing innocent defendants!

Psychiatrists, psychoanalysts, and psychologists could examine the minds of the mentally unstable and discover the primary reasons for their distress... and maybe even alleviate their symptoms.

Distrust your neighbors/ colleagues/ employees/ employer? Is your significant other cheating on you? Find out for certain with this amazing power. Just be prepared for the potential devastating truth, and deal with it in a mature and responsible way. We don’t want to start new wars, however limited or significant they may be, do we?

 Bottom line is, this incredible power could either be an emotionally crushing burden or an exhilaratingly liberating gift, a means for either salvation or damnation. The end results would all depend on how conscientiously the power is used.

 In SOULSNATCHER, children with extraordinary psychic powers are being used as pawns in a deadly supernatural war.

 5: Teach Anyone Anything

Yes, this amazing power could be a teaching tool, limited only by the extent of our imaginations. So you want to learn to play the piano? Anyone with this “human marionette” power could just jump into the mind of a piano virtuoso and absorb all their musical knowledge, technical expertise, and cumulative experience and training. Then, armed with all that information, jump into the mind of the eager beginner student and transfer that knowledge to her/ him. Our minds think beyond the speed of light... in fact, our synapses fire at the speed of thought. The brain processes billions of bits of data every moment of every day in nanoseconds, well beyond the capabilities of the most advanced computer humankind has yet created. To be precise, the human mind is the ultimate computer.

Of course, technique, skill, dexterity, and the deft physical application of the acquired knowledge would take time, practice, and self-discipline to learn and perfect. But the basics would all be there for immediate mental retrieval: how to read music, understand music theory, play scales, transpose the written note to the instrument itself, even how to hear a musical composition and determine key, pitch, tempo, and a multitude of other intricate details absorbed from the original virtuoso’s mind.

Want to know everything there is to know about history? Geology? Science? Medicine? How about understand quantum physics? Simple: have the Marionette Master enter the minds of all the experts in each particular field, absorb and accumulate the knowledge from them, and then transfer it to the enthusiastic student.

The potential possibilities are mind-boggling. How many Einsteins-in-the-wing would this astounding ability awaken, how many potential Chopins and Mozarts and Bachs and Teslas and Galileos would discover a propensity for unparalleled excellence? People who might not otherwise ever have the opportunity to learn that all their lives they’ve had an aptitude to excel in a certain discipline, but for whatever reason never got exposed to it, would suddenly arise in an unprecedented worldwide renaissance that could ultimately change our very nature and way of thinking.

You could even jump into a pregnant woman, discover the unique joy and wonder of carrying a developing life inside you, and share it with human males. Who knows? The heretofore unknowable experience could possibly give us all a greater appreciation and love of life, which we (males) couldn’t otherwise fully comprehend.

The sky wouldn’t be the limit; even the stars couldn’t contain the infinite possibilities. A concerted effort of this nature might propel humanity into an evolutionary sea-change that could eventually send us out to galaxies that even the Hubble Telescope hasn’t seen yet, as well as shrink us down to the atomic structure that reveals the nature of existence itself. Time and space would no longer be barriers in our ultimate collective pursuit of knowledge. We could possibly even pierce the veil that separates life and death.

Of course, we all know that knowledge without the application of wisdom can be dangerous, even disastrous. History—as brief as our moments here on this spinning rock hurtling through space have been so far in an astronomical sense—has proven that. As a species, we would either be forced to mature, or devolve into the savage, mindless protoplasmic soup from which we originally emerged. But if we excelled in our efforts, as humans so often do, we could potentially propel ourselves into the next step in our evolution as a species.

I know I’ve always been a Big Dreamer. But in order to make the Big Dreams come true, as I’ve stated before, we must dream big. I for one intend on never stopping, until I gasp out my last breath... and transcend the portal that lies beyond the realm of death. And if I’m able, I plan on dreaming big there, too.

 

Kerry Alan Denney aka The Reality Bender

photo copyright © 2013 by Reggie Barton

What astounding uses of this outrageous power occur to you? We heartily welcome all your ideas! Feel free to share your thoughts in the Comments section below. If anyone comes up with an irresistible idea that I end up using in the sequel to Marionettes (yes, I do plan on writing a sequel), I will list your name in the Acknowledgments page with my thanks for sharing your ideas.

Special thanks to Jason White, Michael Schutz, and Darkness Dwells for allowing me to share my unique madness with the whole world on your blog. I hope to be a guest on your podcast show again soon!

 Cheers and happy reading to you all.

Flowers (2015) by Michael Schutz

Please do not confuse this Phil Stevens-directed horror film with Flowers (Loreak), the award-winning Spanish film. Terrible consequences would follow—though I imagine those intending to see Loreak would fare much worse for the mistake. This Flowers is a new entry into the canon of extreme horror films, mentioned in the same breath as the new American Guinea Pig series and other ghastly treasures found at Unearthed Films.

The synopsis that you’re likely to find simply states that Flowers is the story of six women who wake up in the crawlspace underneath their killer’s house. That’s a pretty disinterested summary of a fascinating film. Unlike so many of its fellow extreme movies, Flowers presents an engrossing balance of delicate story with its vile images. Stevens find the poignancy in the narrative while never shying away from gruesome visuals. The result is an artistic, compelling, gore-filled film.

We begin with a birth, of sorts, our first victim tearing herself free of the bag in which she was dumped like so much garbage. Our next fractured heroine crawls her way through a birth canal of sewage and viscera. And we really start to get the vibe of the film. These women are no longer victims but rather witnesses. The atrocities are filtered through their eyes, their experience, proving that a point-of-view movie can be made beyond the tired tropes of found footage cinema.

The carnage through which our witnesses slog is enriched by flashbacks of their deaths. Ah, yes, they are already dead and have woken to a purgatory of despair and enduring torture. When we meet the killer, we see that he is also a victim—of his insanity and depraved urges. He is just a man: bespectacled, fat, and under-endowed. Because real villains don’t wear masks and caper madly about. We are not privy to the voices in his head. Instead, Stevens employs a clever device by showing us the killer’s lunacy in the form of video screens through which somber, suited men watch impassively.

And no one speaks in this film. Instead, a dread-inducing score plays throughout, changing in tone from foreboding to romantic to despairing, to fit each witness’s epiphany. The sound, in general, is exceptionally thought-out and executed. All the action sounds hollow and subaqueous. This all matches the surreal nightmare images that assault our witnesses and through them, us.

There is a theme of voyeurism here. As our witnesses peek through chinks in the walls, gaze in mirrors, or flashback to their tortures, they are removed from the horror even as they can find no escape. We share the experiences with them, disgusted at what we see but unwilling to look away. And that’s what horror films are all about. Voyeurism. Watching our deepest fears—or darkest desires—played out with the comfortable filter of the screen.

Nods toward the deadly sins abound as well: Gluttony at the dinner table, Greed represented by the blood-spattered bills lying on the ground, Pride as one of our witnesses watches herself in the mirror, Lust abounds in the necrophilia and depraved sex of the killer, who also is Wrath incarnate. Sloth perhaps hides behind the addictions and rampant drug use. I didn’t find Envy, but I’m sure it was there. So is this a morality play? A demented Canterbury Tales in which each woman both watches and tells her story? Perhaps. They are not all innocents, to be sure, but who among us is?

Our six witnesses are, of course, the eponymous flowers. Beautiful and full of life but plucked too soon. Arranged and displayed by this madman. People are obviously burdened with complexities unknown to insensate nature, but just like the concept of wabi-sabi, it is humankind’s frailties and fault lines that make us the miracle of life that we are.

Flowers is a brutal film, proudly displaying graphic images meant to disgust and disturb. But it is far more. Through truly artistic turns, we see the juxtaposition of life and death, beauty and horror. This film reminds us of what A.S. Byatt once said, that there is no such thing as a still life, because even at the very moment we capture a beautiful thing in paint, in film, by any medium, it is already decaying, headed toward its inevitable death.

 

Where Has the Fantastic Gone in Horror? by Rob Shepherd

Tradition dictates that horror reflects a society’s current views, how the people of the time navigate their lives through their collective fears. Hence, right now we have a boom in zombie horror and space films. We fear the death and destruction right around the corner and yearn to keep moving, to know more, to find what lies in wait for us out there in the universe.

The dawn of horror reflected ancient man’s outside influences and fears of an unknowable world. Folklore and religion both originated to give even a limited understanding of the world and nature around humankind. So, what we get are the first dark fables and fairy tales—warnings of monsters, evil witches and specters waiting to whisk people away to their dooms. Collective fears evolved and centered on people being persecuted. Peasants being mistreated and enslaved, the hardship created by the division between the wealthy and the poor. Then the true horrors of religious persecution and people being hunted and sacrificed. From there we see actual people, creatures and animals represented as demons and monsters, in the dark tales of gothic horror: vampires, werewolves, banshees, succubi and so on during the pre- and post-Victorian eras.

In nuclear times we saw a surge of zombie stories, horror representing the threat of nuclear war and nuclear disaster of the times. Christian Europe may have given us vampires, black witches, werewolves, and all the sexualised gothic horror, but the largely secular and nuclear America gave us zombies as fear of nuclear threat and disaster. 

So it is well recognised that society self-directs itself toward the shifts in horror subjects. Today we lap up zombies in all their guises, from stumbling corpse to determined, creeping death to a fleet-footed undead hunter. We are soaking them all up once more. The reason? Largely the same as stated above, but with a new source-fear that cripples our society. Fantasy has become a seated part of our lives and our consciousness. It has, in mainstream culture, become entrenched in our everyday conflict. Think Game Of Thrones. Conflict all the time, running through all variations of theme. In popular culture both zombies and the fantasy genre reflect our current chaos and constant conflicts and how  there is often more disagreement than agreement between countries, religions, and any number of divided factions. Think of how many wars we are waging right now. Virtually every country is in some sort of conflict with another country/nation, be they neighbours or not. Just look at the Middle East; every one of the countries in that region is currently either in war with its neighbour or in conflict with ISIS. Or currently doing its best to destroy its own peoples by civil wars, repression, or genocide. 

As the Middle East  tears itself apart from every direction, Europe has plunged into a chaos of not knowing what to do, for whom, when, where or how. It has no money or solution to fix anything without either breaking something else or making elsewhere worse in their attempts to fix themselves. While terrorist groups target Europe with apparent ease, an entire subset of Americans follow Donald Trump’s tribble hair into racism, homophobia, paranoia, chauvinism and pure hatred as he stumbles toward the highest office in the world—which would then place his fingers on the biggest red self-destruct button on the planet. So, is it surprising that zombies have taken over horror films, TV shows, musical artists, comics, books and events such as comic con and a host of other horror events? Of course it isn't a surprise! We are in the mood for it. We are in the prime influential state of mind to soak up anything that takes us away from the real terrors in the world today. And with the extreme nature of our world problems, horror films, books, comics and TV shows are obviously getting more extreme and more powerful, more guttural and more visceral. 

Don't get me wrong. In a way, this is terrific for the horror business, keeping filmmakers, directors, writers, and artists all in work, selling their products and filling a need. Why? Because the more horror in the world equals the more source material we have to draw upon for inspiration. And also the more wild we can  be in our films, TV, stories and novels. There really is no limit to it right now. But it will change. Eventually conflicts slow, people become numb and disinterested in what they see and feel every day. You don't see millions of people queuing to see a Bela Lugosi film anymore, but you do see Daniel Craig pulling in millions as James Bond, and our superheroes Batman, Superman et al. making billions. And still you see a few making millions on more traditional horror and sci-fi subjects. The world and its paying audience move on eventually; you can't keep serving up Christopher Lee no matter how much of a horror GOD he was. Thus zombies and apocalyptic films, books, etc will soon find their popularity wane as the majority audience moves to something else. Ghosts are having a little drink up at the horror saloon, but they’re also on the decline after the glut of paranormal activity movies and copycat found footage films. Just as their limelight has dimmed, so it will for zombies. As a genre horror needs to understand  that all these sources of inspiration will only lead to ever crazier and wilder redundant visions. This influx should be tempered. Some horror needs reigning in or even to be left to fail if the idea isn't good. 

Why? Because with too much of anything, laziness quickly sets in. Why hunt and create your own dinner, when a pack of supernoodles is in front of the microwave? This is always the risk in horror. We get lazy and churn out the same things rather than create our own horrific dinners to feast upon. Rather than go to the cupboard and pull out a load of ingredients that society tells us can't be used together—that should NEVER be used together, that in fact is said to be strictly taboo—like Clive Barker, George Romero, John Carpenter, and The Soska Sisters have done, we need to take our own unique ingredients and create something completely different and  create new legends in the process. 

Without adapting and creating new visions of the fantastical, our laziness will turn into the inability to conjure up the horror, the madness, the victims, the essence of life itself. We will lose our talent to invent whole dimensions, universes to play out scenarios in which these horrors and fantasies live and breathe. 

So with our world in utter chaos, with every country in some state of conflict with another or with itself, with gun crime stubbornly high across the globe, and with religious, sacrificial, racial, sexual, hate and gender crimes all tearing away at our everyday lives, never have we been more in need of the fantastical in our stories, in our books, in our TV and films. We need horror in general more than ever right now. And never will we (and I include myself here, often a culprit of maintaining the horror status quo), will we have a better chance to move beyond stories of zombies, living dead and the race to find alien worlds. Because we are killing our own, wanting another go at it, whilst fearing what will come from other planets, other worlds. More destruction? More horror?

On the last point, we can only hope so, in literary perspective any way. Because it is precisely from strange, fantastical worlds that the greatest fiction pushes onwards and propels our literary and celluloid lives to even better, greater things. 

My own visions of fiction—of horror, whether it be domestic, domesticated, apocalyptic, sci-fi-infused, or straight visceral, guttural, graphic body horror—has a root in the fantastical. That's why I rarely if ever give a place, a true country of origin, as the setting. It's why I haven’t given an explicit description of a character’s race or religion. That is never down to me, nor will it be, that is down to the reader to decide. When the reader experiences my stories, they decide whether a character is white, black, Asian or whatever the case may be; it also may be dependent upon their own identity, and it is not my job to force my readers to accept what a person is. You as the reader can infer what you see as characters’ identities, their attitudes and their ways of being. That way, any given story can take place in any country, on any planet, in any dimension. There is no limit to where someone can come from, nor why and how. No limit to what horrors can be contained and released upon that world, that dimension, those people can be born to house to contain and release these horrors upon. 

So, I guess, in short (ha short, you should be lucky), my point in this ramble is this: how about we start to write and create more of the amazingly fantastical, the weird and the incredible sick stories of terror and thus frightening, amusing, exciting and titillating each other and the world. Let's demand it, promote it, share it, encourage it and love it. Let us love our own creations and our own fantasies a little bit more and worry a lot less about someone else sexual orientation, religion, race, gender, lifestyle or personal background. They never mattered. They don't matter, and they never will. So let's truly love horror a bit more by adding more fantasy and more creativity to our lives. 

Horror is in a great place right now. It has a lot of strength and so many directions to go in, as long as we love it and let it go in all directions and not close off all but one of its paths.

About the Author:

Rob Shepherd  was born in Essex in 1978 and still lives there with his wife, son, daft dog and grumpy old cat. 

Books to date include, Life With Boris Karloff!, Sofiah, Stripped Unconsciousness and The Grays Anatomy. Rob has featured in many anthologies including Dark Light 2 (by S.J. Davis), Liphar - Short Stories Vol.1 and Unleash The Undead (Collated & Edited by Samie Sands) and Thirteen 2: The Horror Continues (collated and edited by Kevin Hall)

Rob has also written scripts for several short films, such as Silentwood Films' "Sofiah" & other forthcoming short films, as well as feature length films due for completion soon. 

Rob is working on many more new books and projects. He is scheduled to appear in several new horror anthologies due for release soon as well as appearing at author and book signing events across the UK during 2016 and 2017 and is scheduled to release further books of various genres over the next 12-18 months.