Tag Archive for: horror

fae visions of the mediterranean

24 Mai

The Mediterranean is a liquid road connecting places and people. Ships, words and stories travel on its waves. Sometimes fantastic creatures, hidden in the hold. The Mediterranean speaks many languages; some of them we don’t recognize anymore. They are ancient, but never really dead. This speculative fiction anthology collects twenty-four pieces of fiction and poetry, new and old, and some things that are in between, because we don’t believe in boundaries. It gathers Mediterranean stories with a horror twist and horror stories with a Mediterranean flavour—caring sea monsters, still dripping and briny; brave mermaids, merciless ghosts and bizarre creatures—in nine different languages and many different styles.

Future Fire

Following the request made by Rhys Hughes to draw a Minotaur there is my nonsense version.

More info about the anthology Fae Visions of the Mediterranean: An Anthology of Horrors and Wonders of the Sea can be found here.

a suite in four windows by david rix

08 Fev

Four Windows. Four minds riding through derangement and beyond as clouds gather over the city of London. Four music students working hard to analyze a unique and extraordinary musical composition. From ‘The Night of the Electric Insects’ through the ‘Songs of Bones and Flutes’ to ‘God Music’ and the return trip, George Crumb’s ‘Black Angels’ – noble; wicked; madness; ethereality. Listen and the sky turns yellow and lightning flickers like burning alcohol in the distance.

Snuggly Books

Just to tease those who haven’t read this incredible work.
A Suite In Four Windows by David Rix is a book that will sing to your soul, but not like an urban fairy tale – no! If you like the taste of claustrophobic (devilish) drama, please take the journey and read this book.

It is a beautifully finely woven story; a complex and stunning work of horror, love, beauty, madness that grows stronger at every page, at every beat of the music “Black Angels”. The music isn’t only an important part of A Suite In Four Windows, but also a character in it’s own right – DARK – that haunts the story.

What makes this story so stupendous isn’t only the acuteness you feel when reading it, and it’s not only the seamless matching of words and music, it is the unrelenting attention to the details, making certain that those words and sounds (yes, sounds – YELLOW), work together to create a story that I found sometimes hilarious, horrifying, tragic, hallucinogenic.

Terry, Kate, Mix and Carrie, music students, are trapped between the YELLOW and the BLUE, the RED BRICK and the GOLD, and as they try to analyse the “Black Angels” music, as they look out of the windows of the house where the four live, as they climb from the basement to the attic and the music shouts/mute they all dive into the bright darkness.

There are no demons or angels in this book only Teeth. You don’t know what I mean? Well, neither do I. Only one solution – go read it!

a random interview to chris kelso

03 Fev


Chris Kelso is a spectacle to move the mind, soul, and heart. The books that I’ve read are filled with power.
His words are in many ways a bridge of hope to insanity.
And I’ve only read so far two books – shame on me.
Some words about the book “Schadenfreude”…

After reading so many books most of them do not provide any surprise.
Of course now I demand from a book much more than I required a few years ago. And it was spectacular that “Schadenfreude” by Chris Kelso has astonished me positively. It is a book that don’t leave me indifferent – one great good thing!

I’ve also read the anthology “Caledonia Dreamin’ – Strange Fiction of Scottish Descent” edited by Hal Duncan and Chris Kelso.

1. Do you have a specific writing style?
I think I’ve developed a certain ‘style’. It started with me at 18 trying to replicate my favourite prose stylists, writers with really unique and individual voices – like Burroughs, Acker, PKD and Hubert Selby Jr. There is some fix-up, some spare Carver-esque writing and some longwinded stuff. Usually the poetry of the piece will take precedence, I’ll likely revel in words more than plot or actual character expansion.
The more I read, and wrote, the more the narrative and its structure started to amalgamate all those influences and became something (maybe) unique itself.

the dissolving zinc theatre

2. What books have most influenced your life most?
There are so many. Paul Auster’s ‘New York Trilogy’, Alasdair Gray’s ‘Lanark’…anything from PKD, Simak, Solzhenitsyn, Acker or Plath. Seriously, too much stuff!

3. If you had to choose, which writer would you consider a mentor?
This is a good question. I suppose at university I had Stewart Home and Rodge Glass to bounce a few ideas off of and get useful feedback. Since then, I suppose people like Hal Duncan, Anna Tambour, Gio Clairval and Vincenzo Bilof have really taken me under their wing. Seb Doubinsky and Matt Bialer are always on hand to help me out and keep me on the right track too. I’m grateful to them all.

4. What are your current projects?
So many! I have a book ‘The Folger Variation’ due out through Leaky Boot Press’s ‘Weirdo Magnet’ imprint. It’s a much more traditional science fiction fare. Then it’s my horror/crime novel that Adam Millard is putting out. I’m really excited about that one because it’s such a deviation for me. It’s still bleak as fuck, but more accessibly bleak….

5. How much research do you do?
Hardly any. The majority of my fiction takes place in a 4th dimensional universe where humans work as slaves in mining enclaves all day. I might research a piece of machinery that I’m elaborating on, but very little else. It’s all up here (points to temple)

the folger variation

6. Do you write full-time or part-time?
Very much part-time. By day I work in a school library, which is actually very enjoyable. I love the school and it’s pretty satisfying. I think even if I could afford to write full-time I wouldn’t. I’m drying up a bit these days. I write a lot less than I used to. Maybe I’ve said everything I had to say?

7. Where do your ideas come from?
My own desperate misery. These days I’m much happier and positive – which might explain why I can’t write anything of note anymore!

8. How can readers discover more about you and you work?
They can visit my website at – http://www.chris-kelso.com
or add me on Facebook – https://www.facebook.com/chris.kelso.75

For full Books list visit – BOOKSSSSSSS

black sunshine by alexander zelenyj

28 Jan

Without any 3D effects Black Sunshine, Alexander Zelenyj is a real joy; without knowing what is going to happen next helps keep the suspense (horror) level high.

  • the background event isn’t explained: it just happened, and it was sudden
  • it was through the perspectives/thoughts of the main character that I can try to figure something
  • there was no sudden discovery of a super solution that could solve the event(?)
  • it really made me think of how people might react in that situation

These are some of the added values of the book. The story has allegorical elements about society and family, humanness, about the knowing and foremost about the unknown. The book makes me feel extremely uncomfortable.
But the main achievement is that the book come with an “open story”: it leaves me with many unanswered questions.

It’s actually a book rather fascinating; very intelligent and thought-provoking.

an itinerant interview to timothy jarvis

12 Jul


After reading the story Nae Greeance o’ Bane I need to read more words written by Timothy Jarvis so I have bought The Wanderer and I can just say for now that it is an unmatched brilliance.
About Nae Greeance o’ Bane:

I was absolutely gripped during the entire story. Nae Greeance o’ Bane by Tim Jarvis is scary, claustrophobic and even funny. I loved the pacing of this story and the way Tim Jarvis creates a bizarre situation. If it were a movie, I would say that the CGI effects were the best and that the characters of Jeff and Tommy well developed.

You have to read this story. You won’t believe how good it is.

1. Do you have a specific writing style?

I’ve used the word ‘antic’ to refer to the way I write. Antic, which combines a sense of the grotesque with the bizarre and has overtones of the archaic, seems to me to go against consistency and seriousness of tone. A dark mood and a kind of unity of affect is often prized in modern Gothic and horror writing. I’d relate this, to go back to one of the roots of modern genre, to what Edgar Allan Poe called his ‘Arabesque’ side. But I’ve always found Poe’s ‘grotesque’ or impish and darkly humorous mode just as, and possibly even more, compelling. I particularly like how, in his strange puzzle of a novel, The Narrative of Arthur Gordon Pym, he veers jarringly between these opposed atmospheres. In my own work, I try to shift abruptly from cloying sentiment, to excessive gore, from eldritch horror to comic absurdity.


the wanderer

I also use found manuscripts, frame narratives, and stories within stories in my work, because I want them to seep out and contaminate the world in which the reader reads, not be closed fantasies. I feel more of an affinity to the disorienting involutions of a labyrinthine narrative, than I do to strong, neat plotting, and I hope to stretch readers’ comprehension and test their patience as much as possible.

2. What books have most influenced your life?

As a child I read Alan Garner’s The Weirdstone of Brisingamen and The Moon of Gomrath, and was immediately struck by them. They’re so different from other children’s fantasies, there’s bleakness to them, a sense of real peril, a narrative complexity and also a profound engagement with the land, Alderly Edge in Cheshire, and its lore – the books are not a motley mix of different mythologies, but a sustained and powerful engagement with British folktale. Their sense that the fantastic is not hermetic, sealed off from the ‘real’ world, has been a profound influence on my thinking and writing. In 2012, Garner finished his trilogy with a final volume, Boneland, which portrays one of the children of the earlier books, now a grown man dislocated and disturbed, still dealing with the trauma of his encounter with the fantastic, which he has erased from his memory, but which still marks him in horrible ways. But that atmosphere is already there in the earlier books, and in Garner’s other novels from the 1960s, Elidor and The Owl Service, and it is an atmosphere that profoundly shaped my thinking growing up.

3. If you had to choose, which writer would you consider a mentor?

I’d written some tales of adventure when I was young, but didn’t think of myself as a writer, or consider that it was something I wanted to do, till I was in my early twenties. Three writers, whose work I was reading obsessively at that time, had a profound influence on the way my inchoate fiction developed: Angela Carter, whose exhilarating formal inventiveness and transmutative, yet grounded, fantastic, I still attempt to ape; M. John Harrison, whose bleak, cruel, and dreary otherworlds in the Viriconium sequence, and the novel The Course of the Heart, were a huge influence on me, and whose thoughtful poetics, expressed on his blog and in essays, continues to inspire me; and Jorge Luis Borges, whose stories, especially those in which the unreal is found at the heart of the ‘real’, I found, and still find, have a powerful hold over me.

4. What are your current projects?

I’m currently working on a portmanteau novel which tells of London falling into decay and dissolution, and of the discovery of a series of manuscripts that relate stories of city’s tutelary daemons. Another strand details the life and death of a Belgian decadent poet during the siege of Paris in 1870. These two strands are bound up together by the idea that the crises in the cities are related to the decline of their daemons.

5. How much research do you do?

I don’t, as a general rule, do much specific research; I mostly read fiction, and steep myself in the atmosphere of various stories. But I do read up on a historical period if a narrative calls for it – I think it especially important for writers of the uncanny to get details right, seed the text with believable realistic elements that jar with the fantastic parts of the narrative. And I also tend to write about places I know and to walk them before writing; my practice is not psychogeographical, though, I’m not wearing down through layers of the landscape’s palimpsest with my tramping, but seeking the kind of epiphany that is to be found in the work of Arthur Machen, when a sudden transfiguring vision is had when walking through a well-known cemetery, or looking into the mouth a familiar alley.

6. Do you write full-time or part-time?

I only write part-time (and sometimes very part-time), but I’m lucky enough that my day job is to teach Creative Writing to undergraduate students, so I’m most of the time immersed in a creative environment.

7. Where do your ideas come from?

I do a lot of free writing, writing in which my conscious mind is as little involved as possible, in an attempt to dredge stuff up from the murk of my unconscious mind. I often do this to a prompt, a line of text from another book, or an image, something of that nature. I’ll then assemble some of these fragments, throw in some other disparate things that have interested me in some way, things I’ve seen, snippets of conversation I’ve overheard, things I’ve been told, images I’ve found, and things I’ve read from both fiction and non-fiction. And then I’ll force myself to come up with ways of linking together what is usually a fairly incongruous set. I can’t come up with ideas for my fiction deliberately, consciously, so I rely on tricks like this that force my unconscious to work. When it’s going well, I sometimes feel I’m tapping into some collective cultural pool of oneiric imagery, or working some kind of transmutative alchemy.
There are two key texts behind my way of writing. The first is Raymond Roussell’s posthumously published essay, ‘How I Wrote Certain of My Books’. In this essay, Roussell partially anatomizes his idiosyncratic poetics. He describes a technique he used to generate narrative content which consisted of the manipulation of homonyms, similar sounding words. He’d take a trite phrase such as a cliché or an advertising slogan, then come up with another phrase that sounded similar, but which had a different meaning. He’d then force himself to work the meaning of the second phrase into his narrative, no matter how odd it was. And this was just an early level of his method – later stages, which he declines to discuss in the essay, were presumably even stranger. While I don’t use a method as individual or as demanding as Roussell’s, the spirit of his process has influenced mine.
The second text is Gilles Deleuze’s late essay of 1993, ‘Literature and Life’. In it, Deleuze writes, ‘The writer returns from what he has seen and heard with bloodshot eyes and pierced eardrums.’ This is an important notion for me, the idea that writing is a risky endeavour, that it involves plumbing the depths in some way.

8. How can readers discover more about you and you work?

I’ve a couple of blogs: timothyjjarvis.wordpress.com, which contains information about me as a writer, some musings, and a soundtrack for my novel, The Wanderer; and treatisesondust.wordpress.com, which is a collection of antic texts I’ve found. I’m pretty poor at updating these, but I can also be found on Twitter, @TimothyJJarvis.

a glimpse of the numinous by jeff gardiner

03 Mai

“Impressive”, that’s the best description I could come up to label this book.

A Glimpse of the Numinous by Jeff Gardiner gave me the opportunity to travel between genres, images and identities, and with only one ticket. With comedy, romance, thriller, horror, this book it’s a truly marvel of multitasking; it is impossible to get bored during its reading – we are facing an astounding writer.

All in all, A Glimpse of the Numinous is no ordinary book. If you’re searching for linear stories, then this book isn’t for you. But if you want to experience something different, then by all means, buy the book. You will have some much fun.

clairvoyant interview to daniel mills

14 Abr


I had a lot of expectations before reading “Revenants: A Dream of New England”, and I must admit now that I was pleasantly surprised! A simple conclusion: if I want to know about reality I will watch the news; if I get tired, and I get tired all the time, of hearing about the “real” brutality of the world then I just need to read Daniel Mills. If this don’t makes any sense is normal, but all makes sense to me.

Thanks to Jason E. Rolfe for making me read Daniel Mills. Is an author worth following.

1. Do you have a specific writing style?

I do, I think. At least I hope so.

For me the cultivation of a unique, authentic voice ought to be any writer’s foremost concern, and the truth is I spent many years working to develop a style of my own. Only with Revenants did I come to feel as though I had accomplished this, if only in part, and even now style continues to be something of an obsession to the extent that I have come to value authenticity of voice and spontaneity of expression over mere craftsmanship.

Regrettably, it has become something of a truism among writers and writing programs that “writing for one’s self” is an essentially self-indulgent activity — a shame, really, because the reality is that none of us are going to be read or remembered in, say, 500 years’ time, so you may as well do your best to be true to your own style rather than writing to please others or (Heaven help us!) writing for the market.

Even as a reader, I find that I would much rather read a book that is stylistically distinct but flawed — singular if also imperfect — than another that is well-crafted but essentially workmanlike. I’m reminded of the dismissals we regularly encounter of HP Lovecraft’s style. There are many writers out there who would have us believe HPL is a poor writer simply because his work doesn’t “tick the boxes,” as it were, with regard to plotting, adjective/adverb use, character building, etc. I see these arguments and I think to myself: yes, but surely that’s the point? You pick up a Lovecraft story to read and you are never once in doubt about its author — the unity of style, voice, and vision is so distinctive, so complete.

Another example can be found in the novels of Walter M. Miller, JR. His first novel – A Canticle for Leibowitz – is an undisputed masterpiece while his second – Saint Leibowitz and the Wild Horse Woman – was left unfinished at the time of his suicide. Saint Leibowitz was later finished by Terry Bisson and released after Miller’s death to a very muted reception indeed. Certainly Saint Leibowitz is a tortured work, one that is deeply flawed in execution, but as such, it somehow seems to contain more of Miller himself, his distinct vision of sin, grace, and redemption.

And though Canticle is unquestionably the “better” book, I have read it only once while I reread Saint Leibowitz every 3-4 years.

2. What books have most influenced your life?

Like most other readers, I have a cherished handful of books which I continually read and reread, which have become so deeply enmeshed within the fabric of my life that I would be hard pressed to qualify their influence on me in any meaningful way. Suffice it to say that I have lived in the cold snow country of Yasunari Kawabata’s novel of the same name and likewise experienced the oppressive summer heat of LP Hartley’s The Go-Between. I have witnessed the hypocrisy of Victorian society as evidenced by Samuel Butler’s The Way of All Flesh and lay awake listening for the dead voices that haunt Juan Rulfo’s Pedro Paramo. And that’s not to mention the weeks and months I have devoted to unraveling the riddles of Charles Palliser’s The Quincunx and Rustication.

Other books that have influenced me would include Par Lagerkvist’s Barabbas, Hesse’s Demian, Miller’s Saint Leibowitz and the Wild Horse Woman, Breece D’J Pancake’s The Stories of Breece D’J Pancake, Pinckney Benedict’s Dogs of God, and Isak Dinesen’s Seven Gothic Tales.

3. If you had to choose, which writer would you consider a mentor?

Lovecraft again springs to mind. Here was a man who wrote what he wanted in the way he wanted and who devoted his entire life to his art though it meant an existence characterized by near-constant poverty. Unlike Dickinson or Kafka — who might also be said to embody this artistic ideal — HPL was a man who had fallen behind his own time rather than leap out ahead of it ala Dickinson or embody it fully ala Kafka.

For this reason I cannot help but relate to the sense of poignant dislocation which so pervades his work, that yearning for a different time. Yes, his opinions on race (among other topics) are abhorrent but he was by almost all accounts a gentleman of great personal kindness, courtesy, integrity, who served as mentor to a generation of young weird/ horror writers. In many ways he was broken — it would be difficult to argue otherwise — but I’m broken too, as are we all, and for me, it is this sense of brokenness as we encounter it in his work that keeps me coming back to him.

4. What are your current projects?

I spent much of 2013 and 2014 working on a new Gothic novel addressing the American Spiritualist movement in the wake of the American Civil War. In addition to this I have continued to work on short stories, a number of which are forthcoming later this year in such venues as Aickman’s Heirs (ed. Simon Strantzas), Autumn Cthulhu (ed. Mike Davis), Leaves of a Necronomicon (ed. Joseph S. Pulver, Sr) and Nightscript I (ed. C.M. Muller).

5. How much research do you do?

A bit of a difficult question. I’ve mentioned my own feelings of dislocation and general disaffection with modern society — “I just wasn’t made for these times” as Brian Wilson has it — and the sad fact is that I spend altogether too much time fetishizing the past, whether that’s devouring Victorian novels or old religious tracts or haunting the historic houses and graveyards of Vermont. In other words: the research is always ongoing if only for the simple reason that I don’t think of it as “research.”

For example I’ve lately become obsessed with the lives of Horatio Spafford and Philip Bliss, who wrote the words and music, respectively, to the well-known 19th century hymn “It is Well with my Soul.” Spafford was moved to write the words following the loss of his four daughters in the wreck of The Ville de Havre — one of the great calamities of its day — and Bliss later supplied the music mere months before his own tragic death in the Ashtabula River Rail Disaster. Will I ever do anything with this? Probably not. All the same it is fascinating.

6. Do you write full-time or part-time?


7. Where do your ideas come from?

I believe in genuine inspiration — or “the muse” as it’s traditionally understood — but I tend to see it as an ongoing process rather than any kind of epiphany. Routine is important. During the course of each day I try to make time for the things that fascinate and move me. This could mean a walk in the woods or an undistracted hour spent listening to music or even just twenty minutes of stolen reading time on my daily commute to work. In this way I try to make a habit of beauty in all things so that I’m charged with inspiration when I sit down to work. I don’t always succeed at this, of course, and Lord knows I’m as bad as anyone else at making time for writing, but this way at least I don’t have to worry about feeling inspired.

8. How can readers discover more about you and you work?

You can find me online at http://www.daniel-mills.net where I maintain a bibliography and blog or find me in the usual places: Facebook, Goodreads, etc. If you happen to live in the USA, there’s a good chance you can find my novel Revenants at your local library. Similarly you can try to track me down in person at Readercon or this year’s Necronomicon in Providence, RI.

musical interview to alexander zelenyj

15 Jan


“Songs for the Lost” was one of the best books I have read recently. Alexander Zelenyj has a complex and visionary writing and what I can say is how the book touched me for its beauty, for its insanity, for its soul, for its melancholy.

Alexander Zelenyj is a singular writer whose words beautifully crafted, with a sustained rhythm, still carries an effect, after placing the book on the shelf; he loves, clearly, pushing buttons in our brain.

1. Do you have a specific writing style?

Yes and no, I suppose. Yes, in that I think someone could recognize my writing no matter what genre or type of story it is. No, in that I actively enjoy writing in a variety of styles running the gamut from very verbose to more streamlined and minimalist.

2. What books have most influenced your life?

The dark fantasy short stories of Robert E. Howard, which was the first fiction I fell absolutely in love with as a child and without which I likely wouldn’t be doing the kind of writing I do today; early Ray Bradbury, so dark and poetic; Harlan Ellison, who showed me the limitless potential of fiction. And far too many more to list!

3. If you had to choose, which writer would you consider a mentor?

I would say Robert E. Howard, because it was in his writing that I first saw (although I didn’t realize it at the time) a seamless merging of genres. It was in his sword and sorcery stories that I first found a merging of the fantastical with realism with horror to create a very grim and believable world. Reading an REH story – especially his dark fantasy and historical fiction – I’ve always felt that anything can happen. There’s limitless potential in that kind of a story, and it’s been drawing me back into Howard’s clutches time and again since childhood.

4. What are your current projects?

I recently finished work on two manuscripts – one is a collection of magical realism-influenced literary short fiction, the other a novel much in the same vein. I’m really excited about them – I think it’s my strongest writing yet, and a lot different from my last couple of books. The prose style is a little more refined, the surreal motifs are woven into the gritty, realistic backdrop more subtly.

songs for the lost by alexander zelenyj

songs for the lost by alexander zelenyj

Also, I’m a good ways into another collection that’s a little more in line with the type of material of Songs For The Lost, very slipstream in style and pulling in influences from a lot of different genres. I’m also finishing up work on an expanded version of my first novel, Black Sunshine, scheduled for re-issue later in the year as a collaborative release from Fourth Horseman Press and Eibonvale Press, which will mark the book’s 10th anniversary.

5. How much research do you do?

I read a lot of non-fiction, and I find that this often inspires me to write fiction with certain backdrops and so forth, so in a way I’m always doing research because I’m constantly reading and learning things that often find their way into my fiction writing.

6. Do you write full-time or part-time?

I’ve made a habit of writing every day for several hours, without fail. I’ve been doing that for years so at this point it’s very natural to me. It’s like breathing, I don’t really have to think about it, it just happens as part of my regular day to day life.

7. Where do your ideas come from?

I have no idea, other than to say they come, in some form or other, from my love of stories. I’ve always loved telling stories, and being told stories, whether in the form of a book, a song, another person telling me a story from their life. Often when I sit down to write I want to convey a certain mood or atmosphere that I’m feeling particularly strongly, and I go from there, with everything else falling naturally into place from there on in.

8. How can readers discover more about you and you work?

By visiting either my website – alexanderzelenyj.com – or the websites of my publishers, Eibonvale Press – eibonvalepress.co.uk – and Fourth Horseman Press – fourthhorsemanpress.com. Or by reading one of my books!

unlikely interview to poppet

06 Jan


From “Moonshine Express” I already wrote…

A story, told in two hands, full of wonderful words, where each sentence is packed with poetry. The narration in the first person brings another taste to the story and the ending is not an ending, but the beginning of all – wonderful.

… it was my first contact with this writer and what contact – it burns!

Since then I’ve read other works and it has always been an enjoyable read; although I recognize that some of her stories are for a more feminine public. Is the woman inside me who is talking.

1. Do you have a specific writing style?

Yes. My style is very much an internal private monologue whilst the characters interact with the cameo and other characters. Because of this my novels are almost always written in first person.

2. What books have most influenced your life?

Horror writing has probably had the biggest impact on me. It’s odd that, because I found a medical case study on how we form memories (doing research into what I consider a form of lunacy), and the memories we don’t forget are the traumatic ones, we hardly ever remember the good times because we’re hard wired to remember the worst times. As such the fact that I can recall almost every horror novel I’ve ever read, tells me it’s the best way to influence a world. People will remember you if you’re horrific. From an early age I loved horror novels (and movies. Books like The Amityville Horror (based on a true story), then older I found Dean Koontz and Stephen King. I loved Koontz’s Phantoms, and Night Chills. However I also enjoyed action novels and the dystopian kind (like 1984 by George Orwell), I fell in love with novels like Cujo (Stephen King), The Freedom Trap (Desmond Bagley), The Omen (David Seltzer), Ninja (Eric Van Lustbader).

You can tell how old I am by the books I’ve listed here as being influential on me. At that time Jilly Cooper, Jackie Collins, Danielle Steel, and Shirley Conran, were all the rage for women to be reading (and things like Valley of the Dolls) – yet I read those books and they left zero impact. I always found books written by men, for men, far more action packed, intelligent, and engaging. I’m not dissing those other authors, they write excellent stories, but the love/scandal genre was something I only dabbled in once I hit my thirties. I found I could only write love stories in a paranormal setting, with a hint of horror in each and every one.

3. If you had to choose, which writer would you consider a mentor?

I haven’t had personal dealings with any author who ended up being a mentor, but I can say that Charles De Lint’s combining Urban Fantasy with Legend and folklore really gave me the courage to write in this genre myself. Never before had I come across an author doing what he was doing, and subsequently he became my favourite author.

4. What are your current projects?

Too many to list. Having a day job means I rarely have the time to write all the stories already begun and waiting on my computer.


5. How much research do you do?

Probably too much. I take research to the nth degree.

6. Do you write full-time or part-time?

I used to write full time and loved it, it made me so very happy, but now I only write part time as I have other responsibilities now.

7. Where do your ideas come from?

Everywhere. Anything can spark an idea, even a song. But mostly my inspiration comes from dreams. IE last night I dream I was distracting a serial killer away from my best friend and a work colleague of hers, so she could get away, and it was like being in a murder mystery because I overheard him on the phone, he’d set the whole thing up, he never wanted her after all. This was his experiment.

8. How can readers discover more about you and you work?

I have audiobooks available now, with a horror due out in March (audiobook), you can find my work in paperback and ebook format, or you can peruse my websites or my publishers websites (Wild Wolf Publishing, Thorstruck Press, Eibonvale Press). You can also follow me on Facebook for snippets from upcoming novels and new releases




what the giants were saying by david rix

03 Jan

What the Giants Were Saying is accompanied here by the shorter work that inspired it, Red Fire, a piece that pushes the boundaries of extreme horror into a visionary and surreal world of love and pain, great white moths and tattooed skin, and above all, into the world of story itself.

Eibonvale Press

What the Giants Were Saying, with a perfect set up and with a great structure, is a strange story about domination and guilty, about dreams and fear, about pain, about hell and anguish, about refuge: no salvation, no cure. What the Giants Were Saying is a trip in your mind. Is deep, complex and multi-layered. Lots to take in, lots to read again and enjoy.

David Rix takes things to the extreme. It’s delightful how the story constantly establishes new points without ever getting monotonous. It gets hard to believe that the ending will be able to explain everything and I start speculate about that there can only be one possible conclusion for all the events – no conclusion at all.

To me the biggest achievement of the book is, that it’s never creepy just for the sake of freaking the reader out; every line has its purpose. Nonetheless, it is a very disturbing, but also compelling and mesmerized, book.

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