Posts Tagged ‘Paul Tremblay’

Hi Everyone,

The Suspended in Dusk 2 anthology was picked up by a new publisher, Grey Matter Press.   As with part 1 of the series, Suspended in Dusk 2 is anthology of horror and dark fiction that continues examines themes of change and the moments between the light and the dark.

I’m very thrilled to announce that January 2018 will see the publication of Suspended in Dusk 2.

Just check out this sexy terrifying cover, created by the incredibly talented Dean Samed:


The book features and fantastic introduction from British Fantasy Award and World Fantasy award winning author Angela Slatter, in addition to 17 stories from some of the best horror and dark fiction writers today.

Table of Contents:

Introduction – Angela Slatter
Love is a Cavity I Can’t Stop Touching – Stephen Graham Jones
The Sundowners – Damien Angelica Walters
Crying Demon – Alan Baxter
Still Life with Natalie – Sarah Read
That Damned Cat – Nerine Dorman
The Immortal Dead – JC Michael
Mother of Shadows – Benjamin Knox
There’s No Light Between Floors – Paul Tremblay
Another World – Ramsey Campbell
The Mournful Cry of Owls – Christopher Golden
Riptide – Dan Rabarts
Dealing in Shadows – Annie Neugebauer
Angeline – Karen Runge
The Hopeless People in the Uninhabitable Places – Letitia Trent
Wants and Needs – Paul Michael Anderson
An Elegy to Childhood Monsters – Gwendolyn Kiste
Lying in the Sun on a Fairytale Day – Bracken MacLeod

I know Grey Matter Press and myself are really looking forward to getting this fantastic book into the hands of readers in a few months time! Stay tuned!



Hey folks,

One of the awesome writerly people I’ve met in recent weeks via facebook is none other than Kristin Dearborn. I picked up her latest release Woman in White and while I won’t be reviewing the novella, I was pleased to discover an author who was experimenting with story structure, and touching on serious issues (gender politics/patriarchy/domestic violence) while delivering it within the vehicle of a pulp horror tale.  Many thanks to Kristin for stopping by my blog for a quick chat!

Dearborn Head Shot

Kristin Dearborn

Q: You have a new novella out with DarkFuse Press.  It’s called Woman in White.  What is your favourite aspect or part of Woman in White?

KD: Woman in White was particularly fun to write. I got to blend a creature feature kind of campy vibe with feminist issues—especially domestic violence—which are near and dear to my heart. I think the juxtaposition works particularly well blending the “monster of the week” atmosphere with really powerful, flawed, female characters. I had a blast with Mary Beth, Angela, and Lee. I wanted to make the three of them imperfect in various ways: Angela is a domestic abuse victim who’s had an abortion. Mary Beth is overweight and more interested in video games than hunting or being a mom. Lee is career-focused and is sleeping with a married man. These complexities made them fascinating to spend time with in my head.

Q. So in WIW…the mayhem that is going on… is this just a vengeance on the bad men of the town, with a few innocents caught in between, or is there a deeper statement here about patriarchy in general?  Was this a conscious theme you set out to write on or something that developed organically for you?

KD: The idea of Woman in White was inspired by the plight of the male angler fish, specifically as described by a cartoon written by The Oatmeal. The male angler fish, for those of you who won’t click the link and read the cartoon, has a really shit deal. He’s tiny and weak and spends his entire life searching for a female angler fish, who lures him to her with terrifying, wonderful pheromones. He thinks she’s the most beautiful thing in the world even though in order to breed he winds up literally melding with her and losing every part of his identity. I wanted to create a monster that operated in a similar fashion, and in doing so, I found it impossible to avoid gender focused themes. I’m tired of seeing the same old story where a bunch of dudes save the day. I wanted the men in town to be the damsels in distress. In WIW, Jason is one of my favorite characters. In any other book, I’m pretty sure he would be the hero. I think I went easy on him, though…

Q. Do you find it easy to let a story go when it’s time to write “the end”, or even when it is published? 

KD: Honestly, and I feel like I lose author street cred points here, I don’t feel like I have a problem letting this stuff go. I’m well aware it can be tweaked to death, and I don’t want to do that. I think I err on the side of under-tweaking. I like to finish a draft, then let it sit for a while before I let myself or anyone else look at it. I’ll give it a go, send it along to some of my beloved beta readers, then, like a bird, set it free out into the world.

Q. Do you read your books once they’re published? (Simon: Once something of mine is in print, I can’t actually can’t bring myself to read it. It’s bizarre.)

KD: When I see my own work in print, it’s like every little flaw crawls off the page and boops me in the nose. It’s not the same with galleys, those always look great. That said, it’s pretty rad to see a thing I made out there in the world that people can hold in their hands.

Q. Do you find after publication that the creativity tanks have been drained? What do you do to fill them or recharge the creative battery?

KD: I find publication charges my batteries more than drains them. What gets me kinda down is the time when I’ve polished a manuscript (as much as I’m going to) and I’m starting to send it out. That’s not particularly energizing for me. I have a few tricks for my creative batteries: I have found NaNoWriMo a fun opportunity to just pour out something I don’t care about that gives me a chance to practice plotting, pacing, and production. I have never looked at one after the fact, just pump out the words, learn from the experience and forget it. The other thing I like to do is switching between short stories and novels or novellas. The thing that most recharges my creative juices, however, is the act of being in an environment with a bunch of other writers. The Seton Hill University Alumni Retreat in Greensburg, PA and NECON in Bristol, RI are the two I enjoy the most.

Q. You ride a motor bike – When did you get into bikes? I heard something about a rustbucket. Tell me more!

KD: When I graduated from college, I bought myself a non-functioning $600 motorcycle on Craigslist and got my motorcycle license. I was convinced I could teach myself how to fix it and learn to ride. That bike never moved. I was terrible at motorcycles, and kind of gave up on the whole thing. I referred to myself in that dark time as “the world’s least enthusiastic motorcycle enthusiast.” Fast forward three years to my moving to Vermont, where a former boss decided he was gonna sell me his motorcycle. We agreed on the price of one hundred US dollars. Former boss got the bike out of storage, checked it over, then let me know he could not, in good conscience, take any money for the thing. Thusly, I was given Rustbucket, a 1982 Yamaha Maxim 400. (Not to be confused with the Maxim 650 I had a few years later. That thing was a battle tank and I loved it dearly.)



After about a thousand bucks of repairs, I rode Rustbucket for a season, even though its functionality was dubious. Eventually it died and I sold it for $50. I’m now riding a 2013 Harley, and put on many thousand miles every summer (riding seasons are pretty short here in the frozen northland of Vermont). Last summer I survived an incident I’ve been fearing since I first started riding…the dreaded bee in the helmet. I’d always thought a bee in my helmet would just, like, make the bike spontaneously explode. Instead, I lifted my visor and shooed the flying hypodermic needle away and didn’t even stop. Simon shouldn’t have asked about this because I could talk about motorcycles FOREVERRRRRRRRRRRRRRRRRR.


Q: What new or forthcoming books are on your radar? Whose work are you loving right now? 

KD: I’m super super pumped for Joe Hill’s Fireman, Bracken Macleod’s Stranded (I’m a sucker for a wintery story), and Paul Tremblay’s Disappearance at Devil’s Rock. Right now I’m in the middle of Stephen King’s most recent short story collection Bazaar of Bad Dreams. I don’t think it’s got quite the same teeth as Skeleton Crew or Night Shift, but still pretty dang good. Other things I’m pretty into at the moment are James S. A. Corey’s Expanse series. Space opera goodness.

Q. What are your goals in the year or two ahead for your own writing?  Got any story markets you’re trying to crack, or working on a novel or collection or are you working on novel etc? 

KD: I have a couple novels up my sleeve. One with a finished first draft that needs some serious grooming and polishing, one halfway finished, and one in the larval idea stages. It’s all about getting the butt in the chair and producing some words


Check the synopsis below and fantastic praise of Kristin’s Woman in white \ and click the cover image to visit Amazon and pick up a copy!



Rocky Rhodes, Maine.

As a fierce snowstorm descends upon the sleepy little town, a Good Samaritan stops to help a catatonic woman sitting in the middle of the icy road, and is never seen or heard from again. When the police find his car, it is splattered in more blood than the human body can hold.

While the storm rages on, the wave of disappearances continue, the victims sharing only one commonality: they are all male. Now it’s up to three young women to figure out who or what is responsible: a forensic chemist, a waitress struggling with an abusive boyfriend, and a gamer coping with the loss of her lover.

Their search will lead them on a journey filled with unspeakable horrors that are all connected to a mysterious Woman in White.


“Horror born straight from a nor’easter, Dearborn’s Woman in White is a great read for a winter night—with a monster I’ll never forget.” —Christopher Irvin, author of Federales and Burn Cards

“Kristin Dearborn’s Woman in White is a rip-roaring monster tale with sharp-eyed characterization and something to say about the power dynamics between men and woman. Thought-provoking and entertaining as hell!” —Tim Waggoner, author of Eat the Night

“Great stuff! Suspenseful, quickly paced, unpredictable and wonderfully evil tale. Kristin Dearborn’s best yet!” —Jeff Strand, author of Pressure

SiD 2 Title2

Hi everyone,

I’ve been waiting for a while release the table of contents for Suspended in Dusk 2 but all the contracts are in and my hands have been unshackled.  There were a couple of changes to the line up. Unfortunately, Mercedes Yardley and Nikki Guerlain wont be joining us due to other commitments. I do very much hope to work with them both soon on future projects.  As sad as that is, there are some fantastic new additions to the line up whose work I am thrilled to be including in the anthology.

So, without further ado, and in no particular order,…

Suspended in Dusk 2 – Table of Contents

  1. Introduction by Angela Slatter
  2. Deadman’s Road by Joe R. Lansdale
  3. The Mournful Cry of Owls by Christopher Golden
  4. The Immortal Dead by JC Michael
  5. That Damned Cat by Nerine Dorman
  6. Another World by Ramsey Campbell
  7. Angeline by Karen Runge
  8. Mother of Shadows by Benjamin Knox
  9. Love is a Cavity I Can’t Stop Touching by Stephen Graham Jones
  10. Crying Demon by Alan Baxter
  11. The Sundowners by Damien Angelica Walters
  12. Still Life with Natalie by Sarah Read
  13. Riptide by Dan Rabarts
  14. Dealing in Shadows by Annie Neugebauer
  15. There’s no light between floors by Paul Tremblay

Editing continues apace and I’m looking forward to receiving some cover art soon, which I’ll no doubt share in due course!

This book features a few Easter eggs for readers too:

Mother of Shadows by Benjamin Knox is a continuation of the story from the original Suspended in Dusk anthology, A Keeper of Secrets. Ben and I worked hard to ensure it reads very fine as its own standalone tale, but readers of the first anthology should be enjoy the continuation of this story.

In what is becoming a Suspended in Dusk tradition, I’ve included a story which is dark yet also quite humorous, Nerine Dorman’s That Damned Cat.

Lastly,  there are several fantastic art pieces by the incredibly talented artist Aaron Dries,  which will appear exclusively in the paperback version of the anthology.

I am very happy with how this book is shaping up and I know there will be something for all horror readers and readers of dark fiction within these pages.


Simon Dewar



SiD 2 Title2

Hi Everyone,

I’m here to drip feed you some exciting news regarding Suspended in Dusk 2 (forthcoming from Books of the Dead Press, mid 2016).  The open submission period for 2 spots in the table of contents closes tomorrow and so I’ve yet to choose those particular stories, but I can confirm the following authors will feature stories in Suspended in Dusk 2:

Benjamin Knox,
Stephen Graham Jones
Damien Angelica Walters
Paul Tremblay 
Karen Runge
Alan Baxter
Mercedes Murdock Yardley
JC Michael
Nerine Dorman
Sarah Read
Nikki Guerlain
Ramsey Campbell 

Much to my delight, the anthology will be introduced by the British Fantasy Award and World Fantasy Award winning author, Angela Slatter.

In addition, the paperback edition of Suspended in Dusk 2 will feature 5 interior illustrations by the seriously talented artist of the macabre, Aaron Dries.  I’ve just received Aaron’s illustration of Stephen Graham Jones’ story in my inbox and I’m really blown away.  If all goes to plan I’ll share one of the images on my blog before the book goes to print so you can get a peek at what’s in store.

Final announcement regarding the stories chosen from the open submission will be made by the end of March 2016. In addition, any other tricks I have up my sleeve will be announced at the same time.



Next stop on the WIHM terror train is at Heather Herrman’s station. Everybody clap your claws together for Heather.


Q. Tell us a little about yourself and your background?

I grew up in Kansas prairie-land and from there have moved around quite a bit, living in South Carolina, the deserts of New Mexico, Portland, Oregon, and I now live in Omaha, Nebraska. I like the adventure of seeing new places, though now that I have a kid, that may change.

I’m heavily influenced by my family and their history, on both sides. My dad’s ancestors are Volga Germans, and there’s this gorgeous history of their struggles to find a homeland as they moved from Germany to Russia and then to the United States and Kansas, all the while maintaining their heritage through stories, songs, and food. My grandpa had a heavy German accent despite being born in Kansas. Some day I want to write about one of the Herrman children who was born in Russia back in the 1800’s and kidnapped by Cossacks only to be returned unharmed. I think there’s some hidden werewolf action that needs to be explored.

My mom’s side of the family consists of Kansas farmers and artists, and her parents’ love story also deserves its own book. My grandmother grew up motherless and basically had to take care of her siblings. She is a poet and author in her own right and one of the smartest women I know. When I was a kid, I’d sit on the porch-swing out back of their farm, and she would tell me stories about homesteading there, like how my great, great-grandfather would run forty-five miles each weekend to work in a butcher shop and then run forty-five miles back to farm. My grandpa grew up on this homestead and farmed full-time but also played stand-up bass with a touring jazz band. This mixture, from both sides, of honoring story and art along with the importance of home and land very much shapes me and my writing.

Q. What draws you to horror generally, and was there a defining moment where something made you think “Fuck it, I’m writing a horror story!”?  

My fiction has always contained dark elements, and I think that’s because I was so influenced by classic children’s literature, which is often incredibly dark. I still remember a Hans Christian Anderson fairy tale about a girl who buries her lover’s head in a flowerpot. But what draws me to horror is, in fact, its hopefulness. This may seem counter-intuitive, but I like that horror grants us the ability to explore serious issues of society in a fresh way (think Romero’s zombies for consumerism, for example) while also letting us experience the role of the Everywoman as she moves through the gray area that is the messy reality of good and bad.  Good horror—good art—grants us a small revelation of what it means to be human. And that, I think, is well worth reading for.

Q. What is your favourite horror story and what about it specifically rustled your jimmies? 

That sounds really naughty. I like it. My jimmies were very rustled when I read Leonora Carrington’s short story “The Debutante” for the first time, which features a girl eating a bunch of people. I first read it in a fabulous collection called What Did Miss Darrington See?: An Anthology of Feminist Supernatural Fiction edited by Jessica Amanda Salmonson. Salmonson’s introductory essay to the collection is phenomenal, and really encouraged me to assume a new perspective concerning women in horror. Salmonson points out that while we often think of men as the “fathers” of the genre, in fact, during the late part of the nineteenth century and beginning of the twentieth women were actually producing the majority of supernatural fiction, inspired largely in part by the inequality they experienced in everyday society. Supernatural fiction allowed these women authors to explode that reality and explore the problems and possibilities within it. Sadly, much of their work has been lost or forgotten, and so when we talk about horror we forget to give them credit as genre pioneers.

Q. What have you written? And what is your personal favourite of your own work?

I’ve written several short stories as well as a couple of novel-length works while I was getting my MFA in writing. I published a few of the stories but never the longer manuscripts, and after leaving grad school I began exploring the dark waters of horror with Consumption, my debut novel, published in May by Hydra/Random House. My other published stories—such as one about an ex-con who has just been released after pleading no contest to a count of child molestation and is greeted by a visit from his brother and his brother’s underage children—found homes in more traditionally straight literary/academic journals, but I think they could just as easily have landed in some of the horror markets. In terms of my favorite of my own work, it’s probably a short story called “Monsoon” that I published in The South Carolina Review several years ago. The story won me a scholarship to the Prague Writer’s Program to study with Holocaust survivor and author Arnost Lustig, which was life-changing. “Monsoon” is a magical realism love story, and I was still a young enough as an author and individual to just let it breathe without crushing the life out of it with experience and technique.

I’m also very attached to Consumption—I pumped several years into writing and editing that book—and was thrilled and honored to see it recently listed on the Preliminary ballot for the Bram Stoker Awards.

Q. Do you have a favourite form or media for story telling?  E.g Short story, Novel, Audio drama or podcast, audiobook

I love the long novel. My first draft of Consumption was over six hundred pages and had to be whittled down extensively. But as a reader I like to get lost in a world for a long time and not come up for air, so that’s the kind of experience I want to grant my readers. That said, I am also very fond of novellas.

Q. What are you working on at the minute?

I’ve got a few novellas in various stages of completion simmering on the back-burners, but my major focus is a new novel, Til Death. It features a struggling couple at a marriage retreat who has a run-in with a serial killer. I’m having a lot of fun with this one. The tone is a little Gone Girl, a little old-school Clue, with some Silence of the Lambs thrown in for seasoning.

Q. Who is your favourite woman writer?

My favorite writer, woman or not, is Katherine Anne Porter. Her novellas blow me away every time I read them. Noon Wine is incredible. I’d follow her closely by Leonora Carrington, Alice Monroe, and Muriel Spark (you want a truly thrilling murder book, read The Drivers Seat). In terms of current authors, I love all of Kelly Link and Sarah Langan’s work, Sara Gran is fabulous, and Helen Oyeyemi is a genius. Alyssa Wong is newer, but I’m excited by everything of hers I’ve read.

Q. Are there any projects involving other women that you’re looking forward to or would like to get on board with? 

I’m always up for collaboration. In this business, I think that you have to be. Writing is a lonely job, and if you stay locked away in your own little room you are going to go nuts (which may be good for writing horror but probably not for your soul). I recently collaborated with my agent, Superwoman Barbara Poelle, in teaching a class at the Loft Literary Center, which was a hell of a lot of fun. Everyone from that class really bonded. There’s a follow-up writing group from the class, which is pretty cool. I also have a dear friend in Omaha, Emily Borgmann, who shares similar interests with me in bringing literacy to at-risk populations, and she recently started a reading series I read at called Introducing, featuring an established author alongside an at-risk youth from Omaha’s Youth Emergency Services. Very cool stuff, and I’d like to get back to doing a lot more of that in collaboration with other authors. I’ve got designs on starting my own nonprofit some day marrying literacy advocacy, creative writing, and land stewardship, but that’s probably a few years in the future. In the meantime, graphic novels? I’m loving some of the stuff women are putting out these days (Bitch Planet springs to mind), and I’d be thrilled to collaborate on something like that.

Q. What book/s are you reading at present and what is in your TBR pile?

My TBR pile is bigger than godzilla, so I’m not gonna put you through all of that. Right now I’m reading a lot of stuff for the Stoker Awards because voting is coming up soon. Some standouts have been Ellen Datlow’s The Doll Collection Anthology, Kate Jonez’s short story “All the Day You’ll Have Good Luck,” and Paul Tremblay’s Head Full of Ghosts. I also just finished Slade House by David Mitchell, which was, like all his work, phenomenal. I’m looking forward to Peter Straub and Helen Oyeymi’s upcoming collections of stories as well as anticipating the release of new Annie Proulx, Joe Hill, Jim Harrison, and Louise Erdrich books.

Q. What challenges have you encountered that are unique to being a woman in the horror genre, or can you describe some of the  challenges have you faced that are complicated by your gender?

I think much of the challenges don’t come from the readership as much as the publishing industry. There have been several studies suggesting that men don’t read female authors, and it’s harder to get a publisher to take a chance on a woman horror author than a man because a large chunk of the horror readership is, at least in the publishing world’s minds, male. But, you know, every member of the horror community I’ve spoken to has been incredibly welcoming of authors of both genders and eager to read their works. I think there is a general consensus that we’d all like to see better, smarter work getting a chance at larger audiences, but that can be a challenge when you’ve got got horror pigeon-holed as “genre,” and then you get further bogged down with the label of being a woman-genre writer beyond that. I like an interview Ursula Le Guin did when she talked about the problem with arbitrary divisions concerning genre, which is basically that the worst common denominator gets produced and sold then regurgitated over and over again by Hollywood, and so that’s what the genre (she was speaking of sci-fi, but I think the same holds true for horror) gets judged by. That is certainly changing, but I think the culture still exists, and in horror that surface-level status-quo tends to be a masculine one. The really exciting stuff is being done in the seams between genres (literary/horror, extreme/straight, paranormal/epic poem, etc.) by both men and women, but it’s not necessarily always the stuff getting the most recognition by larger publishing houses.

The recent novel Mr. Suicide by Nicole Cushing comes to mind. She’s on the preliminary ballot with me for the Stokers, and I just finished reading her book. Cushing pushes the boundaries of extreme horror to its limit, and she does it in this really smart, well-written way that reminds me of the post-modernist absurdist literature, something like Ionesco, maybe, where the author gives us the extremes to collapse our reality. We are forced so far out of our comfort zones that we have to question the scale of everything happening not just on the page but in our own world—morality, brushing our teeth, having anal sex with a pinhead. Cushing just goes for it, and I love that about her writing.

Q. Why is Women in Horror month important/important to you? 

Well, look, there are two trains of thought on this: either you think separating women out into their own category devalues their work, or you believe spotlighting them as a group writing great fiction but up against systematic prejudice is important. It’s a complicated subject, but coming down on one side, I’m of the latter group. Any chance to celebrate and expand the audience of, and network for, authors is important to me. I think breaking through the conventionally accepted truths like “men don’t read women” or “what women are writing isn’t really horror” is important not for just the horror community—I think many members already know and accept this—but for the larger fiction industry and readership. Exploding boundaries and inviting in new participation by readers and authors to whom mainstream horror hasn’t traditionally been marketed to or written by, will make the genre stronger. We’ve got a long way to go in achieving the inclusiveness necessary to grant horror the level of storytelling it could reach if more races and genders were encouraged and rewarded for telling their stories. Women in Horror month is a great step toward achieving this.

Q. What advice would you give to aspiring writers?

Read your ass off and keep sending stuff out. Let somebody else decide if your work is crap. If you never put it out there, you have a zero percent success rate, guaranteed. Also, for women in particular, especially mothers, don’t be afraid or embarrassed to ask for help. You deserve it. For some reason, several amazing women writers whom I’ve talked to seem to feel ashamed of the fact that they can’t juggle everything all at once—real-world job, motherhood, writing, taking care of everybody else, etc., etc.. And hey, guess what? You can’t. We’ve moved away from a culture with built-in support systems for mothers and women to one of disconnect and distance. Rebuilding those communities and getting support from other women and other authors is absolutely critical. We are only as strong as our networks. Oh, and claim that title of author. Don’t be scared to say it, even if you haven’t published anything, even if you still feel unsure. You will always feel unsure, and that’s okay. That is where the magic happens. But you are a writer. Own it.

Heather Herrman Links of Doom




Twitter: @horrorandbrains


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