For this edition of Spotlight on Horror, a chat with friend and fellow horror writer Ty Schwamberger. I owe a lot to this guy, as he has helped me get my feet wet in the publishing world. Hope you enjoy this interview, and be sure to check out Ty’s work. If you like visceral horror, you WON’T be disappointed. Let the spotlight fall!
Dean Harrison: With an impressive catalogue of published works and even a few independent films under your belt, you’ve established yourself quickly in the horror community. What important steps did you take to get where you are now?
Ty Schwamberger: There are three: I write/wrote a lot. I’m genuine with fans, publishers and fellow authors. I’m constantly looking to make new contacts in the publishing and film industries.
DH: For those not familiar with your work, how would you best describe your writing style?
TY: My stories tend to be character driven. For example, in my novella, The Fields, there are zombies in the story, but it’s really not about zombies. It’s more about the trials and tribulations of the main character, a farmer, whose crops are dying and he is desperate to find a way to save them. There’s nothing better than some undead farm hands to help you out!
I also love taking an everyday situation, put unsuspecting characters in the middle of it, and see what they do when a bad situation presents itself.
DH: Which of your books would you recommend to a first-time reader?
DININ’, if you dig reading brutal shit.
DH: Like many other writers, you have to keep a day job to help pay the bills. How do you manage to stay productive while having to carry the burden of a 9-5 job?
TS: It’s all about being dedicated to your first love – writing. If you want to be a writer, you’ll find the time to do it. Believe me, I know how busy life can get when you have kids, a significant other, family obligations, everyday household duties AND a day job on top of it all. You have to learn how to prioritize or you won’t get anything written. You’ll put off finishing that story or novel because you’re just “too tired from the day job” or “kids are stressing me out” or “(insert whatever else you like HERE)”.
Don’t bitch about it. Shut up, sit down and write.
DH: You’ve helped many beginning writers, myself included, get their feet wet in the publishing world. What would you say were the challenges you’ve faced as an editor of such anthologies in which many of those writers were first featured (Fem-Fangs, Fell Beasts, Relics & Remains)?
TS: I didn’t have a mentor when I started out 5 years ago. I had to go through the good and the bad on my own. I’m sure it would have been a lot easier to have someone to ask those burning, beginning writer questions, but I didn’t. I’m glad it worked out that way, though. I’ve learned a lot along the way.
But, because this business can be cruel to the beginner, I have lent a helping hand to quite a few since that lowly time. And I honestly enjoy it.
For the most part.
There have been a few instances along the way where I’ve been taken advantage by being the “nice author guy.” The last time was only a few weeks ago. You see, besides being an author and editor, I’ve also had two stints at running imprints for a couple publishers. So I know the ins and outs of how to typeset a book, doing the layout for cover art, uploading it onto Amazon, etc. I was contacted by a friend of a friend who wanted to self-publish a children’s book. Ok, not my genre, but that’s fine. I was very upfront about the costs for something such as this. She said she would think about it and let me know. However, during the ensuing days, she asked all sorts of questions and I politely (answered) them. Then I was notified she had posted something on her Facebook wall about putting out the book on her own. I politely posted on her wall that I don’t have a problem with her doing it herself, but to let ME know first before making a public announcement of such. Needless to say, she didn’t get it. She ended up deleting my comment and removing me from her friends list.
But that’s Ok.
Someone like that won’t get far in this business anyway.
DH: It’s clear social media has become an important tool for writers to build readership and relationships with publishers and editors, but it can also come with a price. It can serve as a distraction from a writer’s work or even hurt his/her career. In your opinion, what are the pros and cons of social media?
TS: With the near extinction of brick-n-mortar bookstores, it’s becoming more and more important for authors and publishers to market their brand online through social media. However, there are so many out there, it’s pretty easy to get bogged down with all of them.
However, I think the idea of being ‘distracted’ by social media or the internet in general is bullshit. It’s just laziness. If you really wanted to write something, you wouldn’t have clicked the little ‘E’ icon on your desktop. Instead it would have been the ‘W’ for Word. You wouldn’t be Tweeting or updating your Facebook status about the book you’ve been working on for the past year, you would be finishing the damn thing.
Let’s look at it like this:
6 months is roughly 180 days, right? If you write only 500 words each day for 6 months you would have a novel length manuscript. Pound out 1,000 words each day for three months and you have yourself a novel.
There’s no excuse to not be able to average 500 words a day during any given 6 month stretch. That is, if you are truly serious about finishing that ‘epic’ novel you have dancing around in your head.
DH: What challenges does the up-and-coming writer faces in today’s complicated market?
TS: Visibility. Each day it’s getting tougher and tougher for a new writer to get their work, not only published, but seen by the general reading public.
DH: What’s new on the horizon for Ty Schwamberger?
TS: 2014 will see the release of my creature novel, Deep Dark Woods, an original mummy novella entitled, The Desert, a yet-to-be-announced reprinted novella, along with three audio books. There will also be some non-fiction stuff mixed in there as well for a UK magazine.
DH: Halloween is approaching fast. Just for fun, what is your favorite Halloween memory?
TS: Making a costume from a cardboard box and wrapping it in aluminum foil. It made for the perfect robot.
DH: You’ve made no secret of the fact that the late Richard Laymon was a major influence on your writing. What was it about his style that was so influential, and what is your favorite Richard Laymon novel?
TS: I’ll take the proverbial cop-out here by saying I enjoy all his work. Seriously. It’s all THAT good.
But, yes, his work is a major influence on my own writing. In fact, I would say all but one of my books is in the same vain as his style. That isn’t by design, mind you. It’s just the way it comes out. Simple, concise, excitingly graphic writing. I dig it.
DH: I’ve asked you this before, but it’s become a standard question in these “Spotlight on Horror” posts of mine, and I think the reason is fairly obvious. What, for you, is the appeal of horror fiction?
TS: As a writer and watcher of horrific stuff, I love how someone can take an everyday setting or event, then turn and flip it this way and that to make it downright scary.
DH: Another just for fun question, what is your worst fear?
TS: Not fulfilling my ultimate dream of one day being able to write fulltime for a living. It scares me to imagine myself being 65 years old and having to still go into a day job.
For more information on Ty Schwamberger and his work, visit his website at http://tyschwamberger.com/.
For this edition of Spotlight on Horror, I introduce to you Kate Jonez, horror writer and editor at Omnium Gatherum. Enjoy, and pick up a copy of Jonez’s debut novel, CANDY HOUSE!
Dean Harrison: First of all, tell me about yourself. Give me a mini-bio.
Kate Jonez: I live and write in Southern California. Even though it’s sunny here, I’ve always liked the dark and quirky, so the fact that I write dark fantasy fiction comes as no surprise to my friends and family. Scary is good, but scary alone isn’t enough for me. I write stories that uncover something interesting about human nature. For me that’s more important. I am also the editor at Omnium Gatherum a small press that’s been in business for two years this November. We’ve published some of the best books around including your These Unquiet bones. We’ve gotten 3 Shirley Jackson Award nominations in 2 years so I feel like we’re doing something right. Writing and publishing keeps getting better and better.
DH: When did you first get into writing?
KJ: I started writing semi-seriously in the mid-80s after I graduated (yep that’s what we’re calling it) college, and by semi-seriously I mean wrote a little and told everyone I was a writer. I was also an aspiring painter, fashion designer, photographer, and all sorts of other things. What I was actually was was fairly good at socializing. When I finally shut up and sat down around 1999 I started to get some things accomplished. I wish I had realized earlier how important it is to choose one thing to master. Writing takes focus and going off in twenty creative directions kept me from accomplishing as much as I would have liked. Although, I do know how to do a lot of interesting stuff marginally well.
DH: Who are your influences?
KJ: The list of writers I admire is really long and lists without the whats and the whys aren’t much fun, so I’ll stick to authors who I’ve tried copy or plan to borrow from. I’m fascinated by Kafka’s idea of telling an ordinary story with one thing out of the ordinary. I’m inspired by Annie Proulx’s ability to make a tiny piece of human experience seems so monumental and grand. Her short stories are beautiful things even when they’re bleak. I was recently devastated by Lionel Shriver’s We Need to Talk About Kevin. I didn’t love every single thing about it, but that’s an important thing I’ve learned about books. Sometimes one chapter or two can make a book exceptional. There are more, but I don’t want to hog up your whole blog.
DH: What was your very first story about?
The first novel I attempted to write was the story of an Irish playwright who wanted more than anything to connect with a daughter he neglected as a child. They lived in mirror image worlds, one bad, one even worse, separated by an impermeable membrane. The father tried increasingly dangerous and desperate ways to communicate as he watched his daughter make the same mistakes he did. I never finished that one. It was called Gone Girl. Or maybe it was something else. It sucked in every way. From the cringe inducing fake Irish dialect to the long passages of purple prose and over-abundance of maudlin sentiment, every bit of it was a mess. I am so glad this was not my first novel. Although, describing it now… it sounds like a pretty good concept. I’ve still got it somewhere on 5 ½ inch floppies.
DH:Tell me about your debut novel.
KJ: Candy House is the story of a bright young scientist who moves back home with his parents because his explosive temper has ruined his career. His neighbors are an odd bunch of characters from fairy tales. They live in a hidden world with a separate set of customs and laws. The fairy tale folk are in charge of keeping humans in check. They’ve got all sorts of tricks to keep humans in their place. Or the young man might be sabotaging himself as he succumbs to schizophrenia. Like the tarot deck that provides the structure for the story, sometimes an event can be interpreted one way sometimes the same event could be interpreted as the reverse. Maybe both things are true.
DH: What do you find most challenging about the writing process?
KJ: In the past when I was working on a book, I didn’t read anything else because other authors have a subtle influence that creeps into my writing. Because I’m an editor now, I don’t have that option. Editing is also extra intense reading. I have to be very careful not to mimic other writers’ style or pick up their bad habits. In a second draft, no matter how careful I am, I find some odd word choice or turn of phrase that doesn’t belong to me. I guess in a way that’s an influence too.
DH: Do you outline?
KJ: I outline and then outline again and again until I’ve filled in all the gaps between outline points. Then I have a first draft.
DH: Is it a challenge juggling the duties of a publisher with your own writing?
KJ: In theory publishing is my day job and like most other writers I write at night. I do my best to get 1 hour a day of writing in and 3 or 4 hour blocks a couple of times a week. That’s doesn’t always work out as well as it should. Once Little Visible Delight, an anthology that explores writer’s obsessions is released this November that makes 10 books this year for Omnium Gatherum. My ‘to do’ list is pretty huge.
DH: Are there any hobbies you enjoy outside of writing?
KJ: I’m always looking around for things to add to cabinet of curiosities. “Cabinet” is probably not the right word… “house” maybe. One of my favorite things is the fetal pig in a jar I got last Christmas. I’ve also got a 50s era French biohazard suit. It has to stay outside though, because apparently not everyone wants used biohazard gear in the house. I also like to research obscure and strange historical figures and photograph Southern California. The Mojave desert is one of my favorite spots for photos.
DH: What are you reading these days?
KJ: I seem to be reading a lot of story collections lately. Monstrosities by Jeremy C. Shipp, Shadows and Tall Trees edited by Michael Kelley, The Wide Carnivorous Sky by John Langan, andVampires in the Lemon Grove by Karen Russell. Read all of these. They are all exceptionally good.
Dean Harrison: To get things started, tell me about yourself. Dazzle me. What is the first thing people should know about Brent Michael Kelley?
Brent Michael Kelley: The first thing people should know is I’m the deadliest man in the world with a push mower. Without a push mower? I’m pretty safe. You put a push mower in my hand, though, you know there’s about to be some carnage. Once I pull that starter cord, everything goes dark.
DH: Tell me about your debut novel, Chuggie and the Desecration of Stagwater.
BMK: Chuggie’s the embodiment of Drought on a world called Mag Mell. He’s also permanently intoxicated. When he stumbles on the remote city of Stagwater, he finds himself caught between forces vying for control of the city.
DH: How long did it take you to write it, and what was the most challenging part of the process for you?
BMK: It took a very long time to write that one. I think I tinkered with it for five or six years before I had a completed draft. Back when I started it I didn’t know what it was. Was it going to be a novel? A short story? A graphic novel? At one point, I debated writing it as a long story-poem. If I’d gone that route, I don’t think I’d be finished yet.
DH: I’m going to dump a load on ya here. Hope it doesn’t smell too bad:
How long have you been writing? What got you into writing? What steps did you take on the road to publication? Are they treating you well at Omnium Gatherum?
BMK: A few years ago, I was working a job I didn’t enjoy. Every day for lunch, I’d go down to the park and sit at a picnic table for an hour. To take my mind off my job, I started writing this story-poem about gnomes… a “Gnoem.” It just grew and grew until one day it was finished. I submitted to some folks, and it got accepted for a children’s anthology. I decided I was on the right track, so I signed up for a writing workshop with Jeremy Shipp. I met some new literary pals in the workshop, made good connections. Of course, Chuggie pre-dates the Gnoem by a while. If the Gnoem hadn’t been published, though, it’s possible no one would ever have heard of Chuggie. As far as Omnium Gatherum goes, Chief Editor Kate Jonez has been great to me. She treats me like a princess, bro.
DH: And here’s another one. Brace yourself:
What do you find to be the most challenging part of crafting a story? Describe your process. Do you outline? Write at night? Type while standing on your head?
BMK: For me, the easy part is coming up with a bazillion little notes for clever or twisted things that ought to happen in the story. The hard part is taking those notes and trying to figure out how they fit into the big puzzle, if at all. I do outline. I’m always amused when the story breaks free of the outline on its own, and the original outline goes in the trash. I’ll go a ways without one, but a new one has to be created before the end. I used to like to write late into the evenings, but now there’s a baby in the house so writing got switched from late night to early morning. When I’m in full writing mode, I’ll try to get up about 4am.
DH: Who are your influences?
BMK: Stephen King’s Dark Tower is a huge influence. Piers Anthony. Robert E. Howard’s Conan stuff. Michael Moorcock’s Elric. Frank Herbert’s Dune. Christopher Moore. I’m also a fan of Warhammer 40k books.
DH: Tell me about your shorter work. Where can readers find it?
BMK: I have two short horror stories published at the moment. “Ride” is a story about motorbikes, a collection, and brotherhood. It was published in DETRITUS, a collection-themed anthology from Omnium Gatherum. The other is called “A Friend In Paga.” It appears in an anthology called FORTUNE: LOST AND FOUND. That one is about getting a good night’s sleep. People say it’s quite twisted, which is good. That’s what I was going for. They’re both available from Amazon.com, and everyone who reads this interview should buy several copies. I have a third short story due to be published in an anthology soon, but it’s… not family friendly.
DH: What’s your favorite whiskey?
BMK: Honestly, I don’t drink enough whiskey to have a favorite. If you wanna talk brandy, however, I can tell you I prefer E&J VSOP. Pour that on some ice and sip you some heaven!
DH: I hear you like to paint. What’s up with that? Who are your influences?
BMK: I haven’t had the studio open for a while, but I’m hoping to change that soon. I love painting strange landscapes and monsters, you know? I love bright colors, especially this kind of poison-green I get when I mix Viridian with Hansa yellow. Just like the Dutch Masters, I start with a dark panel and work my way to light. Yes, me and Vermeer are two peas in a pod! Sometimes, a horrific clown on a 4’x4’ panel can be just what the doctor ordered. I’ve been doing some stylized birds, too. Owls, mostly, but some others. Folks seem to like those. People can see some art I’ve done over at http://www.catbat.com/bmk/art/. Animals, landscapes, abstractions… Something for EVERYONE! Except that one guy. He knows why.
As far as influences, we’re talking about folks like Salvador Dali, Yves Tanguy, HR Giger, Alex Grey, Chet Zar, Yang Xueguo, Zdzislaw Beksinski, and Wayne Barlowe. You might not see a lot of their influence in my painting, but they inspire a lot of what happens in my written work. And maybe when I pick up the brush again, you’ll start seeing more of their influence in my paint.
DH: If this were your last day on earth, what would you do?
BMK: I’d tell everyone in the world that I love them and I’d give everyone a puppy and I… I… I… am lying. I’d totally go on a flamethrower rampage.
DH: What do you have in the works now?
BMK: Chuggie’s second adventure, Chuggie and the Bleeding Gateways, was just released in June, so I’m working hard to promote that. I’m especially stoked about it because I’m donating half of my first-year royalties to the American Cancer Society. Right after Bleeding Gateways was released, I went on a three week trip to South Africa. You better believe I got a ton of great notes for Chuggie #3! Yessir, Chuggie and the Prisoner Gods should be ready for readers in 2014.
DH: What advice would you have for young, aspiring writers?
BMK: Write furiously. Get your stuff critiqued. Edit. Read furiously. Get a voice recorder, and go on a long drive in the country. Drink brandy (not while you’re on the drive, though).
DH: What is the meaning of life?
BMK: I’m so glad you asked. This guy in this forum I belong to was asking people’s advice about this problem he’s having. See, he lives in an apartment, and his landlord has told him he either gets his cat declawed, or the cat goes. So I chimed in with a little advice we can all learn from. I said, “Instead of cutting off the claws, why not cut off the whole cat? Checkmate, landlord!” And that’s what it’s all about: one-upping the rotten sons of – Hey, I just realized we both made it through this whole interview without breaking into the deep, colorful profanity we both so enjoy! This is a lot of willpower happening right here. What say we celebrate with a crash course in fine American whiskeys, brandies, and girly-mags?
DH: I appreciate you taking the time to stop by, Brent.
BMK: Thanks for the interview, Dean. I feel like we all learned a lot. Especially me.
Brent Michael Kelley lives in the countryside north of Tomahawk, Wisconsin, with his wife Keri, their son Jordy, and a small zoo of strange creatures. When he isn’t writing, he likes to paint, make wine, and sit around the campfire. He certainly doesn’t get up to anything strange, and if you ever hear he’s been building an army of demon-possessed robots, you may rest assured it isn’t true. Brent keeps his readers up to date on his perfectly normal activities at www.brentmichaelkelley.com and on his Facebook page (https://www.facebook.com/Chuggie.bmk). He assures everyone that many more Chuggie adventures are on the way.
It’s been too long since I’ve posted anything, so here I am. Back to revive the website I left for dead in March with a series I’ve dubbed Spotlight on Horror. What follows is an interview I conducted with an author who has become both a friend and mentor to me: T.M. Wright, the author of such horror classics as STRANGE SEED (1978), CARLISLE STREET (1983), and A MANHATTAN GHOST STORY (1984). I hope you enjoy it. Let the spotlight fall!
Photo courtesy of T.M. Wright
Dean Harrison: Your work is considered by many of your contemporaries to be one of the best examples of the subgenre known as quite horror. Do you agree with this characterization?
T.M. Wright: Yes. I’ve never enjoyed “spilling out” blood and human remains on my pages. I think it’s all about “leaving” more for the reader to think about in regards to my story line and characters. I’ve had some people call me a literary snob, since I prefer to let the reader do more thinking about what’s been written. Edgar Allen Poe is a prime example.
DH: For readers new to your work, how would you define quite horror, and what elements distinguishes it from other subgenres, such as splatter-punk?
TMW: There are times I feel like such a fossil in comparison to today’s writing. I know that I am not a mainstream writer. I never will be. Quiet horror is writing that depends upon less blood and guts with more on an existentialist approach. The late Charles Grant is a fine example of my approach. But, I do think the other styles all have their place in horror. Again it all depends upon how well it is written.
DH: CARLISLE STREET, in my opinion, is one of your scariest novels. It’s been a while since I read a book that actually inspired chills. What would you say a horror writer must do to create that tingly sensation of goose bumps in a reader?
TMW: Put yourself in place of the reader. I know that’s not easy. Also analyze what scares you. Don’t lie to yourself or the reader about these situations. Sometimes the simplest, least stated, situation can be the creepiest because you are letting your imagination take control.
One Halloween my wife and I took Jell-O and put it in sausage casings. We took it out and put spaghetti sauce over it. In a dim light we had the kids walk through and touch casings in a stainless bowl with knives by it. They freaked. They couldn’t see it was a harmless set up. But, their imagination went wild.
DH: What are your thoughts on the supernatural?
TMW: I am not that sure about the supernatural. I try to keep an open mind on it. My wife is the one that believes in it. She refers to herself as a kitchen witch. And admittedly there are “things” that happen I cannot explain with common sense. I say, take it as it comes and enjoy it all.
DH: Much of your work tends to focus on the supernatural. What would you say makes an effective ghost story?
TMW: That depends upon how the reader judges it. Although today it may be more to do your publisher’s editor. And that can be a huge argument from a writer’s point of view. For instance, King’s The Shining works so well because King so successfully draws the reader into the situation where we find our characters, living and dead.
DH: What is the most important aspect of storytelling to you?
TMW: Let the reader become involved as if he or she is one with the story being read.
DH: Many writers stress the importance of outlining. Others have their own methods. What’s yours?
TMW: I don’t outline. For me it’s too constrictive. I make notes about characters and situations. I try to group them as a guideline. I have a sense of my characters and the situations they’re involved in. But, I always find myself changing what I started with. Hence the looseness of my writing. I trust my story line and characters to help develop each other. For me it also takes all the enjoyment out of writing.. But, for many an outline is the only way they write and that’s fine. We’re all different. Use what’s best for your method.
DH: STRANGE SEED and A MANHATTAN GHOST STORY have been optioned for films in the past. Are those still in the works?
TMW: A Manhattan Ghost Story is an ongoing saga with someone somewhere in Hollywood.. It’s a long and absurd story, but typical of Hollywood. One movie company had it and went broke from a fiasco move they produced. Then it went to Disney and what a joke. All was going well until they had someone else write something similar that they produced. So, I have no idea who has the rights. I know Robert Lawrence had much to do with it. I could mention a long list of well-known actors that were attached to it… Ya da…Ya..da. And this has been the polite version.
Strange Seed is still in the works. We’re hoping for the best. If you have interest in the movie there is a website for strangeseedmovie.com. Other wise Hollywood time isn’t a reality time.
DH: Can you recommend something to new readers?
TMW: I wish I could. But everyone has their own favorite. I never have any luck at suggesting a book to someone. It always comes back to haunt me. So, I suggest people to look through my books. See if anything interests you. Enjoy…I hope.
DH: STRANGE SEED was your first horror novel, but it wasn’t your first publication. Tell me about The Intelligent Man’s Guide to Flying Saucers.
TMH: I believed that they were very possibly from this universe or another solar system. Of course now it may be just some hoax. I’d like to believe there is something out there trying to contact us. I did try to write a sequel to it with Rick Armstrong at Animatus Studio in Rochester, New York. But it never got anywhere. We did have a lot of fun doing it. We were in our early twenties and met some characters involved with the early UFO reports.
DH: What have you read lately?
TMW: I have to be able to put most books on the computer, due to my Parkinsons. What I don’t read there, Roxane, my wife, reads me a chapter or two a day. It’s fun that way. We discuss the writing together. Roxane loves fantasy, so I manage to enjoy some of that genre.
I do enjoy your writing, Greg Gifune, Norm Prentiss and David Nial Wilson. There are so many more, but not enough space to name them all. I do read poetry by Weldon Kees, Sharon Olds, T.S.Elliot and Sylvia Plath. Again there are many more.
I would recommend that as a reader, please keep an open mind to what you are reading. Just because you may not understand the writer, doesn’t mean it’s crap.
DH: Where are you in the age of the ebook? Are you a big fan of the Kindle, Nook, or do you still prefer the feel of a printed novel in your hands?
TMW: David Nial Wilson is my main benefactor with the ebook et cetera. My books are out of print and unless someone wants to utilize them, I am no more than a footnote.
I love ebooks and Kindle et cetera. I think they can be used to an author’s advantage. I say, go forth and multiply! Use the net to get your writing out there! But, use it wisely.
If I could hold a book I would. There is nothing like holding a book in your hand(s). And I love the smell of new print or even the nicely aged ones.
DH: You’re a writer, but writing isn’t all you’ve done. You’ve also painted. You have designed book covers and done illustrations for magazines. Tell a little more about that.
TMW: Painting was just a hobby. I got into it more with time. I taught myself. I did do the cover for Blue Canoe by P.S. Publishing. I‘ve done many oil paintings, and drawings. You can see some of them on my Facebook.. In Bone Soup, published by Cemetery Dance, you can see some paintings. Unfortunately, they’re all in black and white.
DH: What is the best advice you have been given as a writer?
TMW: Never lie to the reader, about details of the story and or it’s characters.
DH: What advise would you give young, aspiring writers?
TMW: Don’t let your words get in the way of what you’re trying to say.
DH: Last question, what do you believe is the appeal of horror fiction?
TMW: Pretty much the same as a roller coaster.
Blurbs on the author and his work:
“T.M. Wright is more than a master of quiet horror—he is a one-man definition of the term.” –Ramsey Campbell
“I have been an unabashed fan of T.M. Wright’s since reading his first novel.” –Charles L. Grant
“T.M. Wright is a master of the subtle fright that catches you by surprise and never lets you go. He is one of the finest modern interpreters of the ghost story.” –Whitely Strieber
“T.M. Wright has a unique imagination.” –Dean Koontz
“T.M. Wright is a rare and blazing talent.” –Stephen King
For more information on T.M. Wright and his work, visit his Amazon author page:
Includes my first published short-story, “Chosen Quarry”!
Almost every kid believes there are things lurking under their beds or waiting in the shadows for the opportunity to jump out and attack if they happen to play outside too far into the night. But, as we grow up, we mature and realize there really aren’t things that go bump in the night. Or is there… In this eclectic collection of eleven short stories by some of today’s veterans and up-and-comers in the horror genre; you will uncover things that may revert your mind back to when you were a little kid. You’ll discover: hairy beasts that dwell in caves and wander the wilderness in search of prey, things that slither and lurk in the water, creatures from Hell, people that think they are a monster or an animal, dwarf-beasts, vicious winged creatures and a macabre experiment on an unfortunate soul. But, you can handle all that, right? If you think so, forget about calling for mommy or daddy to come save you if something bad happens… …’cause you’ve been warned. With stories by: R. Scott McCoy, Timothy Moore, Jason Sizemore, Thomas A. Erb, Gord Rollo, Robert Ford, Dean Harrison, Michael West, Adam P. Lewis, Brady Allen, and John Everson