By Anne Tibbets
CHILLS begins with an unexpected snowstorm at the onset of summer, in a small town in Connecticut. Police detective Jack Glazier finds a body that appears to have been the focus of a ritual murder. As the snow continues to fall, isolating the town from the rest of the world, Glazier teams up with Kathy Ryan, an occult crime specialist. Together they must uncover the secret behind the sacrifices, or die trying.
“CHILLS itself is a standalone novel,” author Mary SanGiovanni says, “however, that being said, my plan is to use those characters—particularly Kathy Ryan—in other books in the future. Since a lot of my work crosses back and forth between thriller and supernatural horror, a specialist in the occult could appear in future books of either type.”
SanGiovanni, with a dozen horror and thrillers publications under her belt, treats the occult, and all that surrounds it, as a treasure-trove of inspiration.
“I think occult spirituality and religions are a great gray area for writers, because so much has been shrouded for centuries in mystery and the suggestion of the unknown. Many religions that fall under the occult speak of monsters as either a literal or figurative representation of evil, temptations, fears, and punishment. Therefore, the occult makes a pretty good backdrop for the kind of story CHILLS is.”
The trick to using the occult in fiction, SanGiovanni says, is in the use of factual details.
“To make the occult group and their practices in the book more believable, I provided a mix of truth and credible fiction, things people have heard of or think they’ve heard of. Part of it was consistency: religions that deal in the supernatural believe strongly in an order or logic to how the supernatural works. I think any fictional occult religion needs to have its own consistent internal logic, certain immutable tenets around which all else is created.”
By J. H. Bográn
I’ve always believed that the best place to enjoy a horror movie is in a theater. You can have all the technical gizmos in the world, but your living room will never provide that added layer of uncertainty that only comes in a large, dark room surrounded by strangers. Of course books are different. Reading a novel outside on the porch will not be as eerie as reading a horror story by nothing but a night lamp. Especially if it’s a book such as THE PRISONER OF HELL GATE.
In the Hell Gate—a narrow strait in New York City’s East River—lie the sad islands where, for centuries, people locked away what they most feared: the contagious, the disfigured, the addicted, the criminally insane. Here infection slowly consumed the stricken. Here a desperate ship captain ran his doomed steamship aground and watched flames devour 1,500 souls. Here George A. Soper imprisoned the infamous Typhoid Mary after she spread sickness and death among the privileged.
George’s great-granddaughter, Karalee, and her fellow graduate students in public health know that story. But as they poke in and out of the macabre hospital rooms of abandoned North Brother Island—bantering, taking pictures, recalling history—they are missing something: An evil presence watches over them, and plots against them.
Dana I. Wolf is a pseudonym created by J. E. Fishman. We caught up with the author, and of course the inevitable first question was: Why a pen name?
Author names are a kind of branding. To tell you the truth, I’ve never been too fond of my actual last name, under which I wrote a bunch of thrillers. It’s evocative of, well, fish.
Since this new book was a supernatural thriller, a new genre for me and one I hope to pursue with other books, I thought it would be better—and the publisher agreed—to brand it with a different name. Even so, I’m not hiding. It’s an open secret.
How did the idea for PRISONER OF HELL GATE come about?
If you can believe it, it came from a listical! I saw a piece on the Internet—complete with pictures—about abandoned islands, and the piece mentioned that North Brother Island once housed the notorious prisoner Mary Mallon, better known as Typhoid Mary.
I thought all those hospital buildings—vine-encrusted, falling to dust—would make a great setting for a horror story. I immediately pictured a small boat full of twenty-somethings who land on the shore and naively set out to explore the ruins. Unbeknownst to them, Typhoid Mary lives. And she’s holding a grudge.
By Anne Tibbets
THE MONSTER UNDERNEATH brings to life the inner workings of a serial killer, and shows the lengths to which a psychic prison therapist will go to convict him.
Sound terrifying? It is. One has to wonder, with the premise of THE MONSTER UNDERNEATH being so dark, how an author climbs out of the darkness when he or she finishes writing for the day.
“It’s interesting that you ask that question,” answers author Matthew Franks, “because Max Crawford, the protagonist of MONSTER UNDERNEATH, has his own way of staying grounded while navigating the often nightmarish dream world. Whether it’s a friendship bracelet his daughter Katie made for him or a brief conversation with his wife Jessica, Max has tools to bring himself back to the real world and shake off the dark places he finds himself in through his work.”
“I’d have to say something quite similar helps me climb out of the darkness of writing horror,” he adds, “My own family keeps me grounded so spending time with my wife and daughters helps me separate from the terrible things that arise in a story.”
A fan of horror authors Stephen King and Clive Barker, Matthew Franks also credits writers like William S. Burroughs, Ken Kesey, J.D. Salinger, Tom Robbins, and Aldous Huxley as influences. These inspirations are easily detectable in Frank’s gripping and engaging supernatural thriller, which touches on themes of delusion and moral ambiguity.
“One of my favorite scenes is when the relationship between Max and Knox finally comes to a head near the end of the book,” says Franks. “Being able to set it in Knox’s dreams was especially fun because I was able to add supernatural elements to illustrate what’s going on his mind. Another favorite scene would be their final confrontation, which I can’t say much about because it would be a spoiler!”
Aside from the action, readers will also appreciate Matthew Frank’s attention to character authenticity in THE MONSTER UNDERNEATH, particularly while building the mind of a serial killer.
When I was a kid, my parents gave me a dumbed down version of Dracula. It was the last book on my open-sided metal bookshelf, and I could see the cover from my bed. I remember clearly how the Count’s pale, grease-painty face would light up when lightning flashed during storms, and I remember pulling the covers over my head and telling myself there was nothing to be afraid of. Eventually I had to hide the book somewhere in the middle of the shelf, but even then I could feel it in there, looking at me.
Years later, when I was maybe 13 or 14 and visiting family in London, Tobe Hooper’s adaptation of Salem’s Lot came on the BBC, and I watched it with my sister. That night, while everyone else was asleep, I woke with a terrible case of food poisoning—a bad batch of fish and chips—and saw one of the murdered kids from the story floating outside, pale and black-eyed, scratching lazily at the third floor window of my grandparents’ flat. I was scared beyond the point of consolation that night, but the fear didn’t last—or it did, but in a way I found incredibly attractive and compelling. It was stories like Dracula and Salem’s Lot that dragged me into the field of horror, and I’ve never regretted it.
Since then, I’ve read dozens of vampire novels—most hopeless horror junkies have. Richard Laymon’s Traveling Vampire Show, Guillermo del Toro and Chuck Hogan’s The Strain, Dan Simmons’ Carrion Comfort, Richard Matheson’s I Am Legend, and many, many others. Each comes at the topic with its own agenda, and in some ways that’s the real lure of the vampire story—it’s adaptable. Some of the vampires drink blood, some drink energy, some drink fear. You can go anywhere with it, and you see even more evidence of this in movies like Let The Right One In, 30 Days of Night, The Lost Boys, and even in the Blade series. Hell, look at the Twilight books and movies and you’ll see how the simple equation of vampires with teen angst and sexuality can move mountains. Small mountains, maybe, but really, really profitable ones.
By Anne Tibbets
Beware the rustle in the bushes—NORTHWOODS brings to life the hidden terrors in the forests of Minnesota, where two law enforcement officers stumble upon a horrific scene.
The second installment of Bill Schweigart’s horror series, NORTHWOODS, follows Ben, Lindsay, and Alex, three traumatized investigators with a personal history dealing with this horror, as they pull the reader along in a quest for the truth—and survival.
Full of thrills, spills, and gore, readers who loved The Beast of Barcroft will be pleased to see how the team has learned from their past, though not without paying a price.
During Ben’s final confrontation with the beast, he felt the presence of his dead father. When NORTHWOODS begins, a full year has passed since the events of The Beast of Barcroft and Ben’s been chasing that feeling in some less-than-healthy ways,” says Schweigart. “Lindsay gained some newfound confidence after her encounter with the beast, but she’s not making the best choices either. They’re the best of friends now, but even friends keep secrets.”
“As for Alex, he is perhaps the most shaken. He returned to his childhood home in the Northwoods of Wisconsin to recover from his injuries, but he becomes embroiled in the same family conflict he’s faced all his life: torn between the reservation he grew up on and the pull of larger world. Worse, he senses something terrible is coming. As happy as he is to see Ben and Lindsay again—his friends are the only other people who can possibly understand what he’s been through—Alex knows trouble follows them.”
As well as delving into the team’s psychological battle, NORTHWOODS has plenty of what horror readers love – a killer monster. Schweigart wouldn’t have it any other way.
“Bigfoot, the Loch Ness Monster, the Jersey Devil,” he says, “I’ve loved these sorts of creatures since I was a boy, before I even knew they were called cryptids. And I love normal animals that grow to enormous sizes, like massive sharks or giant squid, or even something as simple as a regular critter that shows up where it’s not supposed to.”
But NORTHWOODS doesn’t have just any “regular critter”—take heed, and fear the cryptid.
By Amy Lignor
The mighty character of the werewolf is something booklovers turn to for excitement, following the in-depth stories of those who live with the gift and/or curse of the midnight howl.
In W.D. Gagliani’s WOLF’S BLIND, homicide detective Nick Lupo is injured in an explosion. He should heal—after all, he is a werewolf—but something keeps him from shifting. Vulnerable, he must find a way to survive while being hunted by his greatest foe, a Maffia boss seeking a brutal form of revenge.
I had the honor of speaking to Gagliani for The Big Thrill this month.
The suspense/thriller genre is expansive. What made you want to explore the “darker side” of human nature?
I began reading (in Italian) early on, then leaned toward Sci-Fi/Fantasy. My father loved Jules Verne, so I fell into that orbit first. Then, I stumbled onto British thrillers and was captivated with their literary approach and straightforwardness. I saw my first Bond film at the age of five. (Yes, my parents were very liberal on that score.) I was in grade school when they took me along to The Godfather, Dirty Harry, Midnight Cowboy, The Wild Bunch, and many other inappropriate movies. I’m grateful. They opened up my horizons. Goldfinger made me a Bond fan for life, and in late grade school I found Ian Fleming. At that point, I already wanted to be a writer. I wrote my first werewolf tale in the fourth grade classroom. The teacher—a nun!—read it to the class. I was gravitating toward the darker themes even then.
But then I ran into a movie based on a Richard Matheson novel, and after further detective work, saw that he crossed over from thrillers to horror. In searching, I found James Herbert and loved his horror novels (The Rats and The Fog), and in search of similar thrills, I stumbled on someone whose second book was on a grocery store paperback rack. Salem’s Lot by newcomer Stephen King. I was then lost to horror.
I’m the product of many influences, but the majority of them featured that thrill of danger—describing conflicts in which the stakes were survival itself made me want to write. When I realized I really liked werewolves, everything clicked.
Could you give a bit of background on your protagonist Nick Lupo and where the “vision/muse” came from?
Nick Lupo is based on me in many ways. An only child, a loner, one with a vibrant inner fantasy life but a hint of darkness, too; an Italian-American household with parents born in Italy (survivors of World War II bombings), growing up in the 70s, developing a narrow but rich interest in music—those all describe me. I was always fascinated by cops and detectives. I watched just about all the PI and cop shows of the time period (Starsky & Hutch, anyone?) And I had that constant reader’s interest in thrillers.
The titles in the Wolf series have each been unique stories that scared, thrilled and excited. Could you give readers a look into your newest, WOLF’S BLIND?
WOLF’S BLIND is the next in the Nick Lupo series, and it follows the book in which Lupo found himself caught between two groups of antagonists: a kind of intentionally clichéd, old-fashioned Mafia family looking to take over the local Indian casino (on the reservation where Lupo’s lady friend works as the doctor), and the super-secret Pentagon faction dedicated to government takeover called “Wolfclaw,” because its leaders are werewolves. This new book has a more personal feel because it brings back an enforcer for the Mafia family who now seeks revenge on Lupo, but in true super-villain fashion, he wants to derive some enjoyment from it. Think of the classic short story, The Most Dangerous Game, by Richard Connell and you’ll get a sense of where this is going. Meanwhile, Jessie is targeted and has to summon her own inner darkness, and Lupo’s partner, Rich DiSanto, is falling into a rabbit hole of dangerous sex lured by Heather, the lovely werewolf who is also aligning herself with the wife of the Mafia family’s new boss.
What did being raised in both Italy and Wisconsin–two completely different locations—add to your imagination?
I like to think I have a wider world-view because I’ve seen other places and cultures. On a personal level, my parents’ stories of nights huddled in the air raid shelter under Allied bombing after Italy’s surrender in 1943, were vivid enough to stimulate a lot of side plot action/parallel stories of several of my books. Basically, the parallel story started out being about Nick Lupo’s own youth, but eventually it became apparent to me that I had to reach back farther, to his father and grandfather. Their stories revealed themselves to me and I found them very interesting on their own. Fortunately, I had left enough interesting tidbits about the elder Lupo behind in the first book, so I was able to create a whole secret life, and follow Lupo’s father through his own journey. But none of this would have been possible if I didn’t have a great sense and memory of growing up in Italy or in certain parts of Wisconsin, Kenosha and Milwaukee especially, which I blended to form the setting.
Is there a specific piece of advice you offer to other writers just starting out?
Honestly, it’s a cliché, but I think anyone who wants to write should read, read, and read some more. Read what you love and sample everything else. I didn’t mention my long-time interests in nonfiction, military history, Egyptology, alternate history, crime, the occult (of course), etc. I also advise anyone who wants to write to sit down and do it. Don’t put it off. It wasn’t until I made myself sit and produce, with an almost daily writing schedule, that I managed to get my novel production time down from nine years per book (Wolf’s Trap) to nine months (Wolf’s Gambit), to eight, seven, and eventually six months for more recent titles. Without the concerted effort of a regular writing period or a deadline, it’s difficult to “find time” to write; one has to “make time.”
Are there other genres you wish to explore, or projects in development?
My thriller, Savage Nights, has a thread of paranormal (a psychic element) but is otherwise straightforward dark crime and suspense. I want to write more thrillers, and a sequel is percolating in the back of my mind. My Great Belzoni tale is about to be slightly expanded and published in Italy as the start of a pulp fantasy series featuring the proto-Indiana Jones, Giovanni Battista Belzoni, who was a grave-robber but also interested enough in actual scientific discovery to have made astute observations. I have a Civil War Steampunk fantasy that began life many years ago, but I see that one more as a possible novella series—Steampunk is a genre I’d like to spend some time in. I’m working on a straight horror mash-up with David Benton, my frequent collaborator, so even though that’s still horror, it’s a bit more occult. Lastly, I’m working on a high concept novel that will blend fantasy, horror and crime.
Are you a writer who likes outlining the story beforehand, or one that gets that burst of imagination, sits down and immediately begins?
I’ll straddle a fence here and say that, for me, it works best when I do both. I find that a “loose” outline is helpful, but I will intentionally leave gaps so the plot can go its own way, and I absolutely let the characters determine their own fate. I need to have a direction, and a hazy ending is helpful, but otherwise I feel that readers will be more likely to be surprised by twists in the plot if those twists also surprised me. I know my inner process imposes a structure on the plot almost subconsciously, so it may not actually be as freewheeling as it seems while I’m doing it.
Talk werewolves. What’s the best?
I gravitated toward the tragic hero of The Wolf Man, Larry Talbot. He (Lon Chaney, Jr.) also appeared in Abbott and Costello Meet Frankenstein, and when I saw it on late night television, I was hooked. I guess I was attracted to the idea (and fear of) becoming a monster. A 1958 SF movie I saw when I was about nine scared me to death in an existential way: Meteor Monster, aka Teenage Monster. A meteorite turned a kid into a monster (not a werewolf) very much against his will, and for some reason the tragedy of it really bit deep. The kid’s pain at being shunned by everyone worked on me. Mind you, it wasn’t a very good movie, but it’s theme was magnified by my youth and situation (I was still learning to adapt to living in the U.S. and learning English, so I was already somewhat of an outsider.) I Was a Teenage Werewolf also affected me.
If you could have lunch with one writer, living or dead (they would be alive for lunch) who would it be, and why?
I’d love to just sit and chat with Tim Powers. I’ve met him, but only at a convention and never had a chance to really relax and talk. Also, if I’m allowed to cheat a little, I think I’d enjoy convening a roundtable of British thriller folks: Ian Fleming, Alistair MacLean, Jack Higgins, Desmond Bagley, and Duncan Kyle.
W.D. Gagliani is the author of the novels Wolf’s Trap, Wolf’s Gambit, Wolf’s Bluff, Wolf’s Edge, Wolf’s Cut, Wolf’s Blind (upcoming), and Savage Nights, plus the novellas Wolf’s Deal and The Great Belzoni and the Gait of Anubis. Wolf’s Trap was a finalist for the Bram Stoker Award in 2004. He has published fiction and nonfiction in numerous anthologies and publications such as Robert Bloch’s Psychos, Undead Tales, More Monsters From Memphis, The Midnighters Club, The Asylum 2, Wicked Karnival Halloween Horror, Small Bites, The Black Spiral, and others. His book reviews and nonfiction articles have been included in, among others, The Milwaukee Journal Sentinel, Chizine, HorrorWorld, Cemetery Dance, Hellnotes, Science Fiction Chronicle, The Scream Factory, The Writer magazine, Paperback Parade, and the books Thrillers: The 100 Must Reads, They Bite, and On Writing Horror. The team of W.D. Gagliani & David Benton has published fiction in venues such as THE X-FILES: TRUST NO ONE, SNAFU: An Anthology of Military Horror, SNAFU: Wolves at the Door, Dark Passions: Hot Blood 13, Zippered Flesh 2, Masters of Unreality (Germany), Malpractice: An Anthology of Bedside Terror, Splatterpunk Zine, and Dead Lines, along with the Kindle Worlds Vampire Diaries tie-in Voracious in Vegas. Some of their collaborations are available in the collection Mysteries & Mayhem.
To learn more about W.D. Gagliani, please visit his website.
By George Ebey
In his newest novel, THE BEAST OF BARCROFT, author Bill Schweigart brings readers a true tale of terror.
Ben McKelvie believes he’s moving up in the world when he and his fiancée buy a house in the cushy Washington, D.C., suburb of Barcroft. Instead, he’s moving down—way down—thanks to Madeleine Roux, the crazy neighbor whose vermin-infested property is a permanent eyesore and looming hazard to public health. First, Ben’s fiancée leaves him; then, his dog dies, apparently killed by a predator drawn into Barcroft by Madeleine’s noxious menagerie. But this killer is something that couldn’t possibly exist—in this world.
With some grudging assistance from a curator at the Smithsonian’s National Zoo and the crackpot theories of a self-styled cryptozoologist, Ben discovers the sinister truth behind the devilish creature now stalking the locals—but knowing the beast of Barcroft and stopping it are two very different animals.
The Big Thrill recently caught up with Schweigart to learn more about this chilling new story.
Tell us a little about THE BEAST OF BARCROFT. Based on the description, it feels like it has a supernatural vibe. What most interested you in writing a story with this theme?
You are correct—there is a supernatural vibe to it, but the novel takes place in a very grounded setting. In THE BEAST OF BARCROFT, something is stalking the residents of Arlington, VA. When Ben McKelvie survives an attack in his own backyard by an animal that has no business being in Arlington, no one believes him. But when neighbors begin turning up dead, Lindsay Clark, a curator from the Smithsonian’s National Zoo is brought in. Ben soon convinces Lindsay that there may be more to this creature than meets the eye, and with the wild theories of a wealthy cryptozoologist, they discover the truth about the Beast of Barcroft.
The story grew very organically. I love the network of trails in Arlington and I’ve always wanted to set something there. It’s this secret circulatory system right under everyone’s noses, in the shadow of Washington DC, weaving between the neighborhoods. Then two things happened in quick succession a few years ago: my father passed away and I read an article on the history of the area, and there was a blurb about the actual Beast of Barcroft. Forty years ago, something actually terrorized the neighborhood. Cats and dogs were killed, wild screeching filled the night, and the local media ran stories like: “What is it that screams so in the dark hollow of Four Mile Run?” In the end, a civet was captured and took the blame. The blurb was only a couple of sentences long, but it was the lightning bolt that brought everything to life for me. In my version of events though, I move the action to the present day and my beast is considerably more terrifying than a civet.
By Toby Tate
Blackbeard the Pirate was a walking paradox. He was just as likely to shoot one of his own crew members in the knee (which he once did), as he was to personally nursemaid that same crewmember back to health. In fact, it was said that Blackbeard, AKA Edward Teach, had even taken bullets for his crewmen during their frequent battles with the Royal Navy.
So how then did this notorious scallywag, from 1716 to 1718, develop such a reputation for brutality? Well, that’s where the paradox comes in. Teach was known to be as fierce a fighter as he was a lover. According to most accounts, he indeed had a woman in virtually every port. It was said that he would become so infatuated with women that he married several of them and by the time of his death had something like eighteen wives.
In the meantime, he would scuttle ships, take their cargo for his own, and leave their crews marooned on deserted islands. Blackbeard and his crew once created a blockade of Charleston Harbor and threatened to execute prisoners, send their heads to the Governor, and burn all captured ships if his demands for supplies were not met. Yet history has it that a man he had taken prisoner became sick and was on the verge of death, so Teach allowed him to go free in order to get medical attention. The pirate eventually got what he wanted and left Charleston Harbor without firing a shot.
In my thriller, DIABLERO, I tried to stick as close to the real Edward Teach as I could, instead of the bloodthirsty maniac seen in movies or the whimsical caricature read about in books. But I guess that’s why they call it “creative license.”
By Derek Gunn
Let me begin this article by saying that this book is great. I wasn’t too sure what to expect as the blurb gives very little away. I contacted the author for a copy to read and he offered me a hardcopy or e-copy. For speed and expediency I went for the e-copy and quickly began to regret my haste. This one would have had no trouble muscling some room on my bookshelf, already crammed with only the best books—I have little room to accommodate a lifetime of reading. The book begins with a scene I thought was going somewhere else and then everything changes.
Conroy is a small town in Mississippi. Set in the fifties at the end of the Korean War, the story is steeped in small-town prejudice, ancient hatreds, and dark secrets. As if to symbolize its own dark underbelly, the town is hidden under fog during the day from the pungent effluence of the local pulp mill and kept in line by the town’s most powerful citizen—the Judge.
Into this dark setting we are introduced to Corinne Ford, and independent, certainly in terms of the 1950s anyway, young nurse who has come to Conroy to marry the man she helped nurse back to health on the battlefield. However, she soon realizes that the man she fell in love with is not the same as the man who left Conroy to go to war; his past is unwilling to let go so easily.
The SHIVAREE of the title refers to a custom where the groom is taken from his new bride on the night of his wedding, deposited some miles away and he must spend the rest of the night getting back to her. Innocuous enough, though hardly a fun time. The re-interpretation of this custom by his old lover, though, is far more harrowing and permanent.
This book builds the tension well. We are treated to flashbacks in the story to explain how the horror began, why it flourishes in Conroy, and why people act as they do. The flashbacks are well integrated into the story. You don’t feel as though the main storyline has been put on hold at any time but sufficient time is taken to drop clues and lay the foundation for the finale.
If your glance at October on the calendar suggests it’s time to pick up an eerie thriller, you’ll want to give serious consideration to Laura Benedict’s new gothic tale CHARLOTTE’S STORY. It’s the second book in a series of standalone gothic novels that began with Bliss House.
The tales focus on a haunted Virginia house, and what better excursion can you ask for in Halloween month?
This tale unfolds in 1957. Charlotte and Preston Bliss have just inherited Bliss House from Press’s mother, Olivia. Bliss is not on the agenda, however. Four deaths follow, deaths that seem to have rational explanations.
It’s soon clear Charlotte will have to pursue a dark truth, and readers come to understand that Bliss House promises its residents what they want but delivers more than they expect.
Laura, author of several more supernatural suspense novels, including Devil’s Oven, a modern Frankenstein tale, recently answered a few questions for the The Big Thrill about her work and the haunted house genre.
What spurred the idea for CHARLOTTE’S STORY, a prequel to your recent Bliss House? Was a book set earlier planned all along, or did an idea just arise that wouldn’t stop haunting you, so to speak?
I see what you did there! Writing a gothic haunted house novel has been on my to-write list for years because I love the genre. Before I even wrote one word of Bliss House, I knew I wanted it to be a series. It’s a house that’s filled with stories, yet in every one the house is the primary, and most critical, character. My challenge was to determine which stories were compelling. I wanted the origins of Bliss House to be revealed slowly, and the only way to do that was to work backwards in time, and it has been a real challenge to try to figure out how much to reveal with each book. As for CHARLOTTE’S STORY, I’ve always wanted to write a gothic with the feel of Daphne du Maurier’s Rebecca—a sense of a woman’s deep emotional isolation and the overwhelming sense that something from the past is messing with her present.
Readers familiar with Bliss House may recognize Charlotte as the mother of Randolph Bliss, who is a prominent character in Bliss House. She gets small mention, but it was she who eventually sold Bliss House out of the family—and for very good reason. CHARLOTTE’S STORY is the story of how she comes to grips with being part of the Bliss family and living in Bliss House. Her first test is the death of her adored four-year-old daughter, Eva, so it’s a pretty tough journey.
MOTHER OF DEMONS is the sixteenth novel of the writing pair Len Maynard and Mick Sims, who publish as Maynard Sims. It is their tenth supernatural novel and sixth with Don D’Auria at Samhain.
Many of your novels revolve around the mysterious Department 18. Tell us about that.
Department 18 is a secret unit of the British government that investigates paranormal and supernatural events in the UK but also globally. It had its own website before it was mysteriously hacked, perhaps a jealous competitor or, perhaps, dark forces in high places. Now its secrets lurk within the author website at www.maynard-sims.com, where there is a full history and some case files for review. MOTHER OF DEMONS is a Department 18 novel.
The series ranges far and wide. What can you tell readers about the earlier works?
Department 18 series kicked off with Black Cathedral. The book introduced Robert Carter and the team, led by Simon Crozier. Investigating the disappearance of a corporate management team lost on a bonding weekend on a deserted island leads to the chase and eventual battle against a 400-year-old satanic alchemist called deMarco.
Night Souls continues the Department 18 story with a quest to vanquish psychic sexual vampires. What begins as a seemingly routine poltergeist investigation leads to the discovery of the Breathers, a species of vampire-like creatures that feed on human souls. They have evolved over the centuries and now are split into two warring factions. Both are a threat to mankind.
It takes a lot to scare a horror writer. I mean, I dissect fear for a living. The most violent horror movies don’t elicit a flinch. I can face a clown without wetting myself. But one thing really scared the hell out of me. New Orleans after Hurricane Katrina.
The Category 4 storm blew ashore, flooded swaths of the city, cut off power, cut off help. Those who hadn’t evacuated were isolated from the world. In the face of this ultimate stress test of society, how did it do?
It collapsed within hours. Looting was almost instantaneous. There were widespread reports of people just abandoning critical jobs as they prioritized saving themselves or their families. 23,000 people turned the Superdome into something out of Dante’s rings of Hell. I’ve read people criticizing the realism of some post-apocalyptic fiction, saying that society wouldn’t breakdown so quickly or so completely. Were they living under a rock in 2005?
Those events got me thinking about what would happen if the Katrina event were scaled up. What if it were millions of people? I grew up on Long Island, New York, where a few bridges, a tunnel, and a couple of ferries are all that keep the place from being sealed off from the world. It seemed like the perfect location to let my imagination create disaster. And so the idea for the novel Q ISLAND was conceived.
With super human strength, unnaturally fast reflexes, and enhanced senses, augmentation is something that Matt Rowley will have to learn to live with—for the rest of his life. And as cults spring up in worship of the demonic beings freed by the last of the Nephilim, the United States calls on Matt to meet the threat.
As his unnatural powers return with each passing day, Matt becomes the only weapon able to withstand eldritch forces that are older than time and darker than the blackest sea. But when his wife and infant son are taken in during a violent attack on his hometown, Matt becomes entangled in a vast conspiracy that could destroy his family —and his very soul.
BLACK TIDE is the sequel to author Patrick Freivald’s Bram, Jade Sky, a Bram Stoker Award finalist. This month, I had a chance to catch up with Freivald for The Big Thrill.
What drives you to write these stories, Patrick?
It’s fun! I started writing for publication with my twin brother, Phil. I got bit by the writing bug, and he didn’t, so Blood List is our only collaboration thus far. Since then, I’ve completed six novels (and am shopping my latest to agents and publishers now), a novella, and many short stories. My writing ranges from young adult zombie satire, to FBI thrillers, to gory supernatural heart-pounders. I just tell the stories I want to tell, because I have fun telling them.
What makes BLACK TIDE different?
Jade Sky mingled superhuman augmentation with biblical esoteria, a science-and-supernatural mélange, part military sci-fi, part investigative thriller, and part comic-style violent confrontation. BLACK TIDE continues Matt Rowley’s story, dragging him into a darker, more sinister world than he could have imagined.
By David Healey
From the Dust of Zombies, a Post-post Apocalyptic Thriller Rises
Author John Palisano has fond memories of growing up in the ‘70s, especially of going to drive-in movies in a station wagon nicknamed The Bomb, and of getting a good scare out of Night of the Living Dead when his dad let him stay up late to watch it on TV. It may come as no surprise that his newest novel DUST OF THE DEAD features zombies.
Set in Los Angeles, the novel begins at the end of a zombie crisis that seems to have been contained. Humans have triumphed and life has returned to its usual routine. However, a new nightmare spawned by the dust of dead zombies desiccated by the desert sun and wind is just beginning. You might call it a post-post zombie apocalypse thriller.
As a storyteller, Palisano got his start in the movie business. After a childhood spent watching those zombie flicks, along with movies featuring killer space aliens and man-eating sharks, he studied writing at Emerson College in Boston. Then he landed a post-college internship with director Ridley Scott that led to working on several big budget films. He also wrote three screenplays that were optioned, but eventually turned his storytelling skills to fiction.
Recently, he answered a few questions about writing—and zombies, of course—for The Big Thrill.
Your new novel DUST OF THE DEAD features zombies. Why do you think popular culture continues to have a love affair with zombies? Does the fight against zombies bring out the best in humans or make us more inhuman?
Zombies literally come back from the dead again and again, with each generation using them in their own way. In the ‘70s, zombies were stand-ins for consumers and how that led to an empty life, like in Dawn of the Dead. In the ‘80s zombies were made from shallow party animals like in Return of the Living Dead. They came back again in the ‘90s and ‘00s in reflection to terrorists and as an existential fear in films like 28 Days Later. As we are seeing, time and again, it’s the real human reactions to these events that separates the great from the not so great stories. It’s the same with any premise. Any story can be told well, or told poorly. It boils down to characters you care about, and who you can see yourself being, or wanting to be like. Of course, the best current example of that is The Walking Dead.
By Amy Lignor
When it comes to the evil side of technology, there are some literary artists who know the issue inside and out. Author Lisa von Biela is one such writer. From her beginnings in short story work to her novels, this is a woman who knows the IT industry, among other realms, and produces that gritty, dark fiction (horror, criminal, supernatural, and more) that puts the ultimate thrills and chills into fans.
Von Biela was kind enough to spend some time explore her latest novel SKINSHIFT and her background.
Working in the IT field for twenty-five years, then graduating magna cum laude from the University of Minnesota Law School, is quite a varied résumé. Where and when did it come about that writing fiction was something you really wished to add to your life?
I do have a fairly checkered past, don’t I? Add to that my pre-vet undergrad at UCLA, which helps with the medical aspects of my books. I have to say, I think I’ve always wanted to write, but it took some time before I figured out how to go about it. I recall spending a summer when I was a teenager creating stories on a typewriter. No technique or outlining, just typing as it came to me. Around the late eighties, I got a medium-sized spiral notebook and started inventorying possible plots, and trying to write. Then I took another run at it in the late nineties. That time, I consulted Writer’s Digest and some books on the topic, and developed an approach. My plan was to start with short stories to learn the craft and get published. After a while, I felt ready to write my first novel-length work. And when I sold The Genesis Code to DarkFuse that clinched it. I’ve been writing like mad ever since.
The pre-vet helps with the medical aspects. How about the legal background? Is this something you rely on or do you tend to stay focused on technology?
I actually wrote The Genesis Code before I started law school, when I was still in IT. The topic came quite naturally but it took two years to finish because I had to learn how to handle a work of that length. Despite being a lawyer, I tend to gravitate toward writing medical thrillers, usually including a lawyer character. That said, perhaps because I’m a lawyer, I like to explore ethical issues in my novels. My current work-in-progress changes things up a bit, being a medical, technical, and legal thriller, with a young female attorney protagonist. Being a lawyer involves being able to think and write in a disciplined way which carries over to my fiction—and having to write fiction efficiently in the time I have available has made me a fairly fast legal writer in return. Therefore, each side of my life benefits!
By Derek Gunn
Port St. Lucie— situated in St. Lucie County, Florida—sports beautiful weather, parkland, a PGA Tour golf club and…a Devil Tree. You won’t find that part in Wikipedia but back in 1977, bones were found buried under the tree, and ropes still tied to the tree itself. The deaths are attributed to The Killer Deputy, so named because th accused was an officer of the law. While the story itself is not fully substantiated, there is enough detail to allow a legend to have grown around this tree, and the killing, raping and torture of many young women.
But that’s not all. Added to this is the story that, when the surrounding area was designated for Parkland and the tree ordered to be cut down, strange things began to happen. Chainsaws refused to start, so the crew brought new chainsaws, and these also wouldn’t work. They tried logger saws, but the teeth sheared off or broke. They also tried an axe, but it bounced off and killed the person swinging the axe. Since then, there have been haunting sightings and the tree has gone down in American folklore. Legends are born from far less, and yet this isn’t a well-known story—until now.
Okay, enough of the history lesson. Interesting and worrying as the above is, it’s a child’s story compared to what Keith Rommel proposes in his new novel, THE DEVIL TREE. Rommel will be known to a number of you as the author of The Cursed Man novel and film, a strange and well-written investigation into madness, death, and their association with an insane killer. In THE DEVIL TREE, Rommel lays out his own interpretation of the legend and true history. After reading it, I can say I won’t be going on any picnics in Florida, especially near any trees, for quite some time.
The novel is short, more a long novella, however your nerves will be thankful for this as the writing begins at a snappy pace and ramps up from there. The story starts in the past with a horrifying tragedy, and then comes to the present, with a lone fisherman making a horrific discovery under the canopy of the tree. From there, the investigation continues in the present, peppered with returns to the past to flesh out the history.
Brian Pinkerton began his career writing screenplays which streamlined into the cinematic style of his novels that Horror Novel Reviews claims brings back “the feel and style of some of the genre’s masters from decades ago.”
Brian crafts stories that frighten, amuse, and intrigue while often beginning with a “what if?” question. From this first question he then usually leads ordinary people down extraordinary roads to a living Hell.
His newest release, ANATOMY OF EVIL, takes us out of our comfort zone again when an island paradise vacation for a group of friends twists into a nightmare journey through the darkest corners of the human soul, leading to the ultimate showdown between good and evil.
Brian, how did you come up with the idea for ANATOMY OF EVIL?
I have a notebook stuffed with ideas. I’m always adding to it, random concepts that pop up in my head. A small number of them pass the audition process to become novels or short stories. The plot for ANATOMY OF EVIL was scribbled in the notebook under the original title of “Unleashing Hell.” What if a portal to Hell existed someplace on earth?
Tell us about the group of friends in ANATOMY OF EVIL and how their lives are intertwined with their shared experience.
ANATOMY OF EVIL features a group of friends united by their commitment to bring good to the world. They serve together on the board of a community service organization. They are the nicest, gentlest souls you could ever imagine. Then something happens that exposes their darkest, hidden impulses. They begin to change in shocking ways. They become pawns in a much bigger battle between the forces of good and evil.
By Derek Gunn
Lovecraftian Horror, the Elder Gods and anything Eldritch related is notoriously difficult to do well. The problem is that it is very difficult to get the right tone. Many of the attempts I have read fall into the fan fiction arena and, while there is nothing wrong with fan fiction, per se, the quality of Lovecraft’s writing makes most attempts pale in comparison. August Darleth and Robert E. Howard both got it right, and their stories stand proud in the list of wonderful Eldritch literature. And now we have another name. Douglas Wynne has managed quite a feat with RED EQUINOX.
The first thing that will strike you is the sense of place. Whether it is in a quiet church, in abandoned buildings, or on the city streets, the attention to detail of where the characters are is impressive. And it doesn’t get in the way of pace either. He takes time to set a scene, building a sense of impending terror, creepy imperfections that you notice out of the corner of your eye but can’t quite put your finger on—and all without losing the reader in a mire of long, unnecessary descriptions. I was hooked from the start.
I will not give too much away as regards the plot as one of the best things about the better tales of the Elder Gods is what isn’t blatantly stated. A ripple in still water is better than a gush in these tales, and the first part of the story is all about building tension. Of course, that changes later on.
The novel opens with Becca Philips’ journey to her grandmother’s funeral. Becca is an urban explorer and photographer. We are quickly introduced to a grandmother steeped in mystery and with a history of exploring the world’s cryptic past. Secrets abound about her grandmother but, with her death, these are lost.
Back in Boston, Becca visits an abandoned asylum and we are introduced to characters on both sides of the unfolding storyline. Cultists abound. There is a strange homeless man who is more than he seems and a creeping horror that is worming its way into our world.
If Becca can’t solve the mystery of her late grandmother’s gift, then the world will be lost to a sweeping horror beyond the realms of horror.
The new year is shaping up to be a productive and prolific one for novelist Rebecca Cantrell.
On February 5th, The Tesla Legacy debuts. Barely a week later, BLOOD INFERNAL—which she co-wrote with James Rollins, and serves as the finale in The Order of the Sanguines series—debuts.
In BLOOD INFERNAL, a supernatural mystery—or as Cantrell prefers to call it, a “gothic thriller”—set on the eve of the Apocalypse, archaeologist Erin Granger, Army Sgt. Jordan Stone, and Fr. Rhun Korza team up for a final mission. As an escalating scourge of grisly murders sweeps the globe, Erin must decipher the truth behind an immortal prophecy foretold in the Blood Gospel, a tome written by Jesus Christ himself and lost for centuries.
Lucifer walks the Earth, and it will take the light of all three protagonists to banish him again to eternal darkness. Erin discovers that the only hope for victory lies in an impossible act, which will not only destroy her, but everyone and everything she loves. To protect the world, Erin must walk through the gates of Hell and battle Lucifer himself.
“We had an outline in place from the beginning of the series, but things had shifted around somewhat during the writing of the books, and we had to be careful to make sure that we were wrapping things up properly,” Cantrell said. “The characters had changed throughout their ordeals, and we wanted to be true to those changes. We also wanted to land the characters, those who survive anyway, in places where the readers can imagine how their lives might unfold.”
Added Rollins: “While we mostly knew where things were headed with this story—straight to hell, in this case—it was as much an emotional journey for me, as it was for the characters.”
By Derek Gunn
Elderwood Manor is a beautifully presented limited edition hardcover from DarkFuse, luckily also available in Kindle. It is a well-crafted novella that instantly transported me to the titled Manor as darkness began to spread its eerie fingers across the land. The fact that it is a novella allows the authors to plunge us straight into the action as they build the atmosphere from the first page.
There is no wasted backstory, merely the story itself. The characters are instantly believable and the atmosphere dripped from the pages. It put me in mind of the classic stories from Robert E. Howard where the writing was always of the highest quality and the story was thrust forward to grab you by the throat and squeezed tighter until you finally finished the story. It also suggests a nod towards Lovecraft and his unique ability to instil fear in the reader. I mention these comparisons merely to give a sense of what Christopher and Angeline have achieved in this story. In my opinion Howard and Lovecraft managed what few authors do today, they actually scared us. Elderwood Manor also manages to do this.
There is no relenting in pace, no added paragraphs to flesh out the story. This story is pure class from the beginning to end and well worth the small charge on Kindle. It would be even better if you can afford the hardcover as the cover illustration is gorgeous. I kept feeling that this was what James Herbert’s The Secret of Crickley Hall should have been.
As it is a novella I will not give too much away. It is better to let the story whisk you away. However, in brief, Bruce Davenport and his four-year-old son Cody are called to his ancestral home, secluded deep within Ozark forests. Life has not been good to Bruce and he uses the last of his funds to visit his dying mother.
There are strange stories surrounding Elderwood Manor, stories of vengeance and blood, horror and dark secrets. As night closes in it is doubtful they will see the dawn.
By Ethan Cross
The third book in the Z7 series, THE SIEGE OF SEVEN CITY, follows the citizens of a community of reborn zombies called Seven City. After the events of the previous book Seven City finds itself in bad shape, having lost one of their leaders and being exposed to the world. Now they will have to defend themselves as the people that fear and hate them prepare for an all out attack.
Tell us about THE SIEGE OF SEVEN CITY in one line.
The third book in my Z7 series, THE SIEGE OF SEVEN CITY is about a secret colony of former-zombies that are forced to fight off an attack when the outside world finally learns that they exist.
What kind of research did you conduct for THE SIEGE OF SEVEN CITY?
Since this was the third book in the series, I can’t really say that I did a lot of research for this one that I didn’t already do for the previous two. For them I had to learn some basics about microbiology and epidemiology to make the zombie virus a little more plausible (which is not the same as being scientifically accurate. I certainly had to fudge a few facts in order to get the virus to work the way I needed it to for the story). This book deals a little more with the political implications of a zombie virus than the previous books did, but because it is set in the future after the virus has already mostly run its course I was able to make up quite a bit.
A decade ago, if you’d walked into a bookstore looking for a zombie novel, you would have found only two: Brian Keene’s The Rising and Joe McKinney’s Dead City. Long recognized as one of the driving voices that launched the world’s fascination with the living dead, Joe McKinney’s Dead World novels have emerged as seminal works in the Horror genre.
Now, collected for the first time in Dead World Resurrection, are all of Joe McKinney’s zombie short stories. The zombie has grown up since Joe McKinney first penned Dead City, yet he has continued to stand out among the throng of voices telling tales of the undead. Dead World Resurrection shows why.
Brian Keene, Bram Stoker Award-winning author of The Rising says Dead World Resurrection is “a merciless, fast-paced and genuinely scary read that will leave you absolutely breathless” and Weston Ochse, author of Empire of Salt, claims “McKinney writes zombies like he’s been gunning them down all his life.”
McKinney recently answered a few questions for THE BIG THRILL.
You’ve been at the forefront of keeping zombies alive for readers since before their rise in popularity. What propelled you to put together this collection now?
Routine clean-up of my Dropbox account, actually. I have a tendency to let files build up for a while before I get the bug to clean stuff up and organize. I was on one of those cleaning sprees about a year ago, getting miscellaneous files put into order, when I realized that I had written and published about a hundred and fifty thousand words worth of zombie short stories. That was enough for a book, a pretty fat book, actually, as far as single author story collections go, and so I started shopping it around. Christopher Payne at JournalStone got excited about the project right away, and the next thing you know, the collection was underway.
But it also made sense timing-wise. I’ve been a professional writer for ten years now, and the stories in this collection cover that entire decade. Ten years seemed like a nice round number, so I went ahead and pulled the trigger on the collection.
By Derek Gunn
Ethan Reid has the honour of being the premier release for the new Simon451 imprint from Simon & Schuster that will be launching in 2014. While I am sure this comes with a lot of pressure, it says a lot for the author to be given this slot and it says quite a bit of Simon & Shuster as well launching a new imprint, concentrating on speculative fiction, fantasy, and apocalyptic fiction in the current market.
Luckily they’ve picked a winner with this one. Unsurprisingly, they are already closed for submissions as they wade through all the manuscripts their call generated. Simon451 will publish in multiple electronic and printed formats, with a focus on digital-first publishing and e-book originals. I’m not too clear as to the time frame for the printed format version but the e-book comes out around the time you will be reading this.
One thing that immediately comes to your attention is the formatting. I’ll get to the writing in a minute—be patient. This book was designed as an e-book, rather than the usual design as paperback and “fit” it into an e-book as an afterthought. The result is a much more gratifying e-book experience. A small point but I have read so many badly formatted e-books that it was a joy to read this one.
Of course, the writing helped a bit too. The prose is snappy, the characters immediately likable and the pace burns through the text so quickly that my poor Kindle is still smoking. This is not another zombie novel, though it can be enjoyed as such. There is more at work here. Not content with throwing an unknown global catastrophe at our heroes, the author uses earthquakes, falling meteors, et cetera as merely a first course. After the initial disaster, strange creatures begin to pull themselves from the darkness to hunt the living.
These creatures are not just mindless zombies though. They reason, they run in packs, and they are all too hard to kill. Throw all that at our hero and then place them in a foreign city with limited language ability and you begin to get the idea of what our heroes have to go through. Of course, don’t expect all the humans to be helpful either. As society crumbles, man’s rules deteriorate and danger lurks everywhere.
By Ethan Cross
Joe McKinney’s incredible new book, PLAGUE OF THE UNDEAD, has been described by Bram Stoker Award-winning author Brian Keene as “merciless, fast-paced and genuinely scary”while author Weston Ochse says that “McKinney writes zombies like he’s been gunning them down all his life.” Here’s a description of it:
For thirty years, they have avoided the outbreak of walking death that has consumed America’s heartland. They have secured a small compound near the ruins of Little Rock, Arkansas. Isolated from the world. Immune to the horror. Blissfully unaware of what lies outside in the region known as the Dead Lands. Until now. Led by a military vet who’s seen better days, the inexperienced offspring of the original survivors form a small expedition to explore the wastelands around them. A biologist, an anthropologist, a cartographer, a salvage expert—all are hoping to build a new future from the rubble, which they call the “Dead Lands.” The infected are still out there. Stalking. Feeding. Spreading like a virus. Wild animals roam the countryside, hunting prey. Small pockets of humanity hide in the shadows: some scared, some mad, all dangerous. This is the New World. If the explorers want it, they’ll have to take it. Dead or alive. . .
The prolific McKinney, who’s had much success of late, graciously agreed to answer a few questions.
Tell us about PLAGUE OF THE UNDEAD in one line.
Thirty years after the zombie apocalypse, a ragtag group of explorers sets out to see what remains of their world.
What kind of research did you conduct for PLAGUE OF THE UNDEAD?
PLAGUE OF THE UNDEAD takes place thirty years after the zombie apocalypse. My explorers are from a small town that walled itself up during the worst of the initial zombie outbreak. Since that time, their community has not only survived, but thrived, and now it’s time to see what lies beyond the walls. I spent a lot of time thinking how a community like that would organize itself, and what kind of jobs its people would work at. One of the main characters is a salvage expert, and when things start to go really wrong for the group, he uses all his improvisational skills to make what the group needs to survive. Some of the things I researched were how to silence a rifle using only trash found on the ground, how to build a still out of old car parts, and the art of mapmaking. The research was a blast.
By Cathy Clamp
Fifty years ago, a zombie uprising changed the face of the United States. Finally, the coasts have recovered to become thriving metropolises, but not everything is back to normal. Edward Schuett, the first person to ever come back from being a zombie, possesses a unique ability that made him the most powerful biological weapon in history. He’s created a small colony of Z7s, people like him who were once undead but are once again alive. Unfortunately, the fragile utopia they’ve created is about to be challenged when the latest Z7, Sandra Wolfe, shows uncontrollable powers far beyond the others. When she escapes, Edward and the others must find her before she brings the wrath of the outside world down on them.
THE BIG THRILL’s contributing editor Cathy Clamp sat down and talked with the author about a zombie reality unlike any other.
This is the second book in what might be considered a futuristic horror/thriller. For readers just learning about your reality, what can you tell them about the world of Z7?
The series takes place about fifty years after the Zombie Uprising. Unlike many other zombie stories where it’s all about survivors right after the zombies have risen, the characters here view the coming of the zombies as a historical event the same way we would Pearl Harbor or 9/11. Society has adapted to zombies roaming the wastelands and has rebuilt, although with varying levels of success. Into this I introduced the main character of the first book, Edward Schuett, who was a zombie that slowly regained his humanity. By the start of the second book he has learned how to make this happen to others as well, and he’s built a small community of former zombies far from the rest of society.
Is this a book that’s closer to Young Adult or more Adult in themes and “scare factor”, since the heroine is a teenager?
It’s weird, but I never thought of it as Young Adult. There’s a tendency these days to classify anything with kids or teenagers in it as being for a younger reading level. It certainly works for a teen audience, but I don’t think it has a teen as one of the main protagonists. I think that’s because a young adult audience can handle much more than many people give them credit for. They’re perfectly capable understanding adult themes, because many teenagers still have to deal with deep, dark things in their own lives. So I think it works on either level.
It was supposed to be fun. A chance to get away. An opportunity for two sisters to bond and for one sister to heal. It was a small river, calm, slow-moving. Perfect for a leisurely canoe trip on a beautiful summer day.
But then they hear a baby crying on the shore, abandoned and overheated. Alie and Carin have to take her with them. They can’t just leave her there.
A simple canoe trip becomes a rescue mission. But there’s something on the shore, hidden by the trees. Something that’s following them every step of the way – watching, waiting . . .
Around every bend, the river becomes stranger, darker, more dangerous, until Alie isn’t sure what’s real and what isn’t. The river wants the child for itself, but no matter what it throws at her, Alie’s determined to get the baby to safety. She’s already lost one child. But she’ll have to fight the darkness that haunts the river – as well as the darkness within herself – if she doesn’t want to lose another.
By Brian Knight
The drying up of the world’s oil resources leads to the fabled End of Days. Technology stagnates and communities grow ever more insular. With communication between cities lost and attention turned inward, the vampires rise from the shadows where they have survived for centuries and sweep across the globe.
By the time word spreads, it is far too late and Vampires enslave humanity and keep them in walled cities to breed. The Vampires are masters of the darkness but maintain control by day through the use of thralls—humans who have been bitten but have not yet crossed over, and whose inhuman lusts make daylight as terrifying as night.
VAMPIRE APOCALYPSE, TRAIL OF TEARS is Derek Gunn’s fourth book in the acclaimed series. The author, who is a fan favorite in the genre, agreed to answer a few questions about the book and his life.
Tell us a bit about your new release, VAMPIRE APOCALYPSE (BOOK #4): TRAIL OF TEARS.
It has taken a while to write this one. The first three books came out one after the other and then I took a break to write some other novels. My mind kept returning to the characters in this series though. While I did not leave it in a cliff-hanger, per se, some of the plotlines were certainly not completely resolved.
Many of the reviews on Amazon and a number of mails sent to me directly kept asking for another one so I started to think seriously about where the story could go and how I could make it different but still retain the elements that made the first three so popular.
The fact that Permuted Press wanted to release the first three books in new editions with cool new covers only made the decision easier.
By J. H. Bográn
Thomas M. Malafarina’s new novel—DEAD KILL—opens in the year 2053. It’s been ten years since the long-anticipated zombie apocalypse arrived with a vengeance and wiped out more than half of humanity. However, not only did the humans manage to survive but they also succeeded in destroying the seemingly countless hoards of the undead and regained their rightful place at the top of the food chain. Now living safely in fortified towns and cities, humans go about their daily lives with little concern for the greatly reduced numbers of undead remaining in the unprotected outlands and forests. These creatures have been reduced to roadside nuisances albeit deadly ones.
Beginning with these potent images, I had the opportunity to probe into the mind of one of today’s best and most prolific horror authors.
How did the idea behind the post–zombie-apocalypse for DEAD KILL come about?
Well, every one and his brother seemed to be doing zombie apocalypse books, comics, TV shows, and movies for the past way too many years. And I fought the urge to jump into the fray for a very long time, feeling that the genre had been done to death; so to speak. I decided if I was going to take the time to write a zombie-based book it would have to be different than anything else out there.
In THE PENTACLE PENDANT, Stephen M. DeBock’s debut novel, a contemporary werewolf who becomes a won-woman star chamber takes center stage. METAMORPH chronicles the further adventures of one of the characters introduced in the TPP, and explores the question of what happens when Beauty becomes the Beast.
In METAMORPH, a vampire who has slaked his taste for terror through centuries of history’s darkest eras puts a hold on his covert attacks on America in order to pursue a secret vendetta against a beautiful bi-racial woman who has scorned him.
But the woman has a secret of her own. She is a metamorph, a hybrid shape-shifter with the healing powers of a vampire, the heightened senses and strengths of a werewolf, and the needs that accompany both. Needs that conflict with her strong moral code; needs which compel her to conceal her extra-human identity from the mortal man she has grown to love.
METAMORPH combines known history with speculative fiction, a strong female protagonist, and the pitting of a creature of unmitigated evil against a pair of unsuspecting lovers in a complex cat-and-mouse pursuit.
THE BIG THRILL had a chance to talk with the author and find out a little more about his latest effort.
As your series progresses, what changes are occurring to the story and your writing process?
THE PENTACLE PENDANT introduces the contemporary werewolf Claire and her friends, lovers, and associates, as well as the vampire villain, Daciana, who will link TPP, METAMORPH, and the upcoming HEMOPHAGE. The first book’s focus is the local and contemporary; METAMORPH is a thriller that introduces both Daciana’s back story from the seventeenth century to the present and one of her acolytes who has become a modern-day terrorist. He becomes a threat to Rowena, a character introduced in TPP who plays the protagonist’s role in this novel. HEMOPHAGE, now nearing completion, delves even more deeply into Daciana’s influence upon new characters, again dating from the 1600s and continuing into the present day. Persons and events introduced in the former two novels are intertwined with the lives of the new protagonists of HEMOPHAGE.
By J. H. Bográn
In Michael McBrides’s new novel, ANCIENT ENEMY, Sani Natonaba’s ancestors have lived in these canyons for more than seven hundred years, but they aren’t the only ones. When he awakens to the bleating of his family’s sheep being slaughtered, he learns that something is stalking this isolated corner of the reservation, a predator unlike any he has encountered before, one that attacks with alarming stealth and ferocity.
Only his grandfather knows what lurks outside in the darkness, but a stroke has left him unable to communicate, forcing Sani to embark upon a journey into the distant past to discover the horrible truth. And he’s running out of time. There’s no sign of an end to the killing and already he’s found claw marks and strange footprints around his home.
Sani must decipher the clues hidden a millennium ago by the Anasazi before their mysterious disappearance if he’s to have any hope of surviving the impending confrontation with an ancient enemy that has already hunted his bloodline to the brink of extinction.
What was the inspiration behind ANCIENT ENEMY?
ANCIENT ENEMY was born of a fascination with inexplicable historical mysteries, in this case, the disappearance of the Anasazi from the Four Corners region of Colorado. I previously touched upon it in my 2012 novel, VECTOR BORNE, and felt as though it deserved further exploration. As the story developed, however, it became less about the Anasazi than the modern-day characters inhabiting the land they abandoned. I found myself becoming increasingly invested in the characters in a way I hadn’t anticipated. Rest assured, though, there’s still plenty of action and adventure. The plot revolves around the discovery of clues left in the ruins of a once-great society and deciphering them before it’s too late.