GINGER NUTS OF HORROR

The Red Empire and Other Stories

2012-02-02T11:22:00.001Z

I must admit that I have never read anything by Joe prior to this collection of stories. Joe previously has written mainly in my least favourite of genres, that's right folks the dreaded zombies. So why did you pick up this book? I hear you ask. Truthfully I'm not 100% sure as to why I did. A lot of I think comes from the premise of the title story, The Red Empire. I'm a sucker for an animals on the rampage story. As a kid I loved films such as Them, Piranha and The Swarm. So a story involving ants as a bio-weapon on the rampage, managed to get it's mandibles into me.

Another reason this collection got my interest was that it is not just a collection of horror stories, Joe has put police procedurals, and non fiction into the mix. An intriguing concept, and I was interested in seeing if he could pull it off.

The short answer is yes he does, a good collection or anthology not only stands on the quality of the stories, but also like a good album, relies on the running order of the stories, there was always a chance that a complete change in tone and theme could make the reading experience of this collection a jarring one. In all honesty, this collection reads very smoothly and these stories and non fiction pieces fit very well together. I like how an number of the stories are based on Joe's time as a police officer, it adds an extra dimension to the collection.

Highlights of the book for me are the title story of course, how can you go wrong with giant killer ants. The Millstone is another favourite, trailer trash and redemption through revenge, perfect. The Burning Fingers Man is a taught thriller involving a community coming together to combat a sex criminal. Joe handles the question about the nature of justice very well in this hard hitting story.

This is a great collection and I recommend you seek it it. Was it good enough to make me read one of his zombie novels, I don't know, I think I may need a many hours of therapy before I pick up another zombie novel. But if Joe continues to broaden the genres he writes in then I'll most certainly be picking them up.

Buy It Here

AMAZON US

SMASHWORDS

SPECTRAL PRESS'S FIRST NOVELLA NOW UP FOR PRE-ORDER

2012-02-01T13:07:00.002Z

From today, you can place a pre-publication order for the limited hardback version of the launch title in the new Spectral Visions line of novellas, The Respectable Face of Tyranny by Gary Fry, which will be published in April (it will also be available in POD Paperback and e-book versions – details will be given out nearer publication date). The limited hardback, in an edition of 100, will be signed and will also feature a full-colour cover (see above), coloured endpapers and a silk ribbon bookmarker. The hardback edition will also feature an exclusive: an extensively revised version of Gary’s 2006 novella

I don't know how Simon does it a book like this from many US small publishers would cost $40. Not that I am complaining. If this book is anything like his chapbooks, this is going to be a high quality product. And by the time you factor in Gary Fry, well lets just say, once this drops through my letter box, all other books will be set aside until I read this. .

You can reserve your copy by following this link, don't delay it's going to sell out fast

SPECTRAL PRESS

The Devils Music by Julia Madeleine / Frank Duffy

2012-02-01T06:18:00.002Z

Sometimes reading is like a waiting on the Number 37 bus into Edinburgh, you wait all day then suddenly three all come at once. In the the last few months I have read three books that have music as a main theme of the story. First there was John Hornor's Southern Gods, then we had Jonathan Janz's The Sorrows, and now we have Julia's The Devils music.

The Devils music is a set of three short stories that introduce us to Sadie. Sadie loves music, musicians, oh and her father just happens to be the Devil himself. Her cheritage, has given her the power to shape shift and travel through time, which she does collecting souls for her 27 Club. You may have heard of this select Club, made of of some of the finest musicians, all of whom died at the age of 27.

Raised in Hell introduces us to Sadie, as she goes to collect the soul of the Crossroads man himself, In The Music There Is Always A Shadow, written by Ginger Nuts favourite Frank Duffy, sees Sadia, collecting on her contract with RKO legend Roy Webb. Julia returns with When You Are a Stranger. And sees Sadie adding the lounge lizard himself to her collection.

They say the Devil has all the best music, that may well be true, judging by the names of all the musicians mentioned in these stories, but it also looks like the Devil has all the best stories written about him as well.

Julia, has created a wonderful character in Sadie, it would have been so easy to just create a one dimensional, clichéd collector of souls. Instead Julia has poured a huge amount of personality, into the mold of Sadie. She is a character of of passion, desire, and love, all tempered with a strong sense of duty. These are beautifully written, bitter sweet, sombre tales, that ooze with passion and a sense of regret. Sadie cares for, and even loves some of the people who have signed over their souls for a shot at fame. So much so that you actually begin to feel sorry for her, it's a strange feeling when you realise that you actually care for and wish that a devil will have a happy ending. And the final reveal about the secret of significance of Club 27 is a sombre and emotional reveal.

Julia hands over the baton to Frank Duffy for the middle story, and once again Frank demonstrates why I think he is probably the most gifted and underrated author out there. Franks entry brilliantly builds on Julia's creation, adding an extra layer of melancholia.

The stories themselves may be simple in terms of plot device, but what they lack in plot twists they more than make up with excellent characterisation. The sense of loss and regret, is enforced with the role call of musicians taken from us too soon. One of the highlights though is the introduction of Ozzy Osborne, his appearance is hilarious addition.

If your not familiar with Frank, or Julia, then do yourself a favour, get these three books and discover two very gifted writers.

Pick up a copy by clicking the links below

AMAZON UK

AMAZON US

WIN A KINDLE FIRE IN THE BIG KINDLE BOOGIE

2012-01-31T19:53:00.000Z

10 Free Kindle Fires, 75 free ebooks, $300in gift cards, a $500 library donation! Entries for 10 free Kindle Fires arealready underway at http://bigkindleboogie.blogspot.comand gift cards are bing randomly awarded on Twitter for those who tweet aboutthe Big Kindle Boogie.

On Feb. 1-2, bestselling thriller authorsJ.A. Konrath, Blake Crouch, Scott Nicholson, Lee Goldberg, and Scott Nicholsonare making 75 Kindle books free on Amazon. They are also making a $500 donationto the local library of one Kindle Fire winner. They are also releasing thefive-book Ultimate Thriller Box Set for free during the event. Contest isinternational, no purchase necessary. You can also join the Facebook party at http://www.facebook.com/BigKindleBoogie.

Three easy ways to enter:

Use the entry counters at http://bigkindleboogie.blogspot.com
You can also enter manually by tweeting to be eligible for Kindle Fires and Amazon gift cards: 10 free Kindle Fires. 75 free ebooks. http://bit.ly/xWOoKN #bigkindleboogie RT to enter for a Fire!
You can email bigkindleboogie@yahoo.com ONCE PER DAY with "Boogie entry" as subject line

Everything free, everything fun. Good luck!

An Interview With Alison Littlewood

2012-01-31T13:29:00.001Z

I can't think of a better way to end the first month of 2012, which has been a record breaking month for views, than to have Alison Littlewood, author of A Cold Season over for a chat. You should have all heard of Alison, her book can be found in all good bookshops, and the majority of supermarkets chains.

Hi Alison, thanks for stopping by, how are things with you?

They’re good, thanksJim! Really nice to be at Ginger Nuts.

Things must be very hectic for you right now. How are you coping with things?

The last few weekshave been crazy – hectic yes, and full of surreal moments. I seemed to spendmost of the time suspecting I was dreaming most of it (still do, really). And therewas one stage where I had to go and lie down in a darkened room for a day. Butmostly, amazing!

Did you ever think a year ago that you would be the centreof all this media attention?

Absolutely not! Andit’s slightly scary. What’s scarier though is that I remember at one stagethinking I’d put my manuscript of A Cold Season to one side and just concentrateon the next thing. I’m glad I didn’t. I’ve always tried to be sensible abouthandling rejection, but to be honest when the novel got picked up by apublisher I was at a pretty low point. It just goes to show how writers need tokeep going, because everything has changed since then.

You have been doing a lot of meet the writer events, howhave these gone? Have you met anyunusual fans yet?

Actually I’ve metsome really lovely people, and it was brilliant to have friends and family allcome out to an evening book launch in Leeds – it was like a big reunion! Therewere people there I hadn’t seen for twenty years.

I did meet a coupleof ‘unusual’ folk though, yes, but I wouldn’t call them fans. I had one ladysnap at me ‘I’m a Christian, I only buy books for my grandchildren, and Iwouldn’t fill their heads with that rubbish!’ Um, thanks... :-D

Do you ever get friends and family to point out your bookand go “oh look there’s your book”?

I haven’t reallyasked them to, but people have been doing that, which is really nice! And it’sgreat that they’ve sent pics of it in various shops (especially when they’vejust turned it face out, heh heh). I did ask my brother Ian to send a photo ifhe spotted it in Birmingham airport – I’ve no idea why, but I always used tolook at the bookshops in airports and wonder if one day...

On a similar note how do you feel about seeing your book inthe local supermarket, it must be a bit of surreal feeling?

It’s funny but I’veheard it’s been spotted in Asda, Tesco, and Sainsbury’s, and every time I’vethought blimey, I must go and have a look - but I just haven’t had the chanceyet! I’m a bit of an internet shopper. I will go and have a look round soonthough (and will probably take some sneaky pics).

And have you ever accidently dropped a copy in someone’strolley? Or even been tempted to sign afew copies?

Ha! No, but thetrolley thing sounds like a plan. I have been into a shop and asked if theywanted their stock signing before, on the grounds that ‘a signed book is a soldbook’ (or so I’ve been told!) Though it’s a bit daunting, because you do wonderif they’re just going to think you’re a nutter and say ‘no, not really.’

Why did you start writing?

I’d always loved books, and deep down, I loved the idea that I might beable to write one myself. But for years I thought of writing as something otherpeople did – writers were these exotic creatures, weren’t they? Eventually Ijust forced myself to give it a go, by signing up for a local night class – I supposeI decided that dreaming wasn’t going to get me anywhere, though I was prettynervous in case I found I was hopeless and had to put the dream to rest.Actually, I remember being spurred on by reading Stephen King’s On Writing,too.

And who would you say has been the biggest influence on yourwriting?

I would say that’s mymother – she’s a book lover too, and always used to take me to the library,which used to seem like a big adventure – I remember being let loose with allthose worlds to discover! Getting into books at an early age, for me, meantloving them for life.

Can you remember how long it took for you to first bepublished? And was there many rejectionsleading up to it?

I had a piece of lifewriting published in a little under a year, and it was about a year after thatwhen I started getting actual stories published. And yes, I had plenty ofrejection along the way, though none seemed to hurt quite as much as the veryfirst one. I don’t remember where I’d submitted, but I still remember how itfelt.

How do rejections affect you, are you able to brush them offor do they deal on your mind?

Mostly I brush themoff and move on. It helps to have a few pieces circulating at the same time, soyou can tell yourself you might do better elsewhere! As I say the first onehurt, but once I’d got over that, it became easier. I’d just learn what I hadto learn from it and try to do better. It did get to me a bit once I startedsending the novel out, though, because I found that people wouldn’t even lookat it. That was a bit disheartening. Thankfully, Jo Fletcher did!

How would you describe your writing?

I’d say it’s obsessedwith the dark and mysterious and strange and unsettling. I always seem tocircle around the mysteries in life, the things we never will be able toexplain.

In these days of genre pigeon holing what genre would yousay best describes your writing?

It’s a tricky one –I’ve heard A Cold Season referred to as a thriller, a chiller, a dark fantasyand a horror novel. As a short story writer I’d say I mainly write darkfantasy, but I also write horror, a little crime and the occasional SF story. Itend to run with an idea rather than set out to write in a particular genre. Thethings I write are always pretty dark, though, so ‘dark fiction’ would cover itall!

A lot of people have misconceived perceptions about thegenre, how do you try and rise above them?

I might have to letyou know, when I’ve managed it! I have found that people in bookshops will lookat the cover and say ‘that’s not for me’ straight away, though it’s horses forcourses I guess. On the other hand I think a lot of people read and enjoyhorror without realising it. For instance, I would say that The Lovely Bones byAlice Sebold is one of the more horrific things I’ve read, but you’d never findit on the horror shelf.

Other than your own writing what would you say are the fivebest examples of writing in the genre?

Gary McMahon’s TheConcrete Grove is brilliant.

Audrey’s Door bySarah Langan – genuinely creepy.

Joe Hill’s Horns (orHeart-Shaped Box, I love them both).

The Tooth Fairy byGraham Joyce.

Song of Kali by DanSimmons (now there’s a novel which puts you in a really dark place).

No, wait – I’ve gotto include The Girl Who Loved Tom Gordon by Stephen King. And something byConrad Williams. And I love anything written by Neil Gaiman. Only five?Seriously?!

Oh God, and there’s TheRoad by Cormac McCarthy – an incredible book, which is probably more SF, buthorrific as they come. OK, I’ll shut up now.

Your short stories have been published in a number ofquality books and magazines, which one would you say you are most proud of?

I always loved theliterary dark fiction in Black Static magazine from TTA Press, so it was an aimto get in there. I garnered a few rejections first, but getting an acceptance fromthem was a really proud moment! Their production values and illustrations aregreat too so it’s lovely to see my work in there. I was also really pleased tobe in the anti-fascist anthology Never Again, from Gray Friar Press.

As well as Cold season, the book Fogbound From Five has also just been released. How did you come to be involved in thisbook?

It was astraightforward one, really – I received an invitation to submit and sentsomething in.

Can you tell the readers what the anthology is about? And what is your story about?

It contains fivestories about passengers on a train heading off into thick fog. The maincharacter in mine is a young lad who is forced to confront his past as well aswhat lies hidden in the fog.

Which other story in the anthology do you wish you had written?

Now, I couldn’tpossibly choose between my fellow contributors. I do love the fact that MarkWest collaborated with his young son (the Dude) on his ending! And it reallyworks – a fitting end to a suspenseful tale.

How well has the book been received?

It’s a bit early forit to have gathered many reviews so far, but fingers crossed!

So A Cold Season? What exactly happened on that commute toSaddleworth, to inspire the story?

I spent a lot of yearscrossing Saddleworth Moor every day, and the bleakness of the landscape upthere definitely became part of the story. It was trying to get across the topsduring the last really bad winter, though, that really sparked something offand snowbound Darnshaw village was born. Actually, the novel opens with themain character travelling the moorland road in thick fog – I’ve done that manytimes, and it’s very eerie. (Or maybe I just like fog.)

What would you say are the main themes behind the story?

The main drive of itis about isolation, discovering inner strength and independence, differenttypes of loss, and the way love can shape you and change you.

Is there a message to the story, or is it just a good oldfashioned story?

I didn’t set out todrive a particular message home, but if there’s one in there, it’s probablyabout free will and standing by the choices we make.

The book is part of Jo Fletcher’s inaugural line up, how didyou come to work with Jo?

I really wasn’t doingvery much with my manuscript at the time – I’d queried a few people and not gotvery far, and pretty much let things lapse without even managing to get someoneto read it! Then I did a Twisted Tales event in Liverpool, which was a BlackStatic showcase. Afterwards I got chatting to Roy Gray, who handles events forTTA Press - he knew my work from the magazine and suggested I sent A ColdSeason in to Jo. He made the introduction, and it all seemed to move prettyquickly from there!

What does Jo bring to the table that other editors don’t?

She knows thisbusiness inside out and has worked with some amazing names, including Sir TerryPratchett, Joe Hill and Neil Gaiman. She’s not just a terrific editor though –she’s a lovely person! It’s great working with her.

How do you feel about the book being picked up by Richard andJudy?

It was a shocker! AndI was thrilled, of course, because they have a huge influence, and the factthat it’s in conjunction with WHSmith means the book is on prominent display intheir branches. I’m very grateful that they’re offering this kind of support toa newbie. Filming with them in London was fun too! I never expected to besitting on a couch with Richard and Judy – it was definitely one of the moresurreal moments I’ve had of late!

Are you nervous about the much larger critical field thatbook has been exposed to? Do you nowfeel you have more to live up to than before?

Well I am, a bit! Itwas so unexpected. And I’m trying not to think about what I might possibly haveto live up to, or I’ll get all stressed. I’m telling myself it’s still just meand my laptop...

And speaking of critics, which is more important to you,critical acceptance from within the genre, or acceptance from the moremainstream critics?

I’ve met somefantastic people working within this genre, so their opinions will always be extremelyimportant to me. Both would be nice though! Although I’m one of those folk whocan read a nice review and still spend hours worrying over one negative point.So, erm, I need to learn not to do that.

And how was the book selected for the club?

Quercus put itforward for consideration (Jo Fletcher Books is one of their imprints), and thankfullyit passed the various selection stages. Richard and Judy then made the finaldecision from a shortlist.

Do you know who else has been selected for this series?

Eight books areselected for each season, and the spring picks are out on the WHSmith andRichard and Judy websites. There are a couple in there that might be ofinterest to genre fans – a dark crime novel called Midwinter Sacrifice by MonsKallentoft, and Before I Go To Sleep by SJ Watson. They’re both on my ‘to beread’ pile.

What do you like to do when not writing?

Sleep! No, actually Ilike going for walks, taking the camera along and working on my photographyskills. I haven’t had much time for it lately though!

Can you tell the readers about any of your future projects?

The next novel is atwisted fairy tale meets crime story. I loved fairy tales when I was a kid – I

sometimes wonder if that’s one of the reasons I like dark fiction now, becausefairy tales can be really very dark, and are no stranger to the mysterious andunexpected! The novel looks at some of the more brutal aspects of the fairystories we think we know. I have a few short stories coming out soon too, inthe Where Are We Going? Anthology from Eibonvale, a steampunk antho fromSnowbooks called Resurrection Engines, and a new project from Solaris which isall about magic.

Many many thanks for stopping over for a chat. I hope the book does extremely well, and wewill see another Alison Littlewood book taking over the shelves.

Thanks Jim!

You can learn more about Alison at her website

http://www.alisonlittlewood.co.uk/

And you can purchase her books from all good book shops, and from the usual online suspects

Amazon.com

Containment Room 7 By Bryan Hall

2012-01-26T11:23:00.002Z

In a far corner of space, orbiting a massive black hole, the research ship DARC12 discovers a strange asteroid—one that seems to be … alive. After loading the rock onboard for study, the ship quickly descends into madness.

It begins with voices, whispers filling the shadows and the minds of the crew. A once sane man declares that their discovery is not just a rock, but a god. Then the killing begins, and a cult rises swearing allegiance to their newfound deity.

As the murders mount and the dead themselves begin to rise, a small group of survivors cling to the hope that they can somehow escape the hell they’ve been plunged into. But their problems mount as they face an army of undead crewmembers, the reanimated corpses of hundreds of failed genetic experiments, the murderous cult, and—worst of all—the rapidly evolving creature in containment room 7.

“Hey Hollywood, listen up! You have got to make a movie out of this book. [It] is one of the scariest zombie tales I’ve ever read. In fact, I think I would rather eat broken glass than fight the kind of nightmares Bryan Hall puts down on the page. This guy is scary good.”--Joe McKinney, author of APOCALYPSE OF THE DEAD and FLESH EATERS
“Dark, fast and fun ... a compelling read.”--Nate Kenyon, award-winning author of SPARROW ROCK and STARCRAFT GHOST: SPECTRES

“A brutal genre-bending debut, Bryan Hall gives us a gripping sci-fi/zombie story permeated with a horror master's sense of scene and scares.”--Jonathan Moon, author of HEINOUS

I'm beginning to sound like a broken record, but folks this is the last time I'll be reviewing a zombie book for a long time. It's not that there are no decent zombie books out there, it's just the signal to noise ration is terrible. The zombie genre seems to be the genre of choice, for every person out there who thinks they can write horror novel. I don't want to seem cruel, but just because you can write, doesn't really mean you should. Thankfully Containment Room 7 leaves a glimmer of hope in my rapidly growing hatred of this horror sub genre.

This is a well written fast paced novel, that at leasts tries to do something different with the genre. The addition of a Science Fiction twist, is a welcome change to the end of the world earth based zombie novels. As does the source and the cause of zombie infection, these zombies have a sort of hive mind, controlled by the "Great One". For my personal taste if this idea was pushed just up a notch, and the zombie angle was pushed out I think this could have been a real killer of a novel. The central idea is great, but I think the zombification of the infected is sign of an author who needs more confidence in his ideas and writing. Another plus point of the story is the fact that this is no Star Wars, the crew don't have access to blasters, lasers, plasma cannons, or a BFG. They are lightly armed, and this adds to the tension, as does the setting on the Space Station. The book could have done with a bit more fleshing out of it's cast and crew, at times it felt as though the crew where just ciphers rather than fully fleshed out characters. The fast paced, action packed and well described plot, help to lift this novel from being just another zombie, to a decent read.

All in all this is a really good book hiding behind the smelly corpse of the zombie genre, if you are a fan of zombie fiction then you'll love this book, if your not I still think you will get a kick out of it.

Available to buy from the links below

http://www.amazon.com

Gregory Marshall Smith Talks Vampire Movies

2012-01-25T18:29:00.000Z

Hi folks here is the second part of Gregory Marshall Smith's Guest post

Hammered Home

By GregoryMarshall Smith

Never let it be said that I don’t like agood vampire film. If it’s done well, I can get into almost any movie. Heck,two of my favorite films to watch repeatedly (besides Godzilla, King of the Monsters and The Creature From the Black Lagoon) are Anne of Green Gables and Anneof Avonlea. For a science fiction and horror writer like me, this is theequivalent of NWA having ABBA on their iPods.

That said, there is something lacking inAmerican vampire films. For some reason, our stuff tends to come off as eithertoo commercial (Twilight anyone?) ortoo eccentric (Vampire Sex Hookers).

Even Stephen King’s Salem’s Lot failed to really satisfy my cravings for good vampirefilms. And, of course, the Bladefilms were just action vehicles, even if those doing the action weren’tcredible (Jessica Biel and Parker Posey? Really?)

The only exception to this blight is theclassic TV movie The Night Stalkerwith Darren McGavin as disheveled reporter Carl Kolchak. Alas, that was in1972.

Thus, to this day, I still look to Great Britainfor innovative vampire themes.

And, of course, I can’t mention Britain withouttalking about two of its greatest horror icons -- Christopher Lee and PeterCushing. (Sorry, but Basil Rathbone will always be Sherlock Holmes to me).

Lee as Dracula was the bomb. Though hedidn’t have much screen time and very few lines, he didn’t need them. That tallstature and brooding eyes projected evil and power. I can’t imagine whatHammer’s producers did to get his eyes so red. If it’s anything like thetorture they put him through as Imhotep in TheMummy, he’s a better man than I.

And while Lee was quietly menacing, Cushingwas vocal and animated. It was always difficult rooting for him in movies. Youwanted to believe him as the good guy as Van Helsing and as the protagonist in The Mummy, but then you’d see hisdeliciously evil turns of Frankenstein and all that good will went out thewindow.

Ironically, Hammer’s version of Dracula almost didn’t make it off theground. Financing deals with Universal Pictures, Associated ArtistsProductions, Seven Arts and others kept breaking down. Finally, the NationalFilm Finance Council (a distinctly British concern if there ever was one) putup £81,000 (and, no, I’m not converting).

The end result was a breaking of box officerecords around the world. And that led to the inevitable slew of sequels, ofwhich Brides of Dracula is the oddestsince Lee did not reprise his role as Dracula and, indeed, the vampire isn’teven named Dracula. (And, for the sake of keeping good memories, let’s notinclude The Satanic Rites of Dracula andThe Legend of the 7 Golden Vampireson any lists).

While the legend of vampires has beenaround for centuries, it was a British novelist who brought it to the Westernworld.

Bram Stoker was Irish but Ireland wasstill part of Great Britainback then. And Stoker did his work, including being personal assistant to actorHenry Irving, in London.It was there, while working as business manager for the Lyceum Theater that hepenned Dracula and, later, The Lair of the White Worm.

When vampire films got smart and went fromcorny to atmospheric and moody again in the last years of the 20th century,they rightly returned to their British roots (I say roots because English soilwas Culver City, California). BramStoker’s Dracula grossed more than $300 million worldwide. Much of itssuccess came not from Wynona Ryder (and definitely not Keanu Reeves) but fromBritish actors Gary Oldman and Sir Anthony Hopkins.

Oldman’s Dracula was tragic and romantic,while Hopkinsplayed Van Helsing as eccentric and a bit over the top (much like in theoriginal novel).

For these reasons, I looked toward Britishvampire films rather than American ones for my latest novel, Hunters. Though the characters areAmerican (save for mercenary Marcus Van Niekerk) and the setting is American,the plot is old school, from my childhood viewings of Hammer horror.

I have a real fondness for all thingsBritish when it comes to horror. Frankenstein was always best played by WilliamHenry Pratt (a.k.a. Boris Karloff). I can’t imagine Imhotep, Dracula or FuManchu as anyone but Christopher Lee. Peter Cushing was the epitome of evil andgood. And my all-time favorite British horror character is still BernardQuatermass (the slug monster in TheQuatermass Experiment sort of fits the vampire bill as it sucked the lifeout of unsuspecting people).

I was sad when Hammer went intohibernation. Although it occasionally comes to life (for 2010's Let Me In) and for the upcoming The Woman in Black, I fear those filmsare Hammer in name only. I won’t hold my breath hoping to see the campy,atmospheric films I grew up on.

Maybe one day some British Hammer horrorlover will take up the reigns and adapt Huntersto the silver screen, with a nod to the days of old.

Until then, I will resurrect my Hammer filmcollection (the ones with the original British titles, not the Americanizedversions).

Gregory's first guest post can here

http://thegingernutcase.blogspot.com/2012/01/guest-post-by-gregory-marshall-smith.html

A GUEST POST BY GREGORY MARSHALL SMITH

2012-01-23T17:59:00.000Z

Say hello to Gregory Marshall Smith, Gregory has kindly stopped by as part of his blog tour, for his new book Hunters.

Hunters

By GregoryMarshall Smith

Once,Lin Tang was a naive teenager, keeper of an ancient mystical art on an isolatedmountain in China. In one rebellious moment, she left her home for the brightlights of Shanghai. Just as quickly, her naïveté turned her into a creature ofthe night, concubine for one master after another until she fell into the handsof Louis Riordan. Then, after many painful hours of training with sensei LoChang, she transformed herself into Riordan’s lethal enforcer and one of themost feared vampires in North America.

Her old life lost to her, she has made the most of her new one, building a miniempire of power and respect. But, it is all about to end. A band of humans hasdared to challenge her master, Riordan. Even worse, unbeknownst to her, one ofthose humans is Cantrell Ryker, her most hated enemy, literally returned fromthe grave. Soon, Lin Tang will be in the most important fight of her life, forthese humans, these Hunters won’t stop until they’ve taken her very soul.

Excerpt

Lin Tang’s sword never connected with Jessie’s head. A sharp soundcoming out of the darkness stopped her mid-strike. The sound repeated atregular intervals and echoed throughout the cavernous warehouse. A perplexedLin could only make out a silhouette stepping into the light, clapping itshands in a way that was more sarcastic than congratulatory.

“Ican’t believe they wanted to leave me behind for this mission,” Cantrell Rykersaid as he stepped fully into the light. “Clearly, they needed all the helpthey could get, right, Lin? You should know because, obviously, the half-deadsweren’t all you trained them to be,either. Apparently, man cannot live by undead alone.

“Yourhalf-deads look pretty tranquilized. Of course, my people don’t look so goodeither. I’m guessing those swords give you the edge. Thank you very much. I’llbe here all week. Remember to tip your waitresses.”

Linstepped away from Jessie, swinging her sword menacingly as she sized up hernewest opponent. Clearly, she didn’t recognize him. She also wasn’t laughing athis humor.

“Notin the mood to laugh, eh?” Ryker teased. “Well, it’s not like you paid to getin here. Of course, your half-deads did, though I’m guessing they didn’t getthe two-drink minimum. Before I forget, Diane, would you please take thatcattle prod away from my teammate’s head?”

“Ah,we have someone with a sharp wit,” Lin noted. “Perhaps I can do something tocut you down to size.”

“Yeah,Lin, I’m going to recommend you keep your day job,” Ryker said. “And Diane,didn’t I say to get the cattle prod away from Kelly’s head? It’s attached toher shoulders and we need them to cry on.”

Kellygasped, eyes wide, caught off-guard by the remark despite the dire situation.

Rykertook a few steps toward Diane, who realized he meant business and moved away fromKelly. No doubt, she was intimidated by his imposing appearance. He had battledress black on, and wore a heavy blue and black leather biker jacket. Strangelyenough, the sleeves of the jacket’s forearms were bulkier than normal. He alsowore thick black gloves with extra padding on the knuckles.

“Hey,I’m over here,” Lin warned. “My chief half-dead is off-limits, whatever yourname is.”

“Oh,Lin, I am so disappointed,” Ryker replied, facetiously. “Don’t tell me younever bothered to put a face to the name? That’s really unprofessional.Especially, since I’ve been after you for such a long time.”

Linstepped away from the downed Hunters and angled her way under a lamp to get abetter look at her new foe. He had clearly piqued her interest with his cockinessin the face of long, if not impossible, odds. By the way she furrowed her eyebrows, she was clearly trying to place his face.

“Ikept a low profile while I searched,” Ryker continued. “Now, it turns out thewoman who hated me the most, never knew what I really looked like. That’s likea shot to the heart. Or two in the kneecaps.”

Lin’sface lit up.

“CantrellRyker,” she remarked, barely holding back long-buried tensions. “You bastard.”

“Yes,ma’am,” Ryker said, with alarming casualness. “In my case, an accident of…no,actually, my parents were married. Anyway, you, ma’am, you’re a – well, noyou’re not because you’re female. You know, I really don’t know where I’m goingwith this.”

Linreached back and whipped out her other sword. She glared at Ryker with ananimalistic intensity that seemed completely out of character to her normaldemeanor. If Ryker saw it, he didn’t let on that it affected him in any way.

“Letme tell you where you are going,” she snarled. “To the ninth circle of hell.”

Linlifted her swords and inched closer to Ryker. He responded by snapping his leftarm downward. Almost on cue, a long piece of cylindrical, but solid metal sliddown into his gloved hand. He gripped the rod, snaking his fingers through thehandle guard that enclosed the rubber grips at the end of it.

“Youwere hiding from me,” Lin stated. “You deprived me of revenge for my sensei, LoChang, for three years. I will make you wish you stayed dead.”

Withhis right hand, Ryker reached behind his back, going up under his heavy jacketand pulled out a long, rather wicked-looking knife. It was curved and gleamedin the light, from tip to the hand grip. The thing was slightly less than halfthe length of Lin’s blades, making both Diane’s and Kelly’s jaws drop. Even Linhad to take a second look at a blade that looked solid enough to parry her own.

“Okay,Lin,” Ryker stated, simply. “Only one of us is walking out of here. And it’snot going to be you.”

“Youreally think you can take me, Ryker?” she asked, in a voice that dripped withpure venom. “Fat chance.”

“You,of all people, should know not to underestimate an opponent, Lin,” Rykercountered. “I might not be as strong as Miss Morales. Or, as experienced incombat as Mr. Van Niekerk. Or, as tough as Mr. Wesley. But, I survived forthree years in hiding, taking out everyvampire whose path I crossed. Single-handed.”

“Enough!”Lin screamed. “It’s time to die!”

“Well,we should all have a dream.”

*************************************

Above Kane’sbody, the two silhouettes stopped. One steppedforward, into the moonlight, pulling something long and shiny from somewhere onhis person. He raised it and, with one swing, made sure Kane would never takethe blood of anyone again.

“God, I hate it when you do that,Ryker,” said the woman next to him.

“Show some backbone,” the mancalled Ryker snorted. “For a change.”

The woman glared at him, butstopped when she heard a moan nearby. She played her flashlight back into theshadows. Cursing, she moved over to Heidi’s body.

She didn’t pay attention as Kane’scorpse suddenly flared up like a match, dying out almost as quickly. Caringonly about Kane’s victim, she called Ryker over to her.

“What about her?” she queried,sounding forlorn and sad. “She’s lost a lot of blood. She’s well into the turn.You know we can’t let that happen.”

“No, we can’t,” Ryker agreed. “Butshe might be one for the doc.”

“Always the pretty ones, rightCantrell?” the female commented, with disgust.

“Au contraire. I saved you, didn’tI?”

Glaring at him, the woman foughtthe urge to hit him with her flashlight.

“Very funny,” she said finally.“Okay, check her out then. If you think she’s worth salvaging, we’ll take her.But, if she can’t be helped, you’re the one who has to finish her.”

“So I have to do all the work, eh?”Ryker commented. “What else is new?”

Ryker looked down into Heidi’seyes, feeling pity instantly. He knew she was yet another innocent victim, in awar she didn’t know had been declared. He saw her eyes darting wildly side toside, as if the brain behind them could not handle what was happening to it.Shaking his head, he checked her throat, touched her carotid artery, and lookedat her skin pallor.

“I’m truly sorry about this, Miss,”Ryker said. “I really am. But, it’s war and everybody dies.”

As he lifted his obscenely longknife into her field of vision, her eyes stopped darting and grew wide in starkfear. Breaking contact with her almost pleading eyes, he lifted the knife andbrought it down toward Heidi’s head.

***********************************

Rykerfrowned.

“Comeon, Marcus,” he cajoled. “You, of all people, should be on my side. Or least,able to see things from my viewpoint. We might never get another chance likethis. Sixteen – count ‘em, sixteen clan masters in one place. We can't let agolden opportunity like this slip away.”

“Doesn’tmatter, my friend,” Marcus shot back. “The decision has been made and we willall abide by it. Cantrell, we asked you into this group because we needed you.We need your expertise, but we need to know if you can stick with us, even whenthings don't go your way. Can we count on you?”

Rykersaid nothing. He turned away and walked up to one of the windows on the garagedoor. Looking out through the dirty glass, he saw the traffic on Jacksboro Highwaywhizzing by. All those innocent people,he thought.

Heabruptly moved to his right, aiming for a red button on the wall that wouldmake the door lift.

"Ican't let you do that, Cantrell," Marcus blurted.

"Oh,so I don't like a decision – I'm an ungrateful jackass," Ryker sniped,without turning to look back. "But, if you don't like a decision, it'sokay? You know what, Marcus? I'd tell you to fuck yourself, but you've gotAngelica for that."

"Why,you ungrateful piece of crap," Angelica snapped.

"Now,now, Angelica, I'm sure that's just the steroids talking," Ryker said,mockingly, as he went back to trying to open the garage door. "You guyscan keep my stuff. I'd rather leave it than spend another minute with a bunchof cowards."

"Thatis enough!"

Marcus'words boomed throughout the garage. Ryker stopped reaching for the red button,instead, let his hand drop. He was no fool and his hearing was still as good asever. He mentally sifted out Marcus' booming voice and keyed on a sound soslight anyone without his experience would easily have missed it.

"You'dbetter pull that freakin' trigger now, Marcus," Ryker snorted, aftertaking a deep breath. "If it's come to that, this group is completelyfinished."

Nosound came. Turning around slowly, Rykersaw Marcus pointing a large ominous black revolver right at his head. Herecognized it as a .454 Casull, normally a hunting pistol. The bullet wouldn'teven leave enough of his head for identification.

"Alwaysthe mercenary, eh, Marcus?" Ryker said rather calmly. "Nothing ornobody interferes with the mission. Not even a colleague. I guess the vampireswin. Again."

Nextto Marcus, Angelica was freaking out, unsure of what to say or do. BehindMarcus, Manuel had the phone receiver in hand, no doubt calling everybody up tothe garage. Soon, a half dozen, or so, guns might be pointed at heads in thisMexican standoff.

Ifthat were to be the case, he wouldn't go down alone. When he'd turned, he'dsnuck his right hand up inside his jacket and onto the Czech Skorpionsubmachine pistol in his other shoulder holster. He'd already decidedthat his regular nine-millimeter Browning was too small to compete with a .454.He pointed the Skorpion right at Marcus, knowing if he fired, the spray patternwould undoubtedly take out Angelica and Manuel as well.

Forwhat seemed like an eternity, but was actually just a minute, the two men stoodopposite one another, perhaps seconds away from tragedy. Neither was willing toso much as blink. Next to Marcus, Angelica was frozen with fear. Nothing in herdays as a bodyguard ever prepped her for such a situation.

"Youbloody, conceited, arrogant bastard," Marcus finally said, after a bead ofsweat rolled off his forehead and into his eyes. "I will not let youjeopardize this mission, put the gun down – right fucking now!"

"Makeme!"

Adifferent sound suddenly entered the garage and Angelica stepped forward, evenas a look of utter fear spread across her face.

"No,don't!"

A loud boom echoed through the garage and out intothe once silent night.

Aboutthe Author

GregoryMarshall Smith, raised in Medford, Massachusetts is a decorated Navyveteran and 30-plus year journalism vet. He is the author of the novellas Crawl, Slow Boat to China, The 11thHour and They Call the Wind Muryah, alongwith two anthologies. His short stories have appeared in Farspace 2, Ikiryō, Starlight, YokosukaNights, Writer’s Bump, Far Side of Midnight, True Horror, Separate Worlds,Mini-World and SFH Dominion,among others. Hunters is his latestnovel.

Never married, he currently resides in South Carolina wherehe hosts a radio show, acts in movies and television, volunteers and coversblack college sports.

Gregory welcomes email and you may contacthim at greg@redhotpub.com.

You can also find him online at thefollowing places:

Facebook: http://www.facebook.com/pages/Gregory-Marshall-Smith/235156183217900

Twitter: https://twitter.com/#!/futrboy

Writing.com: http://Writing.Com/authors/futrboy

An Interview With Andrew Hook

2012-01-23T08:57:00.002Z

Today folks we have Andrew Hook, popping in for a chat. Born in 1967, Andrew has had over 90 short stories a couple of novels and his own publishing house under his belt.

Hi Andrew, how are things withyou?

Things are goodthanks. It’s going to be a busy year for me as a new addition to the familywill be appearing at the end of April. At the moment I’m converting mylong-term writing room into a nursery!

You describe yourself as a writer of Slipstream Fiction, canyou please tell us what you mean by that term?

For me, it’s fictionwhich picks from other genres but harnesses them to a more ‘literary’ stylewithout being pretentious about it. In a nutshell, fantasy without elves,science fiction without science, and horror without vampires. It’s more of aneveryday kind of weirdness. I haven’t set out to write this genre, it’s morethat I discovered the stuff I was writing fit into that definition. This initialdiscovery came about in the mid-90s when there was a mini slipstream movementin the UK independent press, with Chris Kenworthy’s Barrington Booksanthologies and the emergence of The Third Alternative magazine (latterly,Black Static) at the forefront of this movement. However, that was just mypoint of entry – I’m sure you could argue slipstream existed long before thatand other writers will have other definitions of the term. For my writing,though, it fits as comfortably as an old sock, so I stick with it.

And who would you say are someof the best examples of Slipstream writers?

Some of these writersmight well argue they are nothing of the kind, but I would include work byHaruki Murakami, Jonathon Carroll, and Nicholas Royle. And in the independentpress: Nina Allen, Allen Ashley, Tim Nickels and Douglas Thompson.

Do you think that as consumerswe get too caught up in genre titles?

I think people knowwhat they like and stick to it. That can also include me. And genre labels arean easy way to identify what you are goingto like. However, when writing I also feel that genre labels can be restrictiveand suffocate creativity. I guess they’re fine as indicators, but readingacross a broad spectrum is just as much fun.

What have been the biggest influences on your writing, bothwithin and outside the genre?

My main influenceshave been reading from an early age and then discovering punk and surrealismwhen I was a teenager. I’m sure it was these that drove me to be creative, tohave confidence in my abilities, and to strive against society’s conventions inthe process. So these combined contributed towards the urge to write. In termsof authors: Nabokov, Kafka, Tom Robbins – these were the three main authors whohad ideas which I think have gone on to influence my work. Themes of identity,individuality, immortality, and the way the outer world works around the innerworld of ‘self’ are at the heart of many of my stories. Also, I’ve a passionfor French New Wave cinema, and several stories have spring-boarded directlyafter watching Jean-Luc Godard movies in particular. In terms of genre,watching BBC 2 black and white horror/SF double bills back in the 70s were nodoubt an influence. In fact, I’d say predominantly my genre influences comefrom films rather than books. And recently, my partner’s dreams have had guestroles too!

You first got into writing in 1987, thanks to theGovernments Enterprise Allowance Scheme. What prompted you to take this route?

I’d given up a job togo travelling for a few months and when I came back I knew I didn’t want tostart working again. I’d had it in the back of my mind that I wanted to write –as did the friend I’d been travelling with – and somehow we heard about thescheme and it seemed a good time to do it. As I was living with my parents fundsweren’t a major issue and it bought me time to write without technically beingunemployed.

Was there an application process for it? And if so, did you ever get any funny looksfrom them when you said you wanted the allowance to write?

It was basically ascheme to get the jobless off benefits and to start their own businesses. Ithink you had to have a grand in the bank – borrowed from my folks and paidback immediately after the application was successful – and then you got £40 aweek for one year which must have been higher than the jobseekers allowanceequivalent at the time. I can’t remember any funny looks – probably because Ihad a naïve and unrealistic expectation of how well I was going to do and thatenthusiasm carried over into the people I was dealing with. In retrospect, myknowledge of how publishing works must have seemed quite comical – I’m stillwaiting for that overnight success!

Did they put any stipulations onwhat you had to do?

Once the applicationwas successful, I think someone visited me for a chat about halfway through theyear. Other than that, I was left alone to get on with things.

Looking back at it do you think it was worth doing? And did you learn any valuable lessons fromit?

Well, it bought me ayear to write during which I penned two novels. Looking back I can see thatthey would never sell, but I think the opportunity to write them gave me theimpetus to keep going and effectively sluiced a lot of cliché out of my system.At that time, if I’d been trying to write whilst also working I think it wouldhave been harder to continue. I’m glad I did it, because it also got me out ofthe rat race for a while. It certainly gave me a kick-start and I know otherwriters who also benefitted (I believe Mark Morris started that way too).

Does writing come easy to you? And I don’t just mean the process of comingup with ideas. Can you sit down andfocus on the job, does the story flow out of you in a useable form, or do youhave to fight for each sentence?

Nowadays it comeseasy. As I tend to write short stories, once a rough idea of what I’m going todo forms in my head then I can write a fairly polished draft in one sitting.Other than changing a few words and sometimes tinkering with the ending, that’sdone. When it comes to novel writing it’s harder, but once I’m in full flow thewords tend to come - in fact, writing novels I do exclusively between telephonecalls from the public in my call-centre day job. I generally don’t need to do alot of editing, and the first draft is often spot on.

You say that you prefer writingshort stories over novel length ones. Why is this?

Immediatesatisfaction. I’ve written short stories that have been accepted – and in someoccasions paid for – within 48 hours of writing them. A novel takes a minimumof four months for me and is a lot harder to place. Plus I think I have ashort-story brain – it’s easier for me to conceive and write them.

So what makes for a good shortstory?

The exploration of acentral idea or concept which can be dealt with succinctly with the minimum ofpivotal characters. Generally, for me, short stories are more plot thancharacters whereas in novels the emphasis tends to be the other way around.

And what would be your favourite three short stories of alltime by other authors and your three favourite short stories by yourself? And why?

That was a bit of astruggle. Partly because I find it difficult to remember specific stories, butconversely also because there are so many to choose from. Eventually I’ve gonewith those that have stuck in my mind for years even though I’ve never re-readthem. These are “The Return of the Moon Man”, by E L Malpass (a humorous storyabout a rocket which falls on Welsh farmland), Borges’ “The Garden of ForkingPaths” for it’s intricate hypertext, and Kafka’s “Blumfeld, An Elderly Bachelor”– another funny piece about a man who arrives home from work to find two smallwhite celluloid balls with blue stripes jumping up and down in his living room.It’s how Blumfeld interacts with these balls which makes the story so bizarre,and the concept seems much more modern than the time it was written.

In terms of my work,I’ll always have a soft spot for “Pussycat” (my first published story), “YourGolden Hands” (this was published in PostScripts and is one I usually pick forreading events as it’s quite descriptive and powerful), and “Vole Mountain”(first published anonymously in Nemonymous) because others have also said it’sone of their favourites.

You have something like 90 short stories published to date,where do you draw your inspiration from?

It can come fromalmost anything. Sometimes a piece of dialogue, or a story title, or a newsitem I’ve seen, or a general feeling. I can’t interact with the world in anyway without being susceptible to story ideas. Generally I must have a titlebefore I can do anything else, and usually a couple of ideas I’ve had floatingaround then connect with that title. It’s a little magical, to be sure. Forexample, the most recent story I wrote (“The Quickening” to be published inShadows & Tall Trees, which is – in fact – my 100^th acceptedstory) was based on three separate things which came together. The title itselfis a term sometimes used in pregnancy when the first foetal movements are felt.I liked the sound of it and Google also suggested the word has been used as anindication of the end of the world. At the same time, on my way to the day job,I started noticing people who were limping. Each day there appeared to besomeone new. I liked the idea that incidences of increasing ‘limpers’ might belinked to some event. And finally I’d had an idea for a while of someonefinding a foot inside a shoe. These three ideas suddenly congealed together inmy mind, and “The Quickening” was the result.

With this number of published short stories, you must have,just by the law of averages, knocked up a fair few rejection letters. How do you cope with them? Can you brush them off, or do they linger onyour mind?

I brush them off. Assoon as a story is rejected I send it out somewhere else almost immediately. Imight swear a bit first, but that’s it. Rejection letters for novels tend to beharder to deal with because there’s more riding on an acceptance than there isa short story. If it’s a positive rejection with some detail then I mightre-read it a few times, but at the end of the day it’s still a rejection andbeing “close” is no better than being “miles off” when it comes to asubmission. You just have to knuckle down, resubmit, and wait for theacceptance.

What’s your biggest nit pickwith rejection letters?

Well, none really. Iguess my biggest nick pick with submissions, however, is when you don’t get areply at all!

Which story are you most theproud of getting published and why?

Again, it’s difficultto pick one above any others, because by the time it’s accepted and thenpublished I’m already a few stories down the line. If pushed, I guess I’d say“Bigger Than The Beetles” which was my first story to be taken by PostScriptsas I consider that a major genre market to have broken into. They’ve sincetaken another four stories.

Have you ever framed anyacceptance letters?

Nope. For me, thesatisfaction of a shelf full of publications that I’ve appeared in is enough.

You have written several novels, what was it about theconcepts of these stories that made you expand them to the novel length?

Its how the ideapresents itself to me. It will be evident quite quickly whether it’s an ideafor a novel or something which can be dealt with in a short story. So theyweren’t short stories ‘expanded’ to novel length; they were novel length in myhead to begin with.

Moon Beaver, was yourfirst published novel. Can you tell uswhat it’s about?

Moon Beaver is a comicsatire about an individual against the Company, about searching for immortalityand meaning in a consumerist world. Other than the immortality fantasy element andmusings around losing track of time I guess it’s not necessarily a genre novel,and is heavily influenced by my reading of Tom Robbins at that time. MoonBeaver is the main character, a trippy female who believes she can remain youngby constantly travelling (“if you lose track of time, then time will lose trackof you”), who picks up a guy and takes him around the world until he realisesthat her personal vision is less than satisfactory.

You finished writing it in 1999, and it was published in2004. How relevant do you think thethemes of “self”, that the book deals with are today?

It took a while forthe book to get published, and eventually was picked up by ENC Press in theStates who were the perfect publisher for it. I think the themes of ‘self’ arejust as relevant as they ever were – perhaps even more so now that we’re sowilling to give ourselves up to technology – and whereas the Company might nowhave been replaced by the hive-mind of the internet, the same concerns of whatit is to be human – and mortal – have remained. Incidentally, this titleremains in print as an e-book from the same publisher.

Have you ever considered doing afollow up?

Nope. Partly becauseI feel I addressed all I wanted to within that novel, but also because mywriting style is quite different nowadays. It would be hard to get back intothat mindset. It’s been 14 years since I wrote it and whilst the core beliefsare still something that I hold I think it would only be worth revisiting thosecharacters if they had lost those beliefs. Unlike them, I’ve moved on.

And how did you come up withname?

I was working for theNorwich County Court at the time. There’s a firm of London solicitors calledMoon Beevor. I couldn’t help but use it!

This year should see the publication of Slow Motion Wars, acollaborative effort with Allen Ashley. How did the two of you worktogether?

I’ve known Allen fora while – initially by name only as we were published in similar magazines fromabout 1994 onwards, and then we met at a convention and became good friends.Both of us had several half-story ideas kicking around which we’d never completed,and someone else suggested we should collaborate as our styles and outlook weresimilar in some aspects of our writing. So, we wrote one story, “AbattoirGirl”, as an experiment, and then continued and wrote just over a dozen storiestogether. Either Allen or I would start the piece, then we’d email back andforth writing sections at a time until it was completed. It was quite anorganic experience – we created a third voice between us – and now I can’t oftenrecall who wrote which section. I’m looking forward to the book appearing (fromScreaming Dreams sometime this year) as it’s suffered a few setbacks with otherpublishers’ en-route. Also, that collaborative period ended a few years back,so it will be great to see it formally concluded with this collection.

You have also written a zombie novella, And God Created Zombies,does this follow the traditional zombie rules?

If we’re talkingabout the George Romero rules, then yes. My zombies don’t run and are disposedof in the conventional manner. If zombies win any battles then it’s by sheernumbers rather than skill. Other than that, the entire novella turns theconventional reasons for the appearance of the zombies upside down – but Ican’t reveal more with giving away the denouement.

Sarah Pinborough wrote theintroduction for it, how did you go about getting her for this?

I’ve known Sarah for a few years and contacted her about it. She washappy to do the intro – in fact, it was the first time she’d been asked so shewas pretty chuffed.

“Pon the Oldenguine” is described as “one part fictionalbiography of a former television impresario who claims he’s been hounded out ofmedia history, and one part biography of the journalist commissioned to writehis story. Where the tales merge, there is madness.” So who did you base this on?

No one specific, butthis novella is based on several ideas and true events that myself and somefriends have been knocking around for years. We had so much material that wasworthy of getting it ‘out there’, but we’d had never done anything with itother than rehash the ideas whenever we met. I thought it was time to redressthe balance. It’s a piece of nonsense, in some respects, a surrealistic romp, acomedy, an alternative reality, and either highly fantastical or simply thetruth – depending on how you choose to believe it. Basically, the maincharacter claims he used to work for the BBC but all the programmes he wasinvolved with have disappeared. He’s an unreliable narrator in the most extremesense of the term.

What are your feelings on themedia?

It’s there forentertainment. Sometimes it entertains, sometimes it doesn’t. I’m finding lessand less to watch on TV nowadays, and prefer films and books. As far as thenews goes, the older I get the less importance I attach to it. Very few newsitems directly affect us and I find the public’s obsession with their “need toknow” is incongruous with what anyone reallyneeds to know.

Have you found a home for BobbingFor Reality?

Not yet. To behonest, I’ve stopped looking for a home for it. It’s not a bad novel, but I’vemoved on. This question is a reminder that I need to update my website andremove all mention of it! I’ve written two more novels since then which I’mmuch more hopeful about.

Would you consider self publishingit?

That’s not somethingI’d be interested in doing. In this instance, whilst I think it’s publishableI’d prefer it to be picked up by a mainstream or independent publisher or notat all. My success rate with novels is considerably less than that for shortstories. I’ve written seven in total with one published (albeit the two mostrecently written I’ve only just started to market). There’s probably a reasonfor that, and self-publishing it would no doubt make it evident.

Last year saw the release of Nitrospective,can you tell us about this collection?

This is a collectionof twenty-one stories written over the past few years. It includes originals as well as somepreviously published in PostScripts, MidnightStreet, Zahir, Morpheus Tales, and anthologies from NewCon Press and Nemonymousamongst others. It’s a mixed genre collection, so some SF, horror, and crime,all with that essential slipstream twist. It’s my fourth collection of shortstories and – I feel – the strongest so far.

As well as being a writer you also set up ElasticPress. What prompted you to do this?

I had had about fortystories published back in 2002 and for me the next stage was to get some of themtogether in a book. There were few publishers at that time doing single-authorcollections (cheap digital printing being in its infancy), and so I decided toexpand that gap in the market. I realised there were several small pressauthors like myself who were in the same boat so knew there would be interest. Whilstit started off as a hobby with initial titles selling no more than a couple ofhundred copies max, one of our last titles – Chris Beckett’s “The Turing Test”– pushed 2000 copies and is still selling regularly even now.

The press won a number of awards, however you closed thedoors in 2008, what was the reason for this?

Because I felt I’dtaken it as far as I could. As you say, we’d won numerous awards, but I wasstill working a full-time day job and the fun aspect was dwindling. I wanted tostop before I lost that enthusiasm. Not only that but for the first four yearsI could balance my writing and publishing, however during the last two years ofthe press I barely wrote at all. I’m a writer first and foremost, and decidedthat it was time to get back to doing what I wanted to do the most.

So what does the future hold foryou?

Currently I’ve almostenough stories to start looking for a publisher for another collection. For thepast three years I’ve endeavoured to write one new short story a month and ammaintaining a high success rate (out of the eleven stories I wrote last year,eight have already found a publisher). Also, I’ve just written the second oftwo crime novels and am currently looking for a mainstream publisher/agent forthose. Getting lots of positive feedback but no bites at the moment. Fingerscrossed though, because in terms of novels those two books are easily mystrongest work to date.

Many thanks for popping over for a chat Andrew, before yougo though, you get to turn the tables on me. Would you like to ask me one question, on any subject?

This was such acomprehensive interview that I feel like I’ve been grilled, so my questionwould be: what do you most like grilled?

Without a doubt it has to be a good cheddar cheese withWostershire Sauce.

If you click the link below, it will take you to Andrews book page, were you can find links to all his books and how to purchase them

http://www.andrew-hook.com/pages/books.htm

Free E-Book Round Up

2012-01-22T06:49:00.000Z

here's a quick list of free E-books from Amazon UK

Dark forces are afoot in Vinewood, Georgia, a deceptively sleepy town where the dead don't stay dead and a sinkhole is as sinister as it is deadly. Violent events both natural and supernatural build to a chaotic crescendo of horrors that will threaten the entire town and everyone in it.

An odd handful of townsfolk put their lives on the line to save the town—but the darkness may swallow them up before they have a chance.

"Hot and thick, the atmosphere reeks of earth, blood, and decay. The astringent air carries with it a sense of malevolence and resentment. No matter where you look, no matter how shallow you breathe, this town will touch you." —Kelly Tomblin, Horror-Web

Randy Chandler is the author of Daemon of the Dark Wood, the forthcoming mystery novel Dime Detective, and HELLz BELLz. He also co-authored Duet for the Devil with the late t. Winter-Damon and has contributed short stories to numerous anthologies. Randy has been a magazine editor/publisher, a freelance book reviewer, a mental health worker, a gas-pump jockey, an ambulance attendant, a soldier in Vietnam, and a funeral home flunky. He often haunts fields of carnage where angels and devils do battle.

After Angie Chandler's husband dies in a car crash in which she was driving, her life comes undone. Though her soul mate is gone, her memories of Paul linger as she tries to recover at their secluded wooded estate. Ostracized from Paul's family--the only family she has really known--Angie's life spirals down a dark path of alcohol and pills. In the blur of constant self-medication, Angie is in no position to know what is happening to her.

Is Paul haunting her?

Has she gone mad?

Or is there another possibility, something far worse?

‘A house not only haunted by spirits but infested with beings beyond the limits of human imagination’

When four adventurous teenagers go to investigate the supposed ‘haunted house’ out on Mayberry Road, they get more than they‘d bargained for. One boy ends up dead, two others psychotic, and another comatose. The house is not just haunted, it is somehow alive. And extremely dangerous.

Available for the first time on Amazon Kindle, Kealan Patrick Burke's Bram Stoker Award-winning coming of age story The Turtle Boy.

School is out and summer has begun. For eleven year old Timmy Quinn and his best friend Pete Marshall, the dreary town of Delaware Ohio becomes a place of magic, hidden treasure and discovery.

But on the day they encounter a strange young boy sitting on the bank of Myers Pond, a pond playground rumor says may hide turtles the size of Buicks, everything changes.

For it soon becomes apparent that dark secrets abound in the little community, secrets which come cupped in the hands of the dead, and in a heartbeat, Timmy and Pete's summer of wonder becomes a season of terror, betrayal and murder.