The Official Portal to the Madness of Dark Fiction Author Patrick C. Greene




COMING this Friday July 21st!

A Horror Short Story from the author of PROGENY and THE CRIMSON CALLING. Natalie and Evie are sisters celebrating Nat’s recent engagement. But the history between the two sisters holds some serious sibling rivalry.

a cover bb



If you are one of the millions of devoted viewers of AMCs’ The Walking Dead or any of its spin-offs/imitators, you can say a little thanks to George A Romero for creating the genre to which they belong.

I say “genre” and not “SUB-genre” because that is what the modern zombie narrative has become. Zombies are no longer confined to direct-to-vid horror flicks. The shambling, vacant, flesh-eating resurrected corpse which has come to define the word zombie now appears in comedies, cartoons, fantasies, action adventure films, music videos and even soap operas (looking at you, The Walking Dead) and that’s just film and television. Countless videogames, comics, and fiction works feature the same species of “walker” that first appeared in Romero’s Night of The Living Dead, way back in 1968.

When horror magazine Fangoria began bringing horror filmmakers to the fore in the 80s and turning them into recognizable superstars, the name George A Romero rose to the top of the heap based almost entirely on his original trilogy of zombie films known as the Dead series. These were all low budget affairs, crafted with love and passion by a man who found the perfect stand-in for the most basic, perhaps the worst, aspects of his fellow man.

In trying to reach the warm food bags holed up in that Pennsylvania farmhouse, the first wave of Dead clambered over each other, unconcerned with the unbreathing brethren trampled en route to achieving their singular selfish goal.

As their Dawn rose, they moved outward from their various necropoli, Romero’s legions finding their way to the shopping malls, where thoughtlessly they roamed, only occasionally finding the gristly goodies they sought behind store windows.


As living folk began to haltingly re-organize, in vast military bunkers for instance, and further, began trying to corral and control the Dead, they demonstrated that sheer numbers and mindless appetite will always win the Day; even over any concepts of hierarchy or supposed intellect.

George A Romero milked the zombie genre, perhaps not for all it was worth, but certainly, for its most meaningful elements. He did so almost entirely without the help of the Big Bully studio system, even while lampooning it in many ways.

Many images from his work stand stark in my brain forever. That first stumbling cadaver, zeroing in on Barbara, while her cruel brother mocks her in a Karloff voice.

The nightmare of a hundred hungry hands punching through a wall to claim Lori Cardille.

The agonizing wait for David Emgee to “turn.”

That effing nerve-shattering Thing In The Crate, with its bottomless stomach, swimming up even now from some less-bottomless gulch.


Poor Martin.

Milquetoast Jason Flemyng, waking to find himself beautifully faceless.

Psychotically jealous Capuchin Elle, screeching somewhere in the dark, wielding a straight razor.

He was by all accounts, good to his family, his friends, and his fans. He was never less than generous, not only in sharing his talents, but in sharing his time.

Cliche’d as it is, one truly wonders if there can ever be another horror auteur like him. Another cliche’: there simply isn’t enough of his work for us.

But when I watch The Walking Dead, or play Resident Evil, whatever the given origin story, I will always realize I’m in the universe he made.





The Scares That Care Charity Weekend was originally a horror event designed to delight horror fans while benefiting those in need. Now, because of the increasing attendance from fan bases outside of horror, we are starting to transition to a genre event and will continue to morph as feedback points in the direction to continue positive growth.

“Scares That Care!” is an IRS approved, 501(c)(3) charitable organization, designed to bring together the fans of “all things spooky.” Whether it’s haunted houses, paranormal, horror films, or anything else in the “vein” of the horror genre, “Scares That Care!” brings together those individuals in order to give back to the families that need it most…and in turn, become “Good Ambassadors of Horror.”

The difference between our event and the other, fantastic shows that are out there, is simple. All of our proceeds will go to the families that need our assistance. We pride ourselves in being an organization that has no salaries, and no paychecks. We do this because it’s the right thing to do, and we want to represent the Horror community in the best light possible.”logo

Amazon Freebies!

Happy 4th of July holiday weekend! To celebrate we are giving away free short stories all weekend. Check out the latest over on my Facebook  page or CLICK on the covers below.

abductors cover1 new trick cover goto cover NEW RELEASE!

cover finders keepers


Goodreads Giveaway!

This giveaway has ended.


Mary Ann W, FL

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Enter to win a signed copy of THE CRIMSON CALLING by Patrick C. Greene!

Giveaway ends July 16, 2017





THE CRIMSON CALLING by Patrick C. Greene

The latest from Patrick C. Greene and Hobbes End Publishing – THE CRIMSON CALLING –  Centuries after their eradication and the death of their Queen in the Great Fire of London in 1666, the Vampire population now numbers in only the hundreds. A few of the remaining survivors regrouped and a High Council was born. Now a new threat has arrived: modern day military is not only tracking members of the council, they are attempting to create their own vampire soldiers.

Enter Olivia Irons. Ex Black Ops. Doing her best to live a normal civilian life, but it never feels right. No family, no friends, and trouble always seems to follow. When the Sanguinarian Council offers her the chance of a lifetime, the biggest risk of all seems like the only path left to choose. How will she answer The Crimson Calling?


also available for KINDLE – CLICK HERE!


an excerpt…TCC jiang excerpt

CinderBLOG: Pinned by Pops

A few days ago my latest short story CINDERBLOCK released as an ebook. It’s unusual in a number of ways, most obvious being that it’s a horror story set in a sporting environment. As far as I know and with few exceptions, the closest horror has gotten to athletics is Jason donning a Detroit Red Wings goalie mask in Friday the 13th Part 3.

By now, it’s clear to most of my social media associates, readers and imaginary friends that I have a more than passing interest in martial arts and all forms of unarmed combat. Most horror writers are deeply peaceful folk who actually abhor violence, and while I share that perspective, there are few things I enjoy more than watching a good match between trained combat athletes, and on a good day, stepping onto the mat myself.


Billy “Pops” Wicks  c.1950s

One of CINDERBLOCK’s principals is an old Polish fight trainer named Doc Lubinski, who is not unlike Burgess Meredith’s Mickey in the Rocky films. This is what people who spend too much time thinking about storytelling refer to as an archetype, which is a way of saying “stereotype” without sounding demeaning. But as a martial artist I’ve certainly had a few Doc Lubinski types expressing encouragement and enraged disappointment at my own humble efforts. By far, the most influential and colorful is Billy “Pops” Wicks, to whom the story is dedicated.

Pops, the son of Norwegian immigrants, took up wrestling in his teens and soon found himself working in traveling carnivals as the guy who takes on “all comers” while a top hatted barker riled up “marks” -local boys who wanted to impress their gal. Of course, the mark would never reach the Promised Land that lay under the skirts of their preferred farmer’s daughter. or if they did, it was out of sympathy. Pops’ job was to toy with them long enough to make it interesting, then to force a submission.

This style of wrestling is called Catch As Catch Can, more recently shortened to catch wrestling. I discovered it and Pops through another of his students, Pancrase* veteran Johnny Huskey.

wrestlers_in_greek_times_500x432As one might expect of any man from that rough post-depression era, Pops is salty, outspoken, and generally annoyed with how goddamn candy-assed contemporary fighters are. Unlike Brazilian jiu jitsu fighters, catch wrestlers are expected to stay off their backs when competing or fighting. So emphatic is Pops about this that he has been known to jab young pupils with straight pins if they don’t work out of the bottom position. Believe me, no matter how big or skilled your opponent is, you’ll find a way to escape if you see an angry-faced Norwegian man coming toward you with a straight pin. The pin you see, is to remind you that you’re being “pinned.”

Eventually wrestling changed, and Pops joined the movement toward choreographed action. If a wrestling star got a bit unmanageable among his peers and promoters, he might just find himself booked against Pops, which was a fast track to either humility or hospitalization

p and pops2

**Left to right: Patrick, Pops, Matt

But my main point is that Pops loves wrestling, and he loves his wrestlers. To me, his very direct approach and reliance on simple yet brutal techniques is reminiscent of the legendary Bruce Lee’s Jeet Kune Do fighting philosophy. In fact, Lee trained for some time with Gene LeBell, himself a catch wrestler, and a good many catch techniques are found in Lee’s Tao Of Jeet Kune Do.

When my first novel PROGENY was released, Pops excitedly bought and read it. If I may be a bit personal here, that was extremely gratifying for me, considering my own father died before its release. Pops exemplifies what a great teacher of any skill should be -a man who teaches boys how to be men, how to be honest, how to do everything as well as you can. There wasn’t time for the story’s Doc Lubinski to get a very wide arc in CINDERBLOCK, so it was important to me that his love for his pupils was apparent, that the reader would understand how much his boys, both the dead and the living, meant to him.

The boxing gym in CINDERBLOCK might itself seem sort of a cliche. But any inner city kid will tell you, that’s where you find them. The athletes of whatever culture that is most persecuted in any given historical era will gravitate to boxing, and because they have little other choice, they will excel. During Lubinski’s time it would have been the Polish, now it’s black and latino kids. The story’s protagonist O.C. is that kid who could easily have gone the wrong way, if not for “The Old Pole,” as I like to call him.

Doc is not based directly on Pops so much, but is my attempt to compress my understanding of the coach/pupil relationship into capsule form and make it believable enough to fuel the story proper. What I know of Mike Tyson’s relationship with Cus D’amato is also in there, maybe some Mister Miyagi, and of course — Mickey. 🙂

*Pancrase: A Japanese MMA promotion pre-dating the UFC that emphasized submission grappling over striking.
Wiki Billy Wicks

THE ABDUCTORS – Some hostages just don’t seem to know their role.

“Kidnapping. Easy as pie.
Especially when there are no loose ends. But not every job goes down without a hitch.
Some hostages just don’t seem to know their role.” abductors cover1 A few years ago I was part of a film called “A Dance For Bethany” which told a tale of human trafficking in the far off land of… America. That’s right, white slavery, human trafficking, forced prostitution, whichever you wish to call it, is a very real and very local problem that affects a lot more of us than you might think. Missing children, an issue which unquestionably crosses over with human trafficking, is characterized by similarly depressing statistics. With this in mind, writing “The Abductors” was intended to be a cathartic experience, and in many ways it was. Few loving parents can even put themselves in an imaginary scenario in which their own child is endangered. We want our children to retain all innocence, yet somehow be vigilant and aware of potential threats. We want to shield them from the world’s cruelties, yet we know we cannot hover over them every moment. Maybe some of us want the “bad guys” to have such a terror of an (unavoidable) end result for their misdeeds that it sends the temptation scattering like roaches in sudden light. To write this story I had to spend more time than would ever be comfortable inside the heads of characters who have no qualms about harming children. I had to take breaks and remind myself of my sense of justice, and to see the story’s big picture. I had to accept the fact that, yes, non-writers would judge me for “going there” in any kind of detail. Then there was the “baptism by fire” so to speak; actually putting the story in front of someone and getting a reaction. The first recipient was a producer looking for something short and gritty to shoot for festivals. I sent him The Abductors, and his response was “This is just depressing and horrible. Why would you write something like this?’ Mission accomplished? Not sure. At least it garnered a reaction. But as much as I like for my writing to be “brutal” I am also a fairly optimistic guy at heart, and I like to convey a longview that reflects that in the end. Oh well. Eye of the beholder. At any rate, I have, with help from my wife and my writing buds Allison Dickson and Rob Miller, completed a tale of child endangerment, and oh so much more, that I hope will get under the skin a bit, yet crawl away to its appropriate nesting place immediately afterward. So in case it isn’t glaringly obvious, all of this is to say I am “okay,” I DO love kids and fluffy kittens and all of God’s creatures; I am one of the good guys. I would hope never to deliver to you the reader a tale that isn’t in some way edifying. I have children of my own, and a nephew and lots of little pals I’ve made around the nation, you see, and if anyone were to ever hurt any of them, my own darker nature would prevail, and there is no power on earth that could prevent a horrific fate for that person. If there is nothing else to be taken from this tale, let it be that.

The Last Supper by Allison M. Dickson

TLS Front CoverThe world ended not with a bang, but with a grain of pollen on a puff of wind. People called them serpent weeds, and they consumed all the crops and eventually entire cities and civilization itself. A power rose from the ashes calling itself the Divine Rite, and they asserted a deadly new order in this ravaged world. Putting survivors to the test in a most literal way, they devised a yearly test called Justification. Pass and you can live. Fail, and you receive your Last Supper. This is the only life John Welland ever knew. But after his wife receives her final feast, he gradually immerses himself in a new rebellion, with a group of underground revolutionaries fighting to escape the Divine Rite’s reach. But the farther they travel across America’s haunted landscape, the more surreal and alien everything becomes. Not just the weeds, or the creatures with extraordinary powers, but John himself.

logo-consumerPublishers weekly says of THE LAST SUPPER in a starred review: “Marrying speculative, realistic, and fabulist traditions to dystopian formula, Dickson’s paean to individualism both breaks and strengthens the heart. Welland’s character receives “no comfort as he comes face to face with his own tragedy.” The Kafkaesque world of warped normalcy and cruel politics brings intimacy to the classic theme of self-definition in the face of oppression.”

Today I have the honor and pleasure of interviewing the incredibly talented Allison M. Dickson.

PCG: Well, you’ve gone and written yourself a post-apocalypse. What are we to do with you? What brought you to this vision of dystopia? Are you a prophet?

AMD: I think the real prophets of the dystopian genre were Huxley and Orwell, and I definitely don’t profess to be playing in that ballpark. But back in early 2008, when I started this story, I was pumping hot Orwell-loving Libertarian blood through my veins, and I was also concerned (and still am) about the eroding wall between church and state. While my individualist streak has mellowed a great bit over the last few years (a crashing stock market and resulting recession, which affected my husband and me greatly, had something to do with that), I came back to the story intent on making it more about perversions of nature. I want to be clear that I am not using my book to take a stance on GMOs or religion. I think there is a place for them in this world. Rather, I wanted to write about the potentially bad things that can take place when corrupt individuals gain control of certain technologies or belief systems. I think that latter bit is what brought me to this particular vision of dystopia.
ENTER TO WIN THE LAST SUPPER!! through 12/21/14

ENTER TO WIN THE LAST SUPPER today through 12/21/14

PCG: We all know it’s coming, but there are a good trillion or so ideas of just what it will be. Which fictional -or sincerely predicted- endorama stuck in your skull during your formative years? How much of that influences this here shit-hitting-the-fan-tasy?

AMD: I had the good fortune of being a teenager in the 90s, when things were relatively peaceful and people were far less afraid of the world. Then 9/11 happened, and we all know the rest. Though we do a good job of rattling our sabers at one another, I imagine if humanity were really to face extinction, it would be at the behest of forces well beyond our control. Asteroids, viruses, climate-driven catastrophes, supervolcanoes or some other Permian-esque event. I cut my teeth on The Stand. I ate up books like The Dark Tower series, where reality is coming apart at the seams. I guess if any of that stuff influenced THE LAST SUPPER, it’s those things, only with a bit of a helping hand from people. Nature will have its way one way or another, but I think a human hand will tip the first domino. Or perhaps already has.

beginning_of_end_poster_01PCG: Ever seen that 50s sci fi flick The Beginning of The End? Reason I ask is because its Big Bad is an army of enormous locusts. There’s an enormous locust on your cover, so for me, there’s a bit of a retro vibe. Would you keep a giant locust as a pet, if it was reasonably manageable? Or are bugs too grody for ya?

AMD: I haven’t seen that movie, but now I feel driven to watch it, because I’m fascinated by locusts. You know, I’m not the biggest fan of bugs, but it’s weird how some drive my phobias and others don’t. I actually love grasshoppers and the like! Cicadas are pretty cool too, and praying mantises. They have the most fascinating exoskeletons, and they seem very intelligent to me. Keep one as a pet, though? Nah. I’m happy to admire them from afar.

PCG: Okay, down to brass tacks. You wrote a short story in 2008 that eventually expanded into this novel. King did much the same with his story Captain Tripps, which sparked The Stand, as well as Jerusalem’s Lot. Do you feel that starting with the short format is a good measure of a story’s viability as a novel?

AMD: Actually, it’s interesting how novels start out, because I know you have developed a lot of your novels from screenplays you’ve written. I have developed quite a few longer projects from short stories, though it isn’t a strategy I actually set out to use. STRINGS evolved from a short story as well. When I write a short, my intention is always to just let it be that, but sometimes you get to the end, and a few weeks or even months or years later, you find there’s still plenty of thread left to spool out. I do think using the short format is a great way to map characters and get a basic trajectory started, but a decent expansion depends on what kind of story you have written. Starting with something more open-ended is vital, I think. I tried to turn “Dust” into the novel, but there was too much finality in the original story. I did stretch it out and add an additional 6000 words for a special edition recently, but that’s as far as I ever got. STRINGS was very easy to develop, because it basically picked up right where the short story left off.

PCG: Without becoming too political, this idea of food changing in some way so that it becomes uncontrollable or deadly may not be too far off the mark in the near future. Are you trying to warn us? You’re a cooking hobbyist, so would it feel like loss for you to have the luxury of cooking and experimenting with recipes disappear?

AMD: As I was putting together the final incarnation of the story, I was in the middle of reading The Omnivore’s Dilemma, which spoke a lot about how our food supply has changed so much over the decades, and I think a good bit of that seeped in. Be that as it may, though, I’m not sure if my intention was to warn people about that with this story. If I write too much with a message in my head, it has a way of stilting things. THE LAST SUPPER is more about self-discovery than anything external. The oddities of the world in which John Welland finds himself are more of the vehicle for him learning the great and terrible things he’s capable of. As for losing the ability to cook if some of the events of this story came to pass, I think I can adapt. Being of limited means most times, I thrive on finding solutions and alternatives when options are few. And the good news is in the Supperverse, the fermenting of various fruits and grains lives on. As long as that remains possible, I know I can survive.

ENTER TO WIN! THE LAST SUPPER today through 12/21/14

ENTER TO WIN THE LAST SUPPER today through 12/21/14

PCG: Which character in The Last Supper has the most you in it? Do you intentionally choose a character to represent your feelings and opinions going in, or does that happen organically –or at all?

AMD: I think it’s so impossible separate yourself or your personal knowledge completely from your characters, at least if you’re writing honestly. Even if those characters are terrible people, they aren’t truly three-dimensional until you put that spark of humanity in them and let them be complex, and that usually happens when you imprint something of yourself onto them, even if it’s something subtle that only you can see. I try to refrain from letting characters be my mouthpieces for my views – that’s Heinlein territory, and it was cute when he did it, but it can be tiresome when authors do it to excess. But John represents the part of myself that is on a constant journey of self-discovery, and all the pain and fear and guilt that goes with it. Genevieve represents my more feminine sensibilities, but also the no-bullshit side. Turpin, the old man, represents the part of me that knows the score deep down, even if I’m not ready to face it.



PCG: There’s a pretty elaborate world built here that delves into different versions of bio-domes, banned literature, as well as hardcore social upheaval. Was the idea to keep it as close as possible to the direction our society could very well go, given recent events, or did you want to delve a bit more into fantasy? Of course, this question assumes that those are a matter of relative perspective.

AMD: In the earliest version I wrote of this story, it had none of the fantastical elements, and I think I had intended to keep it more about a reality-based upheaval. But eventually I started weaving in the fantasy and mystical elements and it just took on a life of its own. I have often felt that sci-fi is a genre of possibilities, which is why I don’t like to strictly define SUPPER as sci-fi, but more of a mixed bag of sci-fi and fantasy. A bit in the same way Star Wars is, I guess.

PCG: As a personal aside, I’m divided between looking at your blog entries about TLS and just letting it surprise me. STRINGS was page after page of surprises, and I really liked that. I don’t expect that TLS will be as intense, at least not as relentlessly so. Are there any nightmare moments for us hardcore horror sickos?

AMD: Good question! While there are more harrowing and sad moments in the book than downright frightening, there is one good nightmarish scene that takes place in a basement. Aren’t basements pretty much the scariest of human inventions? I think so. They’re basically like graves beneath our houses that we put our junk in.

PCG: So The Mystic Oracle tells me there has been some interest in bringing some AMD to the film world. How much can you tell us about that?

amd consAMD: Well, I had the good fortune of having a gentleman name Jim Terr take heavy interest in my Consumption Trilogy for film development, and I got to sign my very first film option earlier this year. So far he’s done a staged reading of a script he developed, but he’s also hoping to pitch it to some big wigs in the film industry. As you probably know, getting things like this to catch on in Hollywood is like trying to light a campfire with wet matches, but it’s just been fascinating (and a little scary?) watching people act out my work, and I remain hopeful something will spark. People can watch the reading if they want to here:

PCG: 2014 has been a good year for you! Celebrate with us a bit, your accomplishments and coming soons, that we might worship.

AMD: Well, in addition to seeing TLS enter the world, Strings had a great run in its first year. I also completed my suspense novel KUDZU back in June, and that earned me representation by my agent, Stephanie Rostan. Hoping we see big things happen with that one in 2015. I also sold a story to Apex Magazine (my first pro-rate sale), which will be appearing in the January 2015 issue, and I had the great fortune of having two of my stories appear in anthologies (Wrapped in White and Wrapped in Black) by the lovely Sekhmet Press! I also hit the comic con circuit in my area this year with my good friend and Colt Coltrane artist, Justin Wasson, and it’s been great meeting local people and watching them take interest in my books – Justin is hard at work on the cover for the next Coltrane book releasing in March 2015! Finally, I was just offered a position to teach a writing workshop in January of 2015 at a local arts center. Hoping it goes well enough that I can get more workshop gigs, either at the center or at writing conventions. So it’s been a fantastic year, and a lot of seeds have been planted that are set to bloom next year, and that’s always the most exciting part. It keeps me going.

PCG: Other than Yerz Trooly, which author could call you tomorrow, ask to collaborate, and send you into an absolute giddy headspace of uncertainty and terror and anguished joy?

AMD: Actually it’s funny you say that, because I would totally love to collaborate with you on something one day. Other authors would be Chuck Wendig or Joe Hill. I don’t consider my style identical to theirs, but I think we could complement, challenge, and energize each other, and it would be a pretty awesome product at the end.

PCG: What kind of music or other ambiance, do you employ during the brutal rapture of creating?

AMD: Brutal rapture is a great choice of words. It really depends on the project. When I’m working on Colt Coltrane, it absolutely has to be jazz. But I have a selection of movie scores I like to choose from with varying moods. The Red Violin is a big favorite, as is the score for The Fountain. A recent favorite has been the Hans Zimmer score for Interstellar, which is just so awe-inspiring. When I was writing Kudzu, I listened to Carolina Drama by The Raconteurs almost religiously. I also listened to a lot of forlorn sounding bluegrass, like You’ll Never Leave Harlan Alive by Ruby Friedman.

PCG: So, back to the apocalypse: how long do we as a race have? What can we do to stave off the screaming and the suffering and the zombies and the seas of blood?

AMD: Honestly, I think we have longer than we think we do. That’s usually the case. Human, being cursed with knowledge of their own mortality, love to meditate heavily on death and mass extinction. Of course that doesn’t mean millions of us won’t die in the rising seas and wars perpetuated ugly fights over greed and dwindling resources, but that has been the story of human existence since its inception. I guess if we don’t find a way off this rock or learn to adapt harmoniously, we probably have another 5000 years or so before we either die out or the earth opens up its maw and swallows us. But who knows how human we’ll actually be in even 500 years? I imagine we might be some plasticized hive mind by then.

PCG: Far as you know, are there more sojourns to Dystopia in your future?

amd tlsAMD: The Last Supper is actually a planned trilogy. Hopefully the first book is successful enough to warrant the second book. If it isn’t, I’m actually satisfied with where this story ends. Either way, I always have hellish futures swirling around in my brain. And equally hellish present days. Anyone looking for a case of the shiny happies within my pages, regardless of genre, will be sorely disappointed.

amdAllison M. Dickson writes dark contemporary fiction, covering both speculative and realistic realms. Her debut psychological horror novel, STRINGS, released to rave reviews in 2013 and has topped Amazon’s bestseller lists several times. She is also the author of an abundance of short stories as well as the 1940s sci-fi noir Colt Coltrane series. Readers can look forward to her upcoming dystopian epic, THE LAST SUPPER, later in 2014. When she isn’t writing, she can usually be found wandering the urban sprawl of Dayton, OH with her husband and two rapidly growing children, or crawling some dungeon in search of good loot. For more information on how to reach Allison or to read her blog, visit


Date: March 10, 2014
patrick bwAsheville, NC – Bestselling author Patrick C. Greene announced today the sale of his next novel to Hobbes End Publishing.

THE CRIMSON CALLING is an action-packed vampire thriller sure to satisfy the most vicious blood-suckers.

Centuries after their eradication and the death of their Queen in the Great Fire of London in 1666, the Vampire population now numbers in only the hundreds. A few of the remaining survivors regrouped and a High Council was born. Now a new threat has arrived: modern day military is not only tracking members of the council, they are attempting to create their own vampire soldiers.

Enter Olivia Irons. Ex Black Ops. Doing her best to live a normal civilian life, but it never feels right. No family, no friends, and trouble always seems to follow. When the Sanguinarian Council offers her the chance of a lifetime, the biggest risk of all seems like the only path left to choose. How will she answer The Crimson Calling?

This will be the second novel Mr. Greene has sold to HEP. The relationship began with the sale of multiple short stories for THE ENDLANDS series and continued when HEP bought Mr. Greene’s novel PROGENY. That novel has maintained high ranking on Amazon and garnered purely positive reviews thus far. PROGENY tells the story of fathers and sons and the monsters they must battle – within themselves, and within the forest. In addition to its success on Amazon, PROGENY has topped several charts on the social cataloging site GoodReads.

HEP also recently published the horror-thriller STRINGS by Allison M. Dickson, with Ms. Dickson’s next novel THE LAST SUPPER to be released very soon. HEP front-man, Jairus Reddy, says he hopes for a Fall Release of THE CRIMSON CALLING.