Thursday, 22 September 2016

Paupers' Grave: First Reviews & Fantasycon Launch

My new novella, Paupers' Graves is being launched this Saturday at Fantasycon 2016 as part of the Hersham Horror launch event, which also includes great looking books by Marie O'Regan, Mark West, Phil Sloman and Stephen Bacon. (You can also preorder it here.)

It's had some pre-releases reviews already, and yet again I'm humbled by what what people have said about my work:

"...an incredibly powerful and scary story that actually has something to say - and something genuinely nuanced and uncomfortable, at that. Very highly recommended." Kit Power at Gingernuts Of Horror.

"As might be expected from the author of the amazing Quarantined City, this is a story which operates on multiple levels. It’s a story about stories; it’s about society. It’s ghosts and hauntings and is very effective in dealing out the thrills and chills. It’s a corker – scary and profound." Anthony Watson at Dark Musings.

My Fantasycon schedule is as below:

Saturday 12.00pm: Bright Lights panel, with Penny Reeve (Chair), Liz De Jager, Donna Scott, Kit Power & me.... (Royal Ballroom, Royal Hotel)

Saturday 1:00pm: Book Launch for Great British Horror #1: Green & Pleasent Land (Harbour Lights, Grand Hotel)

Saturday7:00 pm: Hersham Horror launch, including Paupers' Graves (Cocktail Bar, Grand Hotel)


Otherwise, I'll be hanging around enjoying myself. Hope to see as many as possible there!

Monday, 19 September 2016

Recommendation: The Race by Nina Allan

A few words of recommendation about this excellent book from Nina Allan. I'll say upfront: this book is almost impossible to talk about without spoilers. You have been warned.

The Race is a complex, experimental novel of multiple narratives, each of which seems to ripple out from the previous one. It eases you in gradually, with a first section that seems, initially, to be a well-written but relatively simple science-fiction story. It tells the story of Jenna, living in a place called Sapphire, a town in an alternative version of England, after some disaster. Sapphire is a place with little going on apart from the racing of genetically modified 'smart-dogs', a sport which Jenna and most of the other characters are involved with, one way or another. This includes her brother Del, a shady character - the plot hinges around Del's schemes finally catching up with him, affecting his family and Jenna herself. Sapphire, whilst an interesting setting, is something of a backwater, and the reader might confidently predict that Allan will expand the scope later in the novel, zooming out to explain more about this world and how it came to be... that's how these kind of stories work, right? Well, Allan certainly does zoom out, but not in a way anyone is likely to predict.

(If you ignored the spoiler warning above, they really are coming now.)

The second part of the novel immediately pulls the rug from under us–it is set in our real world, and focuses on a character called Christy. Christy is an author, and she writes stories which are set in the town of Sapphire... Christy, like Jenna, has a brother whose violent actions destroy the relationships of those around him. The reader is given to understand that the fictional events of the first part of The Race are, at least in part, a reflection of this second 'non-fictional' section. But is Christy writing to explore her own experiences, or to hide from the implications of them?

And so The Race continues, with each part raising questions about the last (and the whole). There's a further section set in our world, in which Christy features but as a secondary character, which sheds new light on her brother and those caught up in his wake. And there are sections set back in the science-fiction world we encountered originally, although far away from the initial town of Sapphire. It's never spelt out exactly when in her story Christy wrote each of these sections–what did she know about the dramatic events of her own life at the time of writing each fiction? How much do the stories Christy writes reflect her experiences and how much pre-figure them? The relationship between fact and fiction in The Race seems as much a feedback loop as anything linear.

As you might expect from Allan, the book is exceptionally well written. The menacing, bordering on surreal ending of Section 2, where the unreality of fiction seems to bleed into the real world, is a particularly highlight. Even better is a stunning set-piece later in the book in which a ship at sea is menaced by a gigantic whale; it's a genuinely terrifying and awe-inspiring scene, as the passengers fear their ship will be capsized in the black oceans. The idea of such a threat, emerging from nowhere to engulf everything, seems an apt metaphor for the acts of violence, small and large, that are scattered throughout the worlds of The Race.

In summary, this is an excellent book, structurally sophisticated yet gloriously readable. Highly recommended.

Sunday, 18 September 2016

Dancing With Shadows: The Charles L. Grant Blogathon



I'm delighted today to be writing about one of my favourite writers, Charles L. Grant, and the impact reading his work for the first time had on me. This post is part of the Dancing With Shadows blogathon organised by Neil Snowdon, in order to celebrate Grant's work. There's many, many writers and fans of Grant posting this week; do check out Neil's site which has links to them all.


Grant's work has much that is exceptional about it, but something that has always stood out for me is his scene-setting. Before bringing onto stage his characters or the terrors they might face, Grant nearly always takes the time to describe the place, the season, and the weather, rooting his stories somewhere specific in time & space.

So, in telling my story of reading Grant for the first time, let's set the scene:

Not Oxrun, but Oxford. Headington, to be exact, where the city's other university sits on a hill and scowls with reverse-snobbery at its more renowned neighbour.

An evening during that dead time at the end of November, when it's already dark and wintery but no one feels festive yet. A room in student Halls, with posters from Select magazine - Pulp Fiction & Modern Life Is Rubbish - on the wall. One shelf crammed with C90s and CDs, another with books. There's a mixture of university set texts and horror paperbacks: Stephen King, Hamlet, Kafka, The Hauting Of Hill House, Virgina Woolf, Ramsey Campbell, The Trial. Nearly all second-hand, creased and faded.

Next to them, as yet uncreased, two new books.

These books had been a present from, uh, someone. When this person had given me a gift, before they left for Christmas, it had been an awkward moment. Because I’d not bought a present for them,  thinking we were well past the present buying stage. I didn’t even want to take the books, but this person insisted. They left, but the awkward, guilty feeling remained. Both books had dreadful covers that made me immediately assume the worst. One had a pretty generic mid-90s horror title: The Something by someone forgotten. The other was Nightmare Seasons by Charles L. Grant.

I was eighteen; a few years earlier my dad had introduced me to Stephen King, and I’d read and loved much of his work, as well as books by Ramsey Campbell, Shirley Jackson and Clive Barker. But I’d also read plenty of shit horror too. There was a lot of that around, at the fag-end of the horror boom. Lots of books all called The Something.

I could have had an ephiphany that evening, but still feeling awkward and guilty at the encounter, I placed the books with the ugly covers on my shelves, underneath others which I intended to read first.

It was almost like I wanted to dislike them; when I did decide to read one of them it was The Something I read first. It was as shit as I thought it was going to be.

It was the next winter, in a different room with even more books crammed into it, Pulp Fiction replaced with Trainspotting on the wall, before I finally, reluctantly, started to read Nightmare Seasons.


And instantly realised what a fool I’d been to wait so long.


If you’ve read Grant you’ll understand; it only takes a few sentences and you realise just how damned well he can write. This is the start of the opening prologue of Nightmare Seasons, the first words by Grant I ever read:

"Winter... and rain.
 
During the blade-sharp days of a January cold snap, during the hours when snow immobilizes and breath turns to short-lived fog, there are the dreams of summer, of green, of walking with no particular purpose except to savor across the playing fields of the park beneath hickory and ash and white birch of such luxuriantly thick foliage that even the stilled air seems hazed with mint.  In part it is a steeled defiance of a numbing temperature that reduces animals to hibernation and man to bitter complaint; and in part it is a hypnotic gesture to the pleading of one's senses for an earnest reassurance that this sort of weather will not last, that there will indeed be a time when warmth beyond the hearth is a reality in spite of the past that it seems now like nothing more, and nothing less, than an attic memory.
 
But there are worse times than the cold."


Of course this isn’t just pretty language; I believe horror fiction is defined by its atmosphere over any other element, and Grant exemplifies this more than any writer I can think of. His plots, if sumamrised, might seem trite and cliched. But by god, the way he writes them! His tales build and build, the pressure increasing, until the lightning strike of his endings. This, surely, is why he was so good when writing novellas. They give him enough of a run up to really make you uneasy, but allow him to get out quickly once the storm has broken.

I had more free time, back then, and I read Nightmare Seasons in a single day. And it felt like an affirmation.


An affirmation of the genre and that there was space for serious artists working within it. I've read much more of the man's work, both as writer and editor, since that delayed revelation two decades ago, in a city I've long moved away from. But that first time always stays with me. I think, for every writer who's had even a modicum of success, there are certain books you remember because they quite literally changed your life: they helped you chart your course to become you kind of writer you are. Without wanting to suggest I've even a fraction of Grant's huge talent, Nightmare Seasons  was one of those books for me. The next beacon of light after King, Campbell, Jackson and Kafka.

His work is endlessly rereadable, too, and that's what I'll be doing tonight. I hope, after reading this post and all the others in the Blogathon, that you'll be tempted to join me.

Friday, 26 August 2016

Events

A quick post about some upcoming events that I'll be showing my face at:

Local Writers Showcase, West Bridgford Library, Tuesday 30th August, 2.30pm
This is a free event, where I'll be appearing with five other writers from the local area. More info and how to get a ticket here.

Fantasycon 2016: 23-25 September
Once again I find myself massively looking forward to Fantasycon, this year being held in sunny Scarborough. I'm doing some official things as you can see below; for the rest of the time I'll just be enjoying myself. Come and say hi!

Saturday 12.00pm: Bright Lights panel, with Penny Reeve (Chair), Liz De Jager, Donna Scott, Kit Power & me....
Saturday 1:00pm: Book Launch for Great British Horror #1: Green & Pleasent Land
Saturday7:00 pm: Book Launch for Paupers' Graves as part of the Hersham Horror event

You can see the full Fantasycon programme here.

Derby Writers' Day, The Quad, Saturday 15th October
I'm I'll be talking about short stories, the small press, and whatever else comes into my head as part of Derby Writers' Day, where they'll also be such excellent people as Alison Littlewood, Stephen Poore, Alison Moore and Amanda Rutter.

Full details here.

Monday, 15 August 2016

Paupers' Graves - Pre-Orders

Paupers' Graves is my new novella, being launched at this year's Fantasycon. It's one of four novellas being released simultaneously by Hersham Horror–the others being by Stephen Bacon, Mark West and Phil Sloman, so I couldn't be in better company.

More to say nearer the time about this one, as it's a story I'm especially proud of. But will just say that the ebook version is available to preorder now.



In a Nottingham cemetery, hidden away from the grandiose tombs of the city’s rich, are the old paupers’ graves. Katherine and her team have been ordered to create an exhibit based around the lives of those unfortunates buried beneath. But the paupers represent part of the city’s history that Katherine prefers to avoid thinking about… as well as part of her own. 

But the dead, having had nothing in life, are enraged that even the truth of how they lived is being taken from them. Buried up to twenty under one stone, they whisper in the dark. Maybe they can show Katherine and her colleagues what their history was really like… and how cheap life was considered.



Wednesday, 10 August 2016

Boo Books and Trying To Be So Quiet

Well.
 
I'd planned to do a brief blog post today about some new reviews for my Boo Books novella Trying To Be So Quiet - and I still am going to mention that - but they've been slightly overshadowed by the sad news from Alex Davis that Boo Books is to close. Boo Books have released some fantastic books and I'm proud to have been part of their rosta. And I'd like to thank Alex for all his hard work and encouragement, and wish him good luck with his future ventures.
 
The good news is that Boo Books titles are all still available as we speak, and I can personally recommend Andrew David Barker's The Electric and Dead Leaves, the Haunted anthology, and, based on her reading at Edge-Lit, Tracy Fahey's collection The Unheimlich Manouver.


Oh yeah, and those Trying To Be So Quiet reviews:
 
"If you like your quiet, stealthy, and throat-achingly sad, this one is for you." Tracy Fahey
"A must read, wonderful.", Yvonne Davies, Terror Tree


Trying To Be So Quiet is available as a hardback and ebook (UK | US). 

Sunday, 7 August 2016

The Thirteen Signs

The Thirteen Signs is a new anthology from editor Dean M. Drinkel, and contains horror stories based around different signs of the Zodiac. I was given Pieces as mine, and my story 'Hooked' is set on Majorca and describes a birdwatcher caught up in a sinister trap. But is he the prey or the bait?

I had fun writing this one, and gleefully slagging off astrology (which I think is purest bollocks) in the process. The book has some other great writers in as well, including Lily Childs, Mark West, Tim Dry, Steve Byrne, Jan Edwards and Amelia Mangan. Ebook is out now from Nocturnicorn Press with a paperback to follow very shortly.

The Thirteen Signs (UK | US)