Twenty Questions, The Tears of Isis Spotlighted in Cassie Carnage’s House of Horror ; Carnage 2: A Christmas Carnage Second Holiday Story Published in Non-Christmas Venue

“What do you think makes a character a compelling villain or hero?”  “What did you learn from writing your book that you think would help other writers out there with their craft?”  “While this may seem like a given to some people, others may be wondering, why write horror?”  Mysteries all, as posed by Cassie Carnage in the latest installment of her special countdown to All Hallows “20 Questions for Horror Authors” in CASSIE’S HOUSE OF HORROR.  “What is one thing that you’d like people to know about horror writers?”  (See how deftly I slip in three.)  And, might one add (yes, and indeed Cassie does), “Tell us about your most recent or current book that you’ve had published.”

See it all by pressing here:  the latest of course on THE TEARS OF ISIS, but also a note on my most recent story as well as things I may have planned for the future.  And questions, more questions, and the answers to them.  Candy for the mind, as it may be, revealed for you in these final few days before Thursday and Halloween.

Then, moving to Christmas, this year’s second Christmas tale taken by a non-holiday themed anthology (for the first, “The Match Story” in Third Flatiron Publishing’s PLAYING WITH FIRE, see June 2, et al.) has just been published in IN THE BLOODSTREAM by Mocha Memoirs Press.   “In fiction,” In_the_Bloodstream_Cover_for_Kindleto quote from Compiler Eden Royce’s introduction, “the writer is faced with a challenge of how to create chills and disturbia without special effects.  Here [as opposed to in film] there is no visual shorthand to rely on.  Whether the author intends to install fear, revulsion, or awe, they must do so with the proper choice of words, crafting the scenes they’ve chosen into clear pictures for the reader.

“Nowhere is this truer than in short fiction.  Less space means more decision, more honing, more editing down to the bare essence of what must be kept to tell the story best.  What doesn’t add to the story is struck down, ruthlessly cut out.  Only keep what cuts closest to the bone.

“This anthology is our homage to the short horror form. . . .”

Be that as it may, my own contribution is an original piece of Lovecraftiana — crossed with Charles Dickens’s A CHRISTMAS CAROL — called “A Christmas Carnage” (cf. September 23), in which we learn among other things why a scholar might keep a chainsaw in his closet, and what not to ask The Ghost of Christmas Present.  More information can be found on the Mocha Memoirs site by clicking here, but one word of warning.  You may be requested to verify that you’re over 18 years of age.

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