RED HARVEST Giveaway and Pre-Orders

Kensington Publishing is giving away 100 free kindle copies of my new book RED HARVEST. Click here for more information on the goodreads giveaway.

RED HARVEST is currently available for pre-order at the following retailers and will go on sale September 4, 2018.

In the epic tradition of Stephen King, Dean Koontz, and Jonathan Maberry, a chilling new masterwork of small-town evil, centuries-old traditions, and newly-risen terror…

RED HARVEST

Every year at harvest time, something strange and wonderful happens in the sleepy farm community of Ember Hollow. It comes alive. Truckloads of pumpkins are sent off to be carved into lanterns. Children scramble to create the creepiest, scariest costumes. Parents stock up on candy and prepare for the town’s celebrated Pumpkin Parade. And then there is Devil’s Night . . .

But this year, something is different. Some of the citizens are experiencing dark, disturbing visions. Others are beginning to wonder if they’re losing their minds, or maybe their souls. One newly sober singer with the voice of a fallen angel is tempted to make a deal that will seal his fate. And one very odd boy is kept locked in a shed by his family—for reasons too horrible to imagine . . .

Whatever is happening to this town, they’re going to make it through this Halloween. Even if it kills them . . .

CLICK TO PRE-ORDER

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Crescendo of Darkness:Guest Blog

Music has the power to soothe the soul, drive people to obsession, and soundtrack evil plots. Is music the instigator of madness, or the key that unhinges the psychosis within? From guitar lessons in a graveyard and a baby allergic to music, to an infectious homicidal demo and melancholy tunes in a haunted lighthouse, Crescendo of Darkness will quench your thirst for horrifying audio fiction.
HorrorAddicts.net is proud to present fourteen tales of murderous music, demonic performers, and cursed audiophiles.

Please enjoy an excerpt below from Crescendo of Darkness.

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“A Whisper in the Air” by Jeremiah Donaldson

Employees at a job find solace in playing music on break, but a haunted melody draws in more than just new musicians.
Jim pushed the steel door open and exited the building. The evening breeze made him shiver. He pulled his flannel tighter while people poured from the doorway behind him. They spread out into the parking lot full of vehicles and lights from all the new hires that had just started. ‘Newbies’ was the preferred term, and it was Jim’s turn to be one, again. The last call center had gotten old. Simply walking through those doors had started to put a cloud over his day that was instantly gone the second he went outside.

He scanned the parking lot for any of the various people that he knew, but deep shadows were everywhere, so he waded through the crowd.

Bass from someone’s vehicle thundered with higher pitched sounds underneath. A word or two from conversations around him were audible as he passed car after car. Cigarette smoke and vapor floated across headlights as if fog had moved into the area as it was known to do on cool nights. He detoured around a small circle of people bouncing a hackysack between them in an empty spot.

Then something stood out in the din around him.

An acoustic guitar was picked and tuned for a second before the player started an upbeat rock melody that Jim didn’t recognize. The notes made it to him through the clash of sounds, but were barely a whisper. His friends would be in that group

He tried to focus on the sound and let it lead him to its source, but it came from everywhere and nowhere at the same time. Could more than one player be strumming the same tune? He doubted it, especially since the notes sounded as if they were being made up on the spot. It made him want to bob along as he walked, but the tune needed some drums. And bass. And a singer, belting out a gravely song.

Jim’s fingers moved of their own accord as he memorized the notes being played, imagining himself plucking the bass lines along with the guitarist. The rhythm put a bounce in his step until he was almost skipping along while playing air bass. Then the notes began to repeat themselves and he thought he had it…

“What the fuck are you doing?”

A chorus of laughter sounded from Jim’s left.

He turned to his friend’s voice before he realized the tune had stopped. “Shit, there you are. I’ve been looking the place over for you.”

Arek blew out a cloud of vapor. “We’ve been standing here, watching you bounce across the parking lot like you’re listening to a techno version of ‘Little Green Bag’.”

“I was listening to whatever you all were playing. That’s how I found you. That would be a pretty good song if it had something else going for it.”

Arek pointed a thump at Stan who was putting a new string on a guitar. “You didn’t hear us playing shit. Numbnut snapped my ‘E’ string on first break.”

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To read the rest of this story and thirteen

other horror music shorts, check out:

Crescendo of Darkness

Direct link: https://www.amazon.com/Crescendo-Darkness-Jeremiah-Donaldson/dp/1987708156

Edited by Jeremiah Donaldson

Cover by Carmen Masloski

HorrorAddicts.net Press

Let music unlock your fear within.

793 Words About Editing (Down from 127,987)

When my work first began to be accepted and published, I quickly learned several surprising facts about the process. Likely the most surprising was that many writers just aren’t into self-editing; something I thought was strictly required.

My first forays into professional writing were as a screenwriter, a discipline which exists in an entirely separate universe, worlds apart from published prose. Submit a completed screenplay with so much as an extra space between words, and the assigned reader – often an intern or entry level assistant of some kind, feels perfectly justified in tossing your work into the can, or hitting delete. Seems unreasonable, even elitist doesn’t it? But there is a brutal Darwinian logic at work, stemming from multiple factors. Most significantly, one page of a properly formatted screenplay is said to equal roughly one minute of screen time. Thus, a finished spec (non-commissioned) script should top out at between ninety and one hundred and twenty pages. Typos, overly descriptive narrative and general sloppiness can queer the formula. Nobody has time for that. Anyone accepting screenplay submissions will not want to account for your mistakes. Your work has to be finished. And perfect. That includes editing.

If you’ve written so much as a mash note, (that’s how we used to refer to sexts, kiddies) you’ll know that not everything you drop on the page should stay there. Nobody gets it right the first time. We can all scan for typos and mistakes, but not every writer can take up the cross of amputating pieces of their children. That’s where professional editors and editing services come in. There are these wonderful souls have no interest in the process of world building from the ground up or stringing together narrative. Their calling is to clean, organize, refine. It’s as much an art as the actual storytelling, and we wouldn’t have decent books without them.

That said – maybe I’m weird. I would rather be the one doing the amputating, if it must be done, than to leave that surgery to someone who could never be as emotionally or energetically invested in my monstrous fetuses as I am. It probably has a lot to do with habits learned as a screenwriter, but maybe also with martial arts and weight training, two activities which require constant personal refinement, self-sacrifice and yes, pain.

In any case, I’m inclined to chip away, to leave as little distraction for beta readers and as little work for editors and publishers as possible; to turn in a complete work. My belief is that a highly polished piece is that much more likely to be accepted, quicker to be published, and even more valuable to a publisher – and thus likely to command a larger purse for you the writer, not even to mention what it does for your reputation as professional, timely and attractive to work with.

Every writer is different, and I can’t pretend to dictate how all writers should conduct their process. Maybe some are so driven to move on to the next project that they simply cannot conjure the focus needed to trudge through a fifth, sixth and seventh draft of nothing more than making cuts and additions. Maybe for some, the story is well and truly done, maxed out, past history – yet still needs an outside hand before being ready for mass consumption. Their cartridge is spent and it’s time to chamber the next round.

Now lest I wax too high and mighty/writerier than thou, I should mention that recent experience has taught me that, as much as I may be driven to self-edit, I’m not always that good at it. My upcoming September release, Red Harvest: Haunted Hollow Chronicles Volume 1, probably made it to the “accept” pile by the very skin of its teeth. My editor, one of God’s own angels flying above a purgatory of self-indulgent keyboard and pen jockeys, sent my manuscript back to me with notes that, despite their diplomatic composition, exposed me as a mediocre compositionist with a few half way decent ideas. I learned a lot from her patient yet deserved annihilation of my sloppy prose. I wish for such an entity to nurture and afflict all you smug story slingers out there, if for no other reason than so that I can read your very best work.

But I also encourage you to self-edit the absolute hell out of your work. After all, if you’ve done your homework you should know everybody needs editing. The better your work is, the more readers it’s likely to reach. Swallow your ego, crush your lassitude and refine that diamond. You might be surprised at how satisfied you can be with your own work when you look at it after a harsh slash session or two.

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Triple Hit Combo!

Every action star worth his (ahem) assault should have at least three great fight scenes under his belt, am I right? I thought it’d be fun to list the top three of action cinema’s hard working men women, and even children. But a great film fight is not just about some athletic performers doing interesting techniques. Editing, build-up based on story line, camera angles and setting play a part.

With that in mind, you won’t see clips of these great fights posted here. Of course you can easily locate them yourself, but a great fight depends on context — and a youtube clip cannot provide that. If you’re a fan of screen/stage combat you owe it to yourself to seek out the full film — unless otherwise noted, of course; for a good fight scene can also save a mediocre film.

This will be an ongoing series, written and posted as the mood strikes. Recommendations are always welcome.

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DONNIE YEN:

The latest Hong Kong superstar to cross over into Hollywood, Yen was acting in action films for nearly four decades before landing his best known Hollywood role in Star Wars: Rogue One. Always heavily involved in his won choreography, Yen’s films are among the best of the genre. His fight style has come to include a good deal of MMA, including submissions and wrestling takedowns.

Yen played legendary Wing Chun instructor IP MAN in the film of that name, turning in some of his best work across the trilogy.

3. Master Ip Man versus ten black belts, IP MAN: Set during the Japanese occupation, IP MAN plays on a popular theme in kung fu films; that of a good man, put upon by cruel oppressors, pushed to the breaking point. The scene comes about mid way. The Japanese general in charge pays locals to come and fight his soldiers, to keep their skills sharp. When he takes it too far and someone is crippled, Ip Man takes the challenge. The scene is a master work of camera work, sound effects, and Yen’s unbelievable speed, which Michelle Yeoh one commented is the fastest of anyone she ever worked with.

 

2. Inspector Ma versus Tony, FLASH POINT. Paired with innovative director Wilson Yip once more, Yen is a hot headed police inspector in a labyrinthine crime story that ends at an abandoned shack out in the country. Collin Chou of The Matrix series is his opponent. They use the environment to brilliant effect, giving the audience a couple of breathers in just the right spots to create a feeling of exhaustion -and satisfaction- when we reach the conclusion. Yen breaks out a lot of great leg locks, as well as his famous wind-up punch.

1. SPL Killzone: Ma Kwan versus Mob Boss Wong Po: I truly doubt Sammo Hung Kambao is capable of performing in or choreographing a bad fight, and this great battle has him doing both. Wilson Yip directing yet again in another gritty police drama. It’s just after Ma has battled Po’s best fighter, played by Wu Jing, in a fight nearly as bad ass as this one. The setting is a multi-level bar with lots of glass to break. Boss Po’s cellphone plays into the fight as well, giving this fight the emotional resonance Hollywood has either never mastered or never bothered with.

Runners up: Vs Mike Tyson in IP MAN 3, Vs Jason Scott Lee in CROUCHING TIGER, HIDDEN DRAGON 2, VS Jet Li in HERO.

TOP 13 HORROR SUB-GENRES (Part 3 of 3)

I recently read a piece about how certain sub-genres of horror seem to correlate with similar strata of metal music; death metal matching splatter horror, power metal comparing to action horror, etc.

As a fan, such classifications help me find the kind of horror film for which I’m in the mood, while as a writer, it helps to have some point of reference with which to promote my work — though, in the interests of being all “punk rock” and whatnot, I pay lip service to the notion of defying pigeonholery, and to seeking films and books that do the same.

Thus, I’ve attempted to compile an overview of horror’s various niches, with some illustrative examples. Almost every horror film is a crossover to some degree, of course, which is why the horror universe keeps expanding.

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JUNGLE CANNIBAL

Italy comes to mind again, as it was a grimy fistful of mostly bad shockers that came to characterize this subgenre, using the terrifying urban legend of undiscovered cannibal tribes as a springboard for high exploitation and supreme bloodletting. In fact, long before The Blair Witch Project, Cannibal Holocaust employed an advertising campaign that implied the film contained actual footage of South American natives chowing down on hapless city folk — though an obviously staged narrative sets it up. The disgusting animal cruelty IS real however, undermining any sense of wonder that should accompany scenes meant to be accomplished through special effects craftsmanship. Hence, few films from the cycle are actually worth mentioning -or seeing. However, Eli Roth’s more recent GREEN INFERNO, meant as an “homage” to the notoriety of the 70s efforts, if not to their actual content, is both an intense upgrade of the subgenre and a razor-sharp satire.

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TRIAL BY TORMENT

Given that a mainstream critic once offhandedly, and rather pompously, dismissed this genre by associating it with pornography, it’s been difficult to come up with the right term for this category; I feel this venture forces me to coin one. That said, there are entries that are entirely bereft of art, substance or grace, as my friend Paul puts it. They offer no value other than that “I watched that crazy shit!” cred. The earliest TBTs are probably the seventies-era post-Vietnam exploitation flicks that often blurred action and horror to gritty effect. Wes Craven and Steve Miner’s protest sign to the war was LAST HOUSE ON THE LEFT, which is hard to watch even today, along with Meir Zarchi’s I SPIT ON YOUR GRAVE a.k.a. DAY OF THE WOMAN. Both depicted rape and torture murder so unflinchingly that they were impossible to ignore.

These films are characterized by lower body counts in favor of extended scenes of abuse and dismemberment.

More recent entries include HOSTEL, CAPTIVITY, MARTYRS, FRONTIER(S), arguably the SAW films, countless remakes of the aforementioned seventies clas-sicks, and of course the TEXAS CHAIN SAW MASSACRE franchise.

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FOUND FOOTAGE

We’re getting into fuzzy territory here, as found footage could be said to be more a style of filming than a subgenre. Fact remains, though, that a good 99% of FF flicks ARE horror films, and abide by their own rules and conventions — to their detriment. That said, there are great FF films, as well as great mixes of the medium with more more traditional film narrative, such as RESOLUTION, THE LAST BROADCAST and SINISTER. The biggest problem is that found footage usually can’t sustain themselves for feature-length, so you wind up with lots of padding and repetition, already a problem in such a limited structure. Hence, it’s not surprising that yet another horror-centric device; the anthology/omnibus structure, is best suited for found footage. The V/H/S series largely nails it, minus a segment or two.

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FOLK HORROR

1973’s THE WICKER MAN, with its paganesque trappings, is the first film that comes to mind here. Elements include but are not limited to: an ancient religion whose god(s) demand sacrifice; nature settings, and apparently, gatherings of pale folk. In THE VVITCH, the ancient religion itself is not specifically Christianity, but a more general post-Christian Abrahamism, including devil worship (as opposed to Satanism.) Weird processions, a magnetic leader, a hidden deity/devil (or at least belief in same,) the feeling of an apocalyptic End of Innocence, and heavy doses of symbolism characterize this category. CHILDREN OF THE CORN, LAIR OF THE WHITE WORM, the underrated WAKE WOOD, and I’m gonna go ahead and toss in RACE WITH THE DEVIL just because of its delicious 70s spiciness!

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For you more literate-minded fear freakos, here’s an excellent piece on horror subgenres in fiction from DARK ECHO 

READ TOP 13 HORROR SUB-GENRES PART ONE

READ TOP 13 HORROR SUB-GENRES PART TWO

TOP 13 HORROR SUB-GENRES (Part 2 of 3)

I recently read a piece about how certain sub-genres of horror seem to correlate with similar strata of metal music; death metal matching splatter horror, power metal comparing to action horror, etc.

As a fan, such classifications help me find the kind of horror film for which I’m in the mood, while as a writer, it helps to have some point of reference with which to promote my work — though, in the interests of being all “punk rock” and whatnot, I pay lip service to the notion of defying pigeonholery, and to seeking films and books that do the same.

Thus, I’ve attempted to compile an overview of horror’s various niches, with some illustrative examples. Almost every horror film is a crossover to some degree, of course, which is why the horror universe keeps expanding.

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BODY HORROR

Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde might well be the first fictional take on body horror, a sub-genre based on the concept of one’s physical person being changed or violated. It surely is the most personal and accessible form of horror, given that it stems from the loss of control that accompanies birth, adolescence, aging and death; all radical changes happening to us, over which we exert little control. Add disease and injury, and the idea that we have any individual sovereignty seems almost ridiculous.

In THE FLY, especially the Cronenberg remake, we see bodily changes that might be regarded as improvements — until we realize that these come at the price of humanity. Also true of many film versions of the werewolf legend, which more closely resemble Stevenson’s aforementioned classic than their original folklore — except that poor Larry Talbot and cousins had no choice in undergoing their transformations.

Citing Cronenberg again, eXistenZ puts the viewer inside a game that is more organic than technological. To play, one has to merge with the game itself. VR seems relatively obsolete doesn’t it? In an industry that values immersive experience, might it be possible to be changed beyond return?

Other examples include Body Melt, Cabin Fever, Clown, Horns, and Thinner.

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CREATURE FEATURE

Pretty well self explanatory, though there are a couple of crucial parameters. It’s all about the monsters, and best left at that. Character development is not the main attraction in a creature feature, and given SyFy’s long list of formulaic CGI monster-of-the-week Saturday slot-fillers, not even particularly welcome Don’t get me wrong; there are great creature features with wonderfully-drawn principals. It’s just not the current norm. Most Japanese kaiju and 50s-era radioactive mutant movies qualify — “mutant” being a key word. Jaws, Anaconda, being real-life horrors of nature, fall into our next category.

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NATURE RUN AMUCK

When the giant ants and lizards of the 50s shrunk back down to their God-ordered proportions in the 70s, the Nature Run Amuck subgenre was born. Instead of just doing what they do, only as giants, post-hippie era critters are usually more intelligent, populous, and/or aggressive, made unmanageable by an unprepared but generally deserving mankind. Phase IV pits a crew of scientists against a colony of ants. Swarm plays on the 70s fear of “killer bees” migrating from Brazil. “Link” sees research apes turning the tables on their human keepers. In “Frogs,” it’s a lot more than the titular amphibians who upset the balance, and of course, every natural disaster is made worse by combining it with sharks or spiders.

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HORROR COMEDY

Call me a curmudgeon. I just don’t see the point. Do you want to scream or do you want to laugh? Some of the best horror flicks contain moments of brilliant black humor that serve to break tension at crucial points. A horror comedy takes the thing that you focus your fears on and makes it a joke. Everything deserves to be parodied at some point — but is it asking too much for a little subtlety. SCREAM for instance, or POPCORN. But the SCARY MOVIE treatment is unnecessarily heavyhanded.

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MINDFUCK

In the Charles Beaumont-scripted BRAINDEAD from 1990, Bill Paxton is leaving work, carrying a long a brain in a jar, hoping to catch up on his research at home. There’s a tussle with a hobo, and the jar, brain and all, shatters on the sidewalk. It’s a good metaphor for what this subcategory aims for. (As an aside, it’s also a damn sight more hilarious than any of the SCARY MOVIE films, near as I can estimate.) The plot often involves following a protagonist as he or she seemingly descends into madness — or is led to believe they are. It lends itself to creative special effects sequences, as well as unexpected story twists, as it is not necessarily constrained by conventional plot structure. It’s also a fairly loose designation that could encompass films as different from each other as ALTERED STATES, VANILLA SKY, TOTAL RECALL, TETSUO: THE IRON MAN, and PHANTASM.

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Come back next week for FOLK HORROR and more.

READ TOP 13 HORROR SUB-GENRES (Part 1 of 3)

TOP 13 HORROR SUB-GENRES (Part 1 of 3)

If there’s anything the internet has taught us to do, it’s to pointlessly compartmentalize pop-culture trivia to the point it almost seems to matter. You can find lists of everything from Top 10 Worst CGI Effects to 7 Best Songs About Drugs.

Because horror is so diverse in scope, most fans tend to find one or two particular sub-genres they favor; or more often, they go through phases of certain directors, eras, scenarios, or in the case of fiction, authors or publishers.

I recently read a piece about how certain sub-genres of horror seem to correlate with similar strata of metal music; death metal matching splatter horror, power metal comparing to action horror, etc.

As a fan, such classifications help me find the kind of horror film for which I’m in the mood, while as a writer, it helps to have some point of reference with which to promote my work — though, in the interests of being all “punk rock” and whatnot, I pay lip service to the notion of defying pigeonholery, and to seeking films and books that do the same.

Thus, I’ve attempted to compile an overview of horror’s various niches, with some illustrative examples. Almost every horror film is a crossover to some degree, of course, which is why the horror universe keeps expanding.

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GOTHIC

Influenced by the success of Hammer Films’ 50s era reimaginings of classic literary monsters like Frankenstein, Dracula and The Mummy, one Mister Roger Corman produced a series of Poe-inspired films set in gloomy, cob-webbed castles and fog carpeted landscapes, setting the stage for Italian filmmakers to do the same. These films, like the contemporary sub-culture of overly-eyelinered teens which shares the term, relied on gloomy mood rather than startling sudden jumps, leaving an overall impression of oppressive nihilism rather than the roller coaster feeling wrought by less subtle types of horror. Perhaps due to its more deliberate pacing, gothic horror is not one of the more popular sub-genres of recent years, but certainly has its fair share of classics. THE PIT AND THE PENDULUM, THE RAVEN, BLACK SUNDAY, BLACK SABBATH, HOUSE OF USHER

And of course: GOTHIC

Some more contemporary examples: SWEENEY TODD, SLEEPY HOLLOW, THE OTHERS

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SPLATTER

A splatter film need not necessarily be a horror film, but by nature, it would certainly be horrific. George Romero is credited with the first use of the term, so it’s clearly not meant as dismissive, given that his “Dead” series is heavy on social relevance. However, there is more bad splatter than good, as gore was a notoriously easy sell in the grindhouse -and later- DTV markets, hooking the least compromising of screen thrill seekers.

Hammer once again gets much of the credit for bringing (what was once considered) excessive bloodshed to the cinemas, and again it was the Italians who took it and ran with it. 80s Italian horror films went far beyond the level of their British or American counterparts, with lingering, often close up depictions of eyeballs pierced, breasts chewed off, brains eaten and much much worse, all before the advent of CGI allowed filmmakers to create such mayhem in a sanitary editing room. Yes sir, FX technicians had to live the nightmare, and get down and dirty to simulate brutal slaughter back in the old days.

It’s worth noting that splatter has a good many sub-sub-genres and crossovers, such as blood-spurting-yet-somehow artistic samurai films, and the nearly unwatchable collection of cannibal flicks that stained drive-in screens during their heyday. This subgenre is presently thriving at the mainstream level even on television via popular fare like THE WALKING DEAD and AMERICAN HORROR STORY. DAWN OF THE DEAD, DAY OF THE DEAD, ZOMBI, THE EVIL DEAD, JIGOKU, CANNIBAL HOLOCAUST, BRAIN DEAD, SIN CITY, LONE WOLF AND CUB, REVENGE OF THE NINJA, MIDNIGHT MEAT TRAIN, HELLRAISER

SCI FI

ALIEN is probably the first film that comes to mind when one thinks of a sci-fi/horror hybrid, but it’s far from a watermark. Thomas Edison himself created what was likely the very first sci-fi and/or horror film when he made a loose adaptation of Mary Shelley’s “Frankenstein” way back in nineteen-and-ten. The 30s Universal effort could also be called sci fi, along with it’s sequels and crossovers featuring other, folkloric based beasts. But the mix of sci-fi and horror truly come into its own in the 50s, when fears of the new and seemingly limitless powers of atomic energy and space travel gave rise to fears that scientists had gone too far in tampering with nature. Film producers took up where the long-dated warnings of Mary Shelley, H.G Wells and Jules Verne left off by imagining ever more gigantic and unstoppable mutations and manifestations from just beyond these new scientific horizons.

ALIEN was beaten to the punch during this era, coming across in retrospect as an uncredited remake of IT! THE TERROR FROM BEYOND SPACE and Mario Bava’s PLANET OF VAMPIRES.

Some of the best horror is wed with sci fi, as is some of the worst. Getting right down to it, sci-fi horror presents us with some extra-terrestrial threat but genetic mutation is a big seller as well. THE THING, VIRUS, THEM!, TARANTULA, GODZILLA KING OF THE MONSTERS, THE DEADLY MANTIS, THE INCREDIBLE SHRINKING MAN, THE FLY, PANDORUM, GALAXY OF TERROR, THE DAY THE EARTH STOOD STILL

SLASHER

I don’t think there are any blurred lines in regard to what a slasher film is. Though PSYCHO and TEXAS CHAINSAW MASSACRE appeared a few years before the great slasher boom that came in the aftermath of HALLOWEEN, they’re still largely considered part of the subset. But it was actually Bob Clark’s unsettling BLACK CHRISTMAS that set the blueprint. Assuming the set up for a slasher film (with little variation) is agreed to be a set of teens or young adults targeted by a demented stalker on or near a holiday in an isolated setting, it seems to be a pretty limited formula. However, close examination reveals that some of the most highly regarded horror films, such as THE SHINING and ALIEN, are essentially slasher films.

Many, especially from the 80s, also double as whodunits in the best Agatha Christie tradition. Once the initial wave of holiday-themed cash-ins settled and other flavors took over the public palate, slasher films became nostalgia, and soon after, fresh again, via Wes Craven and Kevin Williamson with the SCREAM series. Everything that made the sub-genre overtly formulaic was turned on its ear and used against the audience in brilliant fashion. Ironically, this ushered in a whole new age of cookie cutter slashers in the 90s.

These days, the slasher film is surviving, if not thriving, via mostly superior, amped up or intentionally retro variations like LAID TO REST, MALEVOLENCE, HATCHET, and the surprisingly clever BEHIND THE MASK: THE RISE OF LESLIE VERNON.

With 1984’s A NIGHTMARE ON ELM STREET, the addition of supernatural elements mutated the sub-genre and squeezed some more life from it, giving us an undead Jason in FRIDAY THE 13TH 6 and other defining entries like: BAD DREAMS, CANDYMAN, VENOM, KILLER PARTY

I’d be remiss if I didn’t mention Italy’s giallo movement, but it deserves a more extended treatment and might even be considered its own sub-genre.

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That’s it for this week. Come back next week when we explore more horror sub-genres including Creature Features, Comedy Horror and more.

Goodreads Giveaway – STINGY JACK

To celebrate its release

we are giving away a signed copy of

STINGY JACK and Other Tales!<

Goodreads Book Giveaway

Stingy Jack and Other Tales

by Patrick C. Greene

Giveaway ends November 17, 2017.

See the giveaway details
at Goodreads.

Enter Giveaway

 

A collection of short horror stories including the new STINGY JACK, OL’ SCRATCH, AND A HEAD FULL OF FIRE.
Come inside, out of the damp dusk, out from under that ominous black cloud. I want you to meet someone.
Set down your treat bag, take off that stuffy mask. I’d like to introduce Jack.
Yes, that Jack, the legend behind the leering lanterns, like the one burning just outside.
His story is the first treat of the night, to prepare the pallet for the rest.

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STINGY JACK Available Now!

AVAILABLE NOW at Amazon, Apple iBooks, Barnes & Noble, Google Play,  Kobo, Smashwords, and Overdrive.

Click below for more information and scroll down to read an excerpt from the new story

STINGY JACK, OL’ SCRATCH, AND A HEAD FULL OF FIRE

STINGY JACK and Other Tales

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Excerpt from:

Stingy Jack, Ol’ Scratch, and a Head Full of Fire

Jack shuffled into the cottage, his grimy hat gripped in both blackened hands, and stopped just past the door.

His sister Elspeth rose from stoking the fire and huffed at the sight of him, hoisting her skirt to stalk past him and out, slamming the door behind.

Jack lay his hat over the wooden peg on the wall, and took a single, miserly step forward, watching the old woman -who now seemed almost like a stranger to him- for signs of wakefulness. It would be a relief if she didn’t rouse, if she never roused, for she hadn’t offered a single kind or comforting word in many years, not since he was a teenager. Despite circumstances, Jack did not expect a change.

But family and neighbors lingered outside, and none would spare a charitable thought or word for him if he spent any less than a good halved hour tearfully apologizing to the poor old woman, and swearing his renewed, unshakable devotion to the path of The Straight and The Narrow.

Tears were not to be, alas, but the time he could manage, so long as the old woman slept most of it away.

Jack looked at the fireplace, stayed well back from it. Elspeth had almost always taken care of the fires –she’d had to be after all, for Jack hated fire and avoided it like leprosy, even when he inherited the blacksmith business from his uncle. Thanks be to God he had inherited his uncle’s helper, Colm as well.

But hearing the low eerie squeal of steam escaping from the young birch logs, he shook his head vigorously. That sound was why he only allowed Colm to use wood left drying for a season or so. It was bad enough he had to be around fire all day. Screaming fire was insufferable.

His gaze rose to the silver cup on the mantle and he immediately wondered what value it held. Then a hoarse cough from behind had him cringing.

He turned and saw that his mother’s eyes, watery and fogged, were open and focused on him. Her frail hand rose from her side, weakly wriggling fingers of summons.

He hoped for the regretful and forgiving love of the dying, but when he extended his hand, she clutched with such harsh strength and speed it gave him a start.

He leaned toward her, but just a few inches. Dead and dying bodies sent him queasy. Even mere mice in the mouths of the village cats -whose eyes gone wild and distant with some fugue caused by killing, their ears pointed backward to detect would-be thieves- made him feel like a wee lad in a vast dark forest.

His old mum, already interred under a mound of quilts, managed a string of clear and concise words. “Jacky. Ye make my heart hurt.”

“It’s gonna be all right, mum.” Jack whispered. “Just get your rest and ye’ll be back on-“

“Ye’ll never change.” She coughed again, a droplet splatting Jack’s cheek, making him revulse. “An’ I can’t protect ye any longer! I’m bound fer glory…”

“No mum. Ye’re gonna be fine.”

She ignored him, drawing her other hand from under the heavy quilts, a trying labor. In it was her cross, the silver one for which she had saved and saved, to buy from a silversmith the next town over when she was just a lass. She had worn it all these years, hanging it on one bit of string after another as they wore thin.

She held it up in trembling hands, on the opposite side of the bed from where Jack stood; the side pushed against the wall. Jack had to reach across her to take it, holding his breath as he did for fear he would inhale some essence of her ancient illness.

As she released it, thoughts of its value danced in his mind, and of potential buyers.

“Keep it with ye, boy,” his mother rasped. “Once I’m gone, ye won’t have my prayers to scare away the evils of the world.”

“Don’t say that, M-“

She sat up so fast it sent a thin rod of ice through his spine, and had him falling onto his ass as if kicked by a mule. Her eyes reflected the fire, and in so doing, brought Jack’s very worst memory to the fore. “That’s yer only hope, boy!” she bellowed, then fell back to the bed and gave off a hiss like that of the birch logs crumbling to ash in the fireplace.

Jack closed his eyes and shook his head till it hurt, trying to break apart that image against the inside of his head. But the vigil watchers would have heard the cry; they would be crashing in, and it wouldn’t look good for him to be cowering on the floor, so he quickly rose and approached her, looking for the rise of the quilt over her chest.

There was none. He reached out to shake her gently, and realized his calloused hands were shaking.

Then the door burst open, and Elspeth was pushing past him.

“Mother!?” She frantically patted the corpse’s pale cheeks, shook the scrawny, purple-veined hands, put her ear to the old woman’s ears. More watchers came in to crowd past him, and Jack suddenly realized he was in the presence of a dead body. He dashed out of the cottage, roughly pushing past the vigil keepers as he went to the big Ash tree behind the chicken coop and vomited his gorge of beef, turnip hearts and very much beer.

Dusk’s Warriors by Emerian Rich

Julien is a tortured soul. His whole life he’s been infected by his father, the devil. Beings from another world planned a destiny he doesn’t want to fulfill. All he wants is his vampire life back. Will he ever find peace?

 

Excerpt from Dusk’s Warriors:

Scribbling in the flickering candlelight, the woman tried to capture what happened minutes before. A breath, and then on with the story she’d never show to another living soul. Perhaps the greatest work ever, but no one would ever know, for she was not alone in her small abode.

A stranger lurked only steps away, savoring the moment he may never have again.

“To kill once more,” Julien said to himself. “To drink the blood even as it draws cold. To feel her fear and see a life pass through her eyes which I have only observed.”

An eternity, it seemed as he crossed the room and placed his cool, marble lips to her warm, tender neck.

Alas, the blood was not warm. It was ice cold.

 

Julien woke to find he’d been dreaming, a bittersweet nightmare of a dream with him as the victim, not she. If only Julien could go on, accept his new life, live it as his immortal comrades.

He wanted his passion back. Nothing brought him pleasure anymore. He didn’t need food or drink to live, and even the luscious taste of wine made from Heaven’s own vineyard had lost its potency.

He drifted back into his restless sleep, filled with memories only posing as dreams.

 

A fresh young mortal in his arms, smelling of leather and alcohol. Beauty in its finest form. Her blood had been rich, filled with a power no mortal had, infused with knowledge and enlightenment. She had control over him in those moments before, beckoning him to give her pleasure in that intimate way. Why had he touched her so? Running his hand over her soft breasts, down across her shapely thighs to the mound of ecstasy had seemed a necessity. How warm she was inside. He believed if he submerged his skin into her warm moisture, his immortal coldness would fade. It did, for a time, as she rose to his touch and her blood ran into his mouth like a fountain of youth.

Blood. More of a feeling than a taste. Pure pleasure.

 

Opening his eyes, Julien found himself in the everlasting garden so green it almost hurt his eyes, but hurting was not known in Heaven. Even the bright sunlight had a soft glow to it. Not hurting perhaps, but longing.

Julien knew nothing but longing. He did not want to be the God of Dawn. Although he’d accepted the position, he longed to be a vampire once more. He wanted to be feared, mysterious, allowed the evil deeds he’d pretended to hate in his vampiric life, but which over the years, he’d come to savor.

He rose from the healthy, damp grass, his limbs numb and head throbbing. True, there was no pain in Heaven, but his sorrow surpassed physical aches. He stretched his arms far up into the sky. The sight of his pale, marble-like limbs sent a spark of anger through him. They had made him their…creature. Their god. His mother—if she truly was his mother—had planned it. The olden gods had helped. Damn them! And damn his father—the devil himself—for causing it.

Never did Julien’s life seem so meaningless. He was supposed to be happy, to feel purpose. He was Lord Dawn, the god of the time between Night and Day when the first appearance of daylight breaks the morning, waking birds and farmers and…

Never again. I will never feel as I did, again.

Julien walked around The Garden, and then broke into a sprint. The Garden went by in a blur as his speed grew. His long white hair flew out behind him. He wanted to be away from the beautiful world. He wanted to be alone. In the too pretty place, with no pain, he felt as if he were being judged, as if the olden gods, or the gods above, or even Jespa waited to see him fail.

Damn Jespa! Damn her world! Damn every force that be! Julien’s rage built as he rounded The Garden. Away! I want to be away! He ran faster and faster, thinking of all that had passed. All he’d lost. Finally, he jumped into the nothingness of his own sector, creating a path to run on. Just a path. No towers or gates or gold cherubs or red sky, just a road…to nowhere.

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Dusk’s Warriors by Emerian Rich

 

Heaven has opened up and welcomed the vampires of Night’s Knights into a new reality. As they struggle to find their place in their new world, trouble brews on Earth.

 

Demon servant, Ridge, is causing havoc by gathering up all the souls on Earth that have been touched by immortality. When he injures one of the Night’s Knights crew, he launches a war between the vampires of Heaven, the Big Bad in Hell, and a mortal street gang of vigilante misfits.

 

Will Julien, Markham, and Reidar be able to defeat the evil that’s returned, or will they once again need Jespa’s help?

 

Praise for Dusk’s Warriors:

“All hail, the queen of Night’s Knights has returned! Emerian Rich’s unique take on vampires delights my black little heart.” ~Dan Shuarette, Lilith’s Love

 

“A world of horror with realistic characters in a fast paced thriller you won’t be able to put down.”

~David Watson, The All Night Library

 

Praise for Night’s Knights:

“Fresh, original, and thoroughly entertaining.” ~Mark Eller, Traitor

 

“Emerian brought the Vampire Novel back from the dead.” ~C. E. Dorsett, Shine Like Thunder

 

Available now at Amazon.com in print and eBook

 

https://www.amazon.com/Dusks-Warriors-Nights-Knights-Vampire/dp/1544628803

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Emerian Rich is an artist, horror host, and author of the vampire series, Night’s Knights. She is the hostess of the internationally acclaimed podcast, HorrorAddicts.net. Under the name Emmy Z. Madrigal, she writes the musical romance series, Sweet Dreams and she’s the Editorial Director for the Bay Area magazine, SEARCH. She lives in the San Francisco Bay Area with her husband and son.