Since January, I have had the great fortune of teaching a 15 week course in Horror & Suspense Writing at Seton Hill University. As their final project, the students were asked to create a multimedia story. I am happy to share the great results below!
I’m presently wrapping up a full semester of teaching Horror Writing to undergrads at Seton Hill University, and we’ve been having a blast doing all sorts of multimedia work — especially work using SoundCloud for audio critiques. Along the way, I’ve been been playing with the site, too, uploading lecture excerpts and strange sound prompts and other weird things. I even recently gave a little presentation about the class experiments for a conference we held on campus called the iTeach gallery.
During the term, I discovered the above excerpt (from my article in the wonderful book for dark authors, WRITER’S WORKSHOP OF HORROR, edited by Michael Knost — who just edited a similar book on Science Fiction and Fantasy coming out next month). The exerpt had been a featured reprint in THE WRITER magazine and therefore available in our college library’s online databases in full text format. The database included an audio player for the visually impaired, so I played it and recorded the robotic voice reading my article so I’d have a copy…then I distorted the file on my computer to give it, well, some kind of aura of the strange. Here’s the result: a mini-lecture by the ghost in the machine, about writing in the horror genre, drawing from my favorite quote by Psycho-author Robert Bloch: “Horror is the removal of masks.”
Arnzen, Michael A. “An Open Book: Writer’s Workshop of Horror” in The Writer (Jan 2010). Excerpt from Knost, Michael, Ed. Writer’s Workshop of Horror. Woodland Press, 2009.
Thought I’d toss up a quick reminder that I’ve been erratically posting Instigation prompts to twitter all month, which are feeding into the new Instigation Showcase page. I conceive of all this as being not only an extension of this department on the blog, but also the recently-released ebook. If you’re on twitter, just follow @MikeArnzen — if you’re not, you can always see what I’m posting to that nefarious site on the archive I keep called “The Nest” right here at gorelets.com/nest. Here’s a sampler of some recent favorites:
“Construct a scenario involving a contemporary equivalent to firewalking on hot coals.”
“Pick an occupation (eg. banker, fireman, etc.). Your title is: ‘Bring me the Head of the [Occupation].’”
“Your character spots a broken scalpel blade, in the corner of library’s restroom floor.”
“The setting: a cannibal food truck.”
“Create a strange gathering of feathers.”
And sometimes I toss out some images, too, like this one, recently posted to my flickr gallery:
The dark side should breed and spread, don’t you think? If you come up with anything based on these and publish it (or post it online), I’ll happily add your name with a link back, to the Instigation Showcase!
Angel Zapata strikes me as one of those guys who is writing for the love it. From my review of his website, I can tell that he has had an awful lot of success publishing as a poet on the dark side and in the realm of the short mystery, and he’s earned more than enough cred in my book to be dubbed a real “indie writer.” You can tell just from the blogroll on his website that lists all the places he’s published his crafty, often dark, thinkpieces. He’s widespread and placing little jewels of work in all sorts of little lit zines, so he might not be someone who is on your radar. But maybe that gives him even more cred, because he’s sort of a lone wolf, earning his own bread, bit-by-bit across the internet. He’s steering clear of bandwagons to pilot his own ship, and taking it wherever he wants it to go. But you can tell he’s well read, an aficionado of the genre, and a person who is professional in every way. And he has a great sense of humor.
And I think he’s someone who could use more attention. I like writers like Angel. He’s a writer earning his audience. Some one should pay this man more money for what he does, because he has a lot of talent. Since I am not a Wall Street broker, I can’t give him anything, beyond tossing him a few royalties when I buy the books he appears in. But I can give him a little spotlight by turning you on to his work. So that’s what I’m trying to do in this blog entry.
You see, writers often band together and promote each other, either because they’re affiliated by genre or have a shared publishing history. That’s one of the reasons we need publishers who offer up the pages in their journals and the space on their website to foment a community. Writers and editors and readers all come together at what Germans call the “treffpunkt” — the rendezvous point or gathering place — to traffic with the tribe.
I think that’s why journals like The 5-2: Crime Poetry Weekly — run by a very generous soul and smart editor/poet named Gerald So — are such cool places to publish and visit. The 5-2 is well-populated by great authors who are delivering the goods for anyone interested in mystery and crime stories. If you’re into the crime genre, you should be into the 5-2. It posts new material EVERY WEEK like clockwork. But it’s also a little bit off. Like any good outlaw, this weekly journal is doing something a little bit off the grid. It’s an indie journal doing indie things. To be more specific: it’s Mr. So’s treffpunkt off the grid for people who are interested in what happens when vice and villainy are put through that unique word grinder known as “poetry.”
Crime…poetry? Is that like gangsta rap? Not quite, but they are sibling subgenres in their own way.
So much of what constitutes the “crime” genre is defined by popular mystery novels, potboiler paperback thrillers, prime time cop shows, and, heck, maybe even the nightly news. But poetry? Believe it or not, poetry has something different to say, because by its very nature it has to say things differently. This frees the subject matter from the conventions of narrative to dance to its own beat. Poetry is an exploration. And I harbor the suspicion that criminals and detectives are explorers in their own right, too. So as a peculiar little subgenre, “crime poetry” is really interesting stuff, and from all I can tell, the 5-2 Crime Poetry Weekly is THE treffpunkt for this business.
Angel belongs there, and I hope to encounter his work in the 5-2 or in a similar meeting place when our paths cross once again.
Back in November of 2012, Angel published a devious little poem on the 5-2, called “Housekeeper.” I should just shut my yapper and let you go read it on the site, but here’s the non-spoiler gist of the poem in a nutshell: the poem is about a man who is tricking his housekeeper into cleaning evidence of his crime up after him, in a very clever way.
I love this idea. It is a case study in the old “hidden in plain sight” trick that the great writers are able to pull off. But more than that, the poem — in just 20 brief lines — gives us a full blown picture of the criminal’s backstory, his psychological motive, and the perverse pleasure he takes in getting revenge. We get hit in the gut with a “perfect murder” scenario, followed by a punch square in the jaw with the poem’s final lines. I’m not sure whether to loather the killer or feel sorry for him, but it doesn’t matter at that point: it’s a knockout poem precisely because it pushes me off balance and resists an easy judgment about the killer’s guilt. Its also one of those poems that deserves to be re-read (my favorite kind), because you start to see more depth and dark irony to it the more you read it. You start to see hidden meanings in the passing mention of “cancer” and the comparison of a trash heap to “volcanic ash”. Though I’d love to keep performing an explication de texte to prove just how good it is, I won’t say anything more, because I want you to read it, study it, and see what makes it such a successful piece of crime poetry on your own.
But if you’re impatient, how about this: One of the (many) great things about the 5-2 is that the site is very active in social networking, tapping twitter, youtube blogging and e-books to broaden the audience for its outlaw poets. Along with every poem, Gerald So includes recitations of the poems via youtube broadcasts, and you can hear Dehant Paul read Angel’s “Housekeeper” here or in the embedded video below. But do go to the 5-2 and read the poem too, and I think you’ll understand why I admire its craftsmanship.
The 5-2 is not the only place I’ve encountered Angel Zapata’s work.
I recently judged the annual flash fiction contest for microhorror.com, which meant reading a bunch of anonymous horror stories having to do with the theme of “art” and picking my favorites. It turned out that Angel’s short story, “The Blood Worms” was one of my top picks and it placed as a winner in the contest. Here’s what I said in my review:
The Blood Worms?! How could anyone not be intrigued by a title like that? The concept of this one is pretty strong, but Zapata’s story really won me over with its chilling imagery — and the sheer insanity depicted here really transfers from the story into the reader’s mind. “Blood Worms” is written with a sure hand, driven to deliver the goods, and it succeeds in depicting an artist’s vision as a disturbed one. The last line stuck with me long after I read it, like an afterburn.
I won’t give anything away, but I know you’ll be hooked if I cite just one sentence from the story — a bit of dialogue uttered by a madman:
Who says National Poetry Month has to be all lovey dove and/or clove cigarettes? These are beat poets of a different kind…check it out and tell Gerald I sent you.
If you’re on twitter, you can also follow @poemsoncrime and use hashtag #30OfThe52 to help promote the site for National Poetry Month. Not into that? Then just remember the name ANGEL ZAPATA and seek out his work. And if you’re not into any of this? Well, then go your merry way and let the worms eat you.
I’ve signed up over at NaPoWriMo.net, committing to try to write and post a new poem every day throughout April for “National Poetry Writing Month”. My plan is to mix things up regularly: to post twitter poems, full-length gorelets, some audio recordings, videos, word art, and more Fridge of the Damned magnet poetry pieces. Return to this calendar page for all this, which I’m posting off the main blog to avoid clutter and confusion; things will also be tagged as #napowrimo on twitter or The Nest if you want to search for them. I invite you to join me, too, on the Instigation Showcase (see below)!
ALERT, 4/5: in celebration of #NaPoWriMo Raw Dog Screaming Press is now offering the Fridge of the Damned poetry magnets at a discount for this month (buy yours here for just $10). Remember that I will post photos of all shared #TFOTD work in the amazing fridge fan gallery! Write a fridge magnet poem for Nat’l Poetry Month.
Instigation: Creative Prompts on the Dark Side by Michael Arnzen:
Instigation: Creative Prompts on the Dark Side is a treasury of twisted tips, strange scenarios and disturbing sparks to help ignite the fuel in your creative furnace. Its aim? To push you into the danger zone of your imagination, by thinking in unconventional ways and trying things you never thought — or dared — to try before in your writing, art, or dreams.
NOTE: This book is currently only available in .mobi, .epub, and .pdf formats, which are readable in most ebook devices and computers. It will soon also be available directly from more ebook distributors like amazon and Barnes and Noble. A print edition is not currently available (though you can get a large sampler in the hardcover only edition of The Gorelets Omnibus published by Raw Dog Screaming Press).
Over the years, I’ve received numerous emails from writers who produced new work based on the prompts in The Goreletter, and I’m happy to have finally figured out a way to showcase your work. Share your links to work (whether on a blog or in a book) that has Instigation as its source, via e-mail or comments on the blog and you’ll be listed. That easy. And remember to check back from time to time to read the work of others… it’s bound to inspire you to pick up your demonic pen.
borrowing from Bond
he brings home the bloated baggie
and scoops out blissful killifish,
dropping one after the other
into his plastic aquarium:
the translucent bucket
of gold paint
these goldfish never swim,
and his net is clotted
from skimming them back out
so often, but he knows
he will find the right species
eventually — there are tens of thousands
and if he knows his evolution,
then only the fittest will survive
A meaty set of excerpts from Michael Arnzen's INSTIGATION. These "Creative Prompts on the Dark Side" are just a small portion of those that appear in an ebook brimming with over 500 twisted, sick, and hilarious "story starters," idea sparkers, and memoir prompts. Also includes articles on woolgathering and persistence in the writer's life from this Bram Stoker Award-winning author. Available now for the Kindle, Nook, iBooks, and computer. Visit http://masticationpublications.com for more information.
"To Write Well": an excerpt from the syllabus in Michael Arnzen's Fiction Writing course at Seton Hill University. An audio version appears at http://soundcloud.com/dr-arnzen/to-write-well To learn more about Arnzen drop by http://michaelarnzen.com
A sampler of verse from the first edition of GORELETS: UNPLEASANT POEMS (Fairwood Press, 2003). This book is now available in an expanded hardcover OMNIBUS edition (Raw Dog Screaming Press, 2012). Visit gorelets.com for more information.
Nathan Rosen's cool tri-fold brochure to promote the writing of horror author Michael A. Arnzen. Part of a graphic design course project in 2012. See http://www.gorelets.com/blog/arnzen-news/100-arnzen-by-nathan-rosen/ for more examples of Rosen's design work for the "100% Arnzen" project.
A sampler of "dark" creative writing prompts, excerpted from Michael Arnzen's latest horror collection, THE GORELETS OMNIBUS (Raw Dog Screaming Press, 2012). Part of a "Horror Poetry Writing Workshop" available ONLY in the hardcover edition of the book, available on amazon.com or directly from the publisher at http://www.rawdogscreaming.com/gorelets.html
AMAZING COVER ART on this publisher's catalog (art: "Poe Rendering" by J.M. Demetrius, copyright 2011)! Includes good overview in the front pages for the upcoming reprint of POE'S LIGHTHOUSE, edited by Christopher Conlon -- due in paperback soon -- which includes one of my short stories. The book is a collection of stories that complete an unfinished fragment of fiction by Edgar Allan Poe...with amazing results. Preordering is available on amazon.com, or directly from Wicker Park Press. Check out their catalog here or visit http://www.wickerparkpress.com/
"Putting Our Heads Together" An Introduction to Many Genres One Craft" by Michael A. Arnzen and Heidi Ruby Miller (Headline Books, May 2011). NOW AVAILABLE for preorder! Visit us at http://manygenres.blogspot.com for contributor news and book information.
A reproduction of the rare limited edition broadside, "Six Short Films About Chauncey the Serial Killer": a horror poem written for the production of the film, Exquisite Corpse (Minton Design and Motion, 2006).. The poem now appears in the Bram Stoker Award-winning collection, Proverbs for Monsters by Michael Arnzen (Dark Regions Press, 2007) and on the CD, Audiovile (Raw Dog Screaming Press, 2007). See gorelets.com for more.
A reproduction of the rare limited edition broadside, "Voodoo Movie Trilogy": a comedic short-short horror story, that now appears in the Bram Stoker Award-winning collection, Proverbs for Monsters by Michael Arnzen (Dark Regions Press, 2007). See gorelets.com for more.
Many Genres, One Craft: Lessons in Writing Popular Fiction is an amazing anthology of instructional articles for fiction writers looking for advice on how to improve their writing and better navigate the mass market for genre novels. Edited by Michael A. Arnzen and Heidi Ruby Miller, to be release Spring 2011 from Headline Books. Visit http://manygenres.blogspot.com/ for information, extras and news.
"Dear Santa" is a found manuscript of Michael Arnzen's very first horror story (a Christmas letter written by a madman) to be accepted by a publisher -- GAS magazine in 1989 -- but which never saw print.
The video is almost an hour-and-a-half long, but you might find it entertaining. In short, my talk raises the question whether or not icons of the uncanny (the double, the living dead, deja vu, etc.) in popular culture (particularly TV advertising) still have the capacity to frighten, or if they are achieving some other ends? I provide an overview of the theory of the uncanny, an analysis of some quirky advertisements (several of which first appeared here on this blog), and engage in an open conversation with the good students and faculty at Neumann U, during my visit last Halloween season. You can visit my original coverage about this trip or see my photolog for copious weird images captured during my enjoyable visit.
Thanks again to the fabulous folks at Neumann for allowing me to talk about these issues and share them now here in a streaming video. Your comments and shares are certainly most welcome!
This may be uncanny or creepy, but I really admire Shanine’s art!
One of the Vampire Reborns at the Twisted Bean
While such matters might be termed “uncanny” in the most orthodox sense of that term, one of the interesting elements of these particular reborns is the artistic inspiration drawn from the Twilight series of books. Vampire kids are not an invention of the 21st century — we’ve had them in The Vampire Lestat, and in cinema one is reminded of creatures like the infant monsters from Cohen’s film, It’s Alive! and even Rosemary’s Baby. In the original Dracula by Bram Stoker, there is a classic scene where Lucy herself consumes infants for their blood, in a dark reversal of maternal symbolism. Here we have something of a re-reversal of this anxiety in a representation related to the child that must be nurtured by literally feeding off its mother — here made safe — and inorganic — both dead and yet newly born — through reassuring plastic.
I think this one — a photo of “Gummy Vampires” candy that I took at the grocery store the other day — speaks for itself. I don’t associate gushing or oozing or even “gumminess” with vampires…but with their victims. Indeed, the first thing I think of when I think of vampirism is “teeth” not gums. Although this product is clearly targeting children, it still reflects the typical transference we see in uncanny packaging, where the act of consumerism is projected into the product, fraught with contradictions and fantasy.
This has been in the back of my mind lately. Inspired a creepy twitter poem, even:
“Vampire Gums”: he looked down with strange relief and terror — / a loose tooth left behind / weirdly twitching / still gnawing in her neck
The Onion’s AV Club ran a great list of “23 Ridiculous Horror Movies” called “Night of the Killer Lamp” back in 2007. It’s actually a great list of films that would make for a fun marathon night of creepy-kookie horror films. What it proves, too, is that a) the horror genre is rife with “uncanny” objects at the center of their narratives (e.g. possessed dolls, plants and animals that have human agency, inanimate objects that move of their own accord, etc.), and that, b) the uncanny is often funny…especially when it fails.
One of many on the list is Stephen King’s Maximum Overdrive, which is hilarious but in my view also a very important film in the pantheon of the uncanny (see my essay in the book, The Films of Stephen King). For a quick example, here’s the soda machine scene, from youtube.
So how does it fail? Is a killer soda machine not scary? If not, what makes it inherently goofy?
I won’t go into a close reading of this particular scene. It’s easy enough to understand through the theory of the uncanny itself. One answer might be that the uncanny — like all fiction — requires a willing suspension of disbelief…but that the ideas here are so ludicrous that we are unwilling to do so. If our mental mastery remains in charge of our experience, keeping the “belief” in animistic actions at bay, then we invest no autonomous power or agency into the object.
In other words, we know they are puppets on a string. We must genuinely believe that the string has been cut when the puppet starts to dance in order to truly experience the uncanny.
Special effects are always attempting to cut that string. The low budget nature of these films (or simply their datedness, as effects have evolved) may prevent us from believing in their magic.
Even so, it may not be fair to entirely dismiss all the “killer lamp” films as simply “ridiculous.” There are moments in each of them — some more than others — where the uncanny can be experienced due mostly to the power of cinema technology to animate inanimate objects and thereby bring them to life. Hardcore realists might be too steeled up against the ludicrous to really suspend disbelief, but there remains something regressive about these films that might account for their sense of being ludicrous in the first place. They are aggressively regressive. They force us to engage in a childlike belief in the worlds they project. They work hard to resurrect our childish (or as Freud put it, “surmounted”) beliefs in a world where anything can potentially hold life and move on its own. Our laughter may very well be a defense mechanism against this return to our earlier beliefs — an attempt to affirm that our adult selves have surmounted them, in collective laughter.
Freud: “…a great deal that is not uncanny in fiction would be so if it happened in real life; and…there are many more means of creating uncanny effects in fiction than there are in real life.”
Last year I wrote about the uncanny aura of “Cinemagraphs” — a.k.a. “animated GIFs” in a posting called “Eternal Moments and Smoking Billboards”. I made the point that these images are “an uncanny artform, because it literally “brings to life” still frames — and while this may in some ways be more apparent in stop-motion techniques (where, I would argue, the jitter produced by editing has as much to do with the uncanny affect as the conceptual “animation” of inanimate objects we see), digital art is offering numerous new ways to trick the eye in uncanny way.”
I was reminded of this phenomena when I came across an article in the current issue of Wired magazine (Jan 2013; not yet onlinenow available at Wired) called “The Everlasting GIF” by Clive Thompson. Thompson interestingly makes the case that these animated GIFs are claiming a resurgence in popularity, and that it’s the “ancient vintage” of the format — the grainy ‘old school’/nostalgic look of them — that may be responsible for their appeal.
Definitely. And also definitely uncanny, in the same way that all cinema is, in the way it can bring to life the “still life” (aka dead) photograph. We all recognize this, especially if we’re on a website with an image or avatar on it that delays the movement… and just when you move your attention to something else, it gravbs you with sudden movement in the periphery of your vision.
But this is nowhere more apparent than in animated EARLY photography, where the aura of something long gone is long behind us. New media like these cinemagraphs are reanimating dead photos with a new animation that is stunningly uncanny. Here’s an example from a past Wired feature, Hugh Hart’s “Vintage Photos Enter Spooky Afterlife as Animated Gifs” — which brought my attention to the New Media artistry of Kevin Weir. It takes some surprising liberties with history, but that’s the fun of it — but the “fun” is often uncanny in the most orthodox of ways, using tropes of eyes, monsters, dismembered limbs and more. The whole article/gallery is worth a review, but here’s an example of Kevin Weir’s Flux Machine
When I first saw this twisted comedic film, I laughed at its outrageousness. You might be horrified or you might guffaw. It speaks for itself in a mere five seconds. Here’s it is: 5SecondFilms’“Magic Show Volunteer” (2009):
After I recoiled from the unexpected in this “magic show,” I immediately wanted to share it with others. I had the “you’ve gotta see this” reaction that compels so many of us to share these sorts of things online in social media. I copied the link and was ready to press “send” on my twitter account. But then I realized something. It was a magic show skit. Hadn’t I seen something like this before?
And I had. Many of us have. These kinds of films, which are everywhere on the internet because so many people have access to the technology to make them now, are identical to the very first movies ever made. Here, for example, is a famous example from about 115 years ago, when the early “one reelers” were being exhibited to public amazement: George Melies’ “The Magician” (1898):
Just as early film makers were exploring the creative capacity of the medium, today millions are doing the same thing — with a range of success and failure — using the ubiquitous capacities of phone apps, tablets, webcams, camcorders and similar devices which can point, shoot, edit and share with an audience in a matter of minutes. I have one myself, and I’m playing around with it quite a bit, which is also leading me to start researching this stuff on youtube (subscribe to my channel) more and more. What I’m finding is that the most successful of them exploit editing and sound in order to trick the eye and confound expectations, which give them a foot in the cinema of the uncanny.
In writing about early cinema, film critic Tom Gunning termed this genre the “cinema of attractions” — film’s equivalent to the circus sideshow, where the spectacle is everything and the narrative is scant or completely unnecessary. Before roughly 1906, film had not yet converted over to the dominant narrative format that we know so well in most Hollywood films today, which continues to draw from 19th Century narrative structure. YouTube makes no such pretense (perhaps because when it got started, YouTube would limit postings to 5 minutes in length, which led to widespread sharing of quirky videos akin to America’s Funniest Home Videos — which, incidentally, just aired it’s 500th episode — more than anything else). The bulk of the experience of such shared videos cues its viewers in much the same way as the early cinema of attractions, especially in its reference to the “magic” of what we are shown.
In her essay, “You Tube: The New Cinema of Attractions,” critic Theresa Rizzo does a masterful job both situating such videos into the tradition of this genre, but also exploring what marks online video sharing as unique: “although YouTube clips arrest our attention and encourage us to gawk similarly through novelty and curiosity throughout the course of a day, they also invite us to respond and participate in a variety of ways.” Thus, instead of turning to your neighbor in the theater seats and saying “wow,” we can say “wow” (and much more) right back to the filmmakers in an online comment or foment our own viral marketing campaign through an international form of “word of mouth” advertising on facebook, twitter, and elsewhere. Such shared videos can also be remediated — transported into different media or even remixed. “The cinema of attractions is ultimately about acts of display, or exhibitionism rather than storytelling in a similar way remediation is all about showing off by being clever and creative. It is a self-conscious practice that points to the producer, itself and to the power of the medium.”
I am, of course, fascinated and enthralled by short cinema and all the online activity we see with such texts. I think there is a grand democratization of art happening right now, which is wonderful (despite my skepticism about much of it — see my essay “Mock Band: The Simulation of Artistic Processes” for more on that). But the main interest for me is the role of the uncanny in communicating “the power of the medium”…which often is figured as a technology with autonomous, supernatural agency. This power is interesting to read as a symptom of social or personal anxiety, and often deifies technology in ways intended to either disavow agency or sell products through commodity fetishism (e.g. consumer technology IS a commodity). Melies wasn’t selling anything but himself. His “camera” was a magic wand. Today, magic wands are camcorders in the hands of the masses, available to all — for a price — and if we want, we can “magically” edit our stories, our personal history, our record of events. This is a manifestation of the popular uncanny.
In the Five Second Film about “The Magic Show Volunteer” our spectacular laughter relies on the taboos that are encroached here, regarding violence against pregnant women. It is not so difficult to give a feminist critique to something so clearly gendered in its representation of power. The male magician, a staging of authority, literally appropriates the “uncanny” nature of organic childbirth (“popping” the belly in a horrific way (clearly a balloon is pricked) — almost as if the woman’s body was something artificial, like a doll — before ‘birthing’ the child from his mouth). This topsy-turvy figuration of “male birth” is a common trope in uncanny horror film (and reaches all the way back to Shelley’s Frankenstein). It is an aggressive fantasy that a Freudian might read as an Oedipal nightmare as much as a gross-out joke, with the “father figure” of the fanciful magician responsible for “disappearing” the child, swallowing it off screen and “magically” pulling the newborn from his throat on its umbilical tourniquet. All of this “magic” — the taboo male fantasy of the text — is performed by cinematic technology, and its placement in the cinema of attractions renders it safe, domestic…and perhaps far too easily reproduced and reinforced as a social message.
Or maybe it’s just funny, and we’re invited to laugh at the male fantasy it presents. Perhaps the gimmicky magic it offers up is mocked, and this is a parody of itself. I’m uncertain. That, too, is inherent to the uncanny.
DESCRIPTION: Book 15 of the Gaslight Mystery series
Sarah Brandt is shattered when she learns that a woman has inquired at Hope’s Daughters Mission for Catherine, the abandoned child she has taken as her daughter. The woman claims she was Catherine’s nursemaid, now acting on behalf of the girl’s mother to reunite them.
Unwilling to simply hand Catherine over to a complete stranger, Sarah asks Malloy to investigate. But when he goes to interview the woman at her tenement in Chelsea, he finds she has been murdered.
Though her death leaves Sarah’s claim to Catherine unchallenged, her sense of justice compels her to work with Malloy to find the killer. Their search takes them from the marble mansions of the Upper West Side to the dilapidated dwellings of lower Manhattan and into the deepest and darkest secrets of Catherine’s past.
And while Malloy helps Sarah determine the fate of the child she loves, he faces a challenge of his own—and his decision could change both their lives forever…
DESCRIPTION: Anyan may be trapped in an evil dragon and Blondie may be gone, but Jane knows one thing: she's not about to give up. She's ready to tear down heaven and earth to save her lover, despite those who believe he's lost.
Luckily for Jane, those who've given up on Anyan do not include those closest to her. Defying The Powers That Be, Jane and Company form their own crack squad of misfits, in whose hands the fate of the world may well rest.
With a little help from her friends, the Universe, and lots of snacks, Jane embarks on her greatest adventure yet, confident that with great sacrifice comes great reward. The question is, who will be that sacrifice?
The fantastic conclusion to Nicole Peeler's urban fantasy series featuring Jane True.
JANE TRUE SERIES: Tempest Rising Tracking the Tempest Tempest's Legacy Eye of the Tempest Tempest's Fury Tempest Reborn
"Lee Allen Howard's DEATH PERCEPTION is a red hot union of Gothic crime thriller and grim humor that burns with supernatural tension. Beneath the sickly sweet scent of caramelized sugar lies the wildly entertaining tale of a man who delivers justice to the dead while fanning the fires of the living. Ever hear the expression, 'laughing in a morgue'? DEATH PERCEPTION feels just like that. Howard has a gift for crafting eccentric characters and clever plots. This is dark fun at its best." --Jason Jack Miller, author of The Devil and Preston Black and Hellbender
DESCRIPTION: Kennet Singleton cremates the dead... and then they speak: "Avenge us!"
Nineteen-year-old Kennet Singleton lives with his invalid mother in a personal care facility, but he wants out. He operates the crematory at the local funeral home, where he discovers he can discern the cause of death of those he cremates--by toasting marshmallows over their ashes.
He thinks his ability is no big deal since his customers are already dead. But when his perception differs from what's on the death certificate, he finds himself in the midst of murderers. To save the residents and avenge the dead, Kennet must bring the killers to justice.
"Dastardly devious, cleverly conceived, and just a whole lot of fun to read, DEATH PERCEPTION is Lee Allen Howard on fire and at his finest. Rife with winsome weirdness, it's like the mutant stepchild of Carl Hiaasen and Stephen King, mixing a truly unique paranormal coming-of-age story with a quirky cast of offbeat noir characters into a novel that's simply unforgettable... and hilariously original. A supernatural crime story, blazing with creative intrigue... don't miss it." --Michael Arnzen, author of Play Dead
"DEATH PERCEPTION has officially made me envious of Lee Allen Howard. It sings like a choir of angels, yet weeps like a ghost in winter. Everyone should have this in their collection.” --Trent Zelazny, author of To Sleep Gently and Butterfly Potion
Lee Allen Howard writes horror, dark fantasy, and supernatural crime. He’s been a professional writer and editor of both fiction and nonfiction since 1985. His publications include The Sixth Seed, Desperate Spirits, Night Monsters, “Mama Said,” “Stray,” and Death Perception, available in various formats at http://leeallenhoward.com.
DESCRIPTION: All proceeds from the sales of this book will go to my brother, Steve, who is battling lymphoma. He (and I) thank you.
This book collects eight stories and one novelette of speculative fiction, originally published in magazines such as Chizine, Horror Garage, The Ultimate Unknown, Eye Contact and more. What would happen if your shorts grew eyes? What could be creepy about Christmas? And why shouldn't you rent your spare room to a stranger? These questions, and more, are answered inside.
DESCRIPTION: Set during the Industrial Revolution and the Great Exhibition of 1851, Follow the Heart is a “sitting-room romance” with the feel of a Regency-era novel but the fashions and technological advances of the mid-Victorian age.
Kate and Christopher Dearing’s lives turn upside down when their father loses everything in a railroad land speculation. The siblings are shipped off to their mother’s brother in England with one edict: marry money.
At twenty-seven years old, Kate has the stigma of being passed over by eligible men many times—and that was before she had no dowry. Christopher would like nothing better than to make his own way in the world; and with a law degree and expertise in the burgeoning railroad industry, he was primed to do just that—in America.
Though their uncle tries to ensure Kate and Christopher find matrimonial prospects only among the highest echelon of British society, their attentions stray to a gardener and a governess.
While Christopher has options that would enable him to lay his affections where he chooses, he cannot let the burden of their family’s finances crush his sister. Trying to push her feelings for the handsome—but not wealthy— gardener aside, Kate’s prospects brighten when a wealthy viscount shows interest in her. But is marrying for the financial security of her family the right thing to do, when her heart is telling her she’s making a mistake?
Mandates . . . money . . . matrimony. Who will follow the heart?
The most important part of making a career as a fiction author should be obvious: you have to write well and tell an engaging story. But if you've been writing and submitting for a while, you've no doubt realized that simply being a good writer isn't all there is to it. Luck seems to play a distressingly large role in the publishing process. But the funny thing is that writers who actively seek out writing opportunities generally seem to be "luckier" than those who don't.
Lucy A. Snyder is the Bram Stoker Award-winning author of the novels Spellbent and Shotgun Sorceress and the collections Sparks and Shadows, Chimeric Machines, and Installing Linux on a Dead Badger. Her writing has also appeared in several magazines. She has a B.S. in biology, an M.A. in journalism and graduated from the 1995 Clarion Writers' Workshop. Since 2005, she's directed the Context Writing Workshops. She currently is a Seton Hill MFA mentor. Lucy was born in South Carolina, grew up in Texas, and now lives in Ohio, with her husband and occasional co-author Gary A. Braunbeck. For more information, please visit www.lucysnyder.com.
Read an excerpt from "Guerilla Marketing: The Reality of Selling Your Book" by Patrick J. Picciarelli in Many Genres, One Craft.
Times were when a writer sold his first book to a publisher he stayed with that same publisher for the rest of his writing career.
The publisher expected to lose money on the first book, but assumed because they had faith in the writer’s talent and his ability to acquire a readership, that the writer’s second book would break even, the third make some money, the fourth make a little more and so on. This was called “bringing up a writer.”
Of course those were the Good Old Days. In the publishing world, we’re talking about the late twentieth century.
Patrick J. Picciarelli is the author of Jimmy the Wags: Street Stories of a Private Eye, My Life in the NYPD: Jimmy the Wags, Mala Femina: A Woman’s Life as the Daughter of a Don, and Blood Shot Eyes. “The Prince of Arthur Avenue” from the Bronx Noir anthology was made into a movie in 2010. Picciarelli, a former U.S. Army machine gunner in Vietnam, spent 20 years in the NYPD, retiring as a lieutenant. He is currently a licensed private investigator. He holds B.A. and M.A. degrees in Criminal Justice from John Jay College of Criminal Justice and an M.A. in Writing Popular Fiction from Seton Hill University, where he is now adjunct faculty.
If you've been waiting to submit your Science Fiction Adventure novel to Dog Star Books, Heidi will be taking pitches on Friday afternoon. Raw Dog Screaming Press will also be represented by Jennifer Barnes and John Edward Lawson at Pennwriters. Jennifer will be listening to pitches for RDSP's non-fiction imprint, Guide Dog Books, as well as appropriate fiction for the main line. John is interested in poetry collections and works of horror and dark fiction.
As many of you know, RDSP, by necessity, has a closed submissions policy for all its imprints, but the editors are happy to hear about your potential projects face-to-face at any of our literary events.
Read an excerpt from "Successful Book Signings: The Personal Touch" by David J. Corwell in Many Genres, One Craft
After months, perhaps years, of diligently working on your manuscript, you’ve finally found a publisher who believes in your work – or you’ve decided to publish it yourself. Your article/book/story has arrived, you’ve set up your first signing event (bookstore managers always welcome calls or visits to discuss such an opportunity), and you’ve even sent out announcements to family and friends, as well as press releases to the local media. Now, you’re sitting (hopefully) near the entrance of the bookstore, your work nicely displayed. But as the first potential reader walks through the door, your initial enthusiasm evaporates, replaced by an internal trembling and dry mouth. You suddenly ask yourself: What do I do next?
While book signings are one of the best ways to promote your work, not everyone you talk to will buy a book. Knowing what to expect ahead of time will not only help you develop a thicker skin when it comes to selling, but it may also give you a jump on how to turn a rejection into a sale. Here are the top ten “excuses” I’ve heard from potential readers when they’re clearly not interested in buying my book(s):
1. “I’ll be back/come back later.” As you casually observe, these people will go out of their way to “miss” your table as they leave the event.
David J. Corwell’s stories appear in Cloaked in Shadow: Dark Tales of Elves (Fantasist Enterprises), Daily Flash: 365 Days of Flash Fiction (Pill Hill Press), Día de los Muertos (Elektrik Milk Bath Press), Voices of New Mexico (LPD Press/Rio Grande Books), and Tales of the Talisman (Hadrosaur Productions). He is an indefatigable promoter of his work, and his latest lineup of book signings can be found at http://booktour.com/author/david_j_corwell. David is also a 2006 graduate of the Seton Hill WPF program and the New Mexico sales rep for Fantasist Enterprises. He lives in Albuquerque with his beautiful wife and three daughters.
Once upon a time book reviews gave readers, writers, and publishers an overview of the industry. A positive review in a major magazine or newspaper promised a book a long shelf-life in stores, giving the writer an opportunity to produce a second book before the first title went out-of-print. A review in a major newspaper like the New York Times, the Los Angeles Times, or the Miami Herald put books and authors on an elite list.
Professional book reviewers delivered objective comments about content and interpreted the book’s importance as an addition to the canon of its genre. Newspapers—large and small—published weekly book pages which occupied space from a few columns to a complete section.Large dailies employed fulltime book page editors. Since writing defines civilization, print media considered the creation of a best-seller list a contribution to society. And, such lists defined the best writing available on a weekly basis.
Lynn Salsi has a BA in Journalism and an MA and MFA in creative writing from Seton Hill University. She is the author of 18 books. She has received many awards, including Jacqueline Lougheed World Understanding Lecturer (International Alpha Delta Kappa), an American Library Association Notable Book Award, eight Willie Parker Peace History Book Awards, a Stars and Flags gold medal, and a silver medal from the Military Writers Society of America. In 2008 she was nominated for a Pulitzer Prize for The Life and Times of Ray Hicks, Keeper of the Jack Tales. She writes popular fiction and Literary non-fiction.
While I have met writers who are perfectly comfortable with the business of promoting their work — and to them I say good luck and Godspeed — the greater majority of us would prefer to believe that someone will show up, someone who knows and loves our work as much as we do, to take care of all the commercial unpleasantness that happens after we get the blasted book finished.
That person does not exist.
Actually, that person does exist. It’s you.
Rebecca Baker currently serves as the manager of communications and web content for Seton Hill University. Previous positions include associate director of media relations and staff writer, both at Seton Hill, and community affairs coordinator for Mellon Bank (now BNY Mellon). Becca is also a freelance writer. She lives in Greensburg, Pa. with her husband, Bruce Siskawicz, a photographer and graphic designer. They have two cats, Max and Sam.
Michael Arnzen's latest book for writers, Instigation: Creative Prompts on the Dark Side is a treasury of over 500 twisted tips, strange scenarios and disturbing sparks to help ignite the fuel in your creative furnace. Its aim? To push you into the danger zone of your imagination, by thinking in unconventional ways and trying things you never thought — or dared — to try before in your writing, art, or dreams.
Writers, especially, will benefit from this book of “story starters” that can shatter writer’s block and possess your fingers with an impish creative spirit. Arnzen’s Instigation — filled with unique prompts drawn directly from his fiction workshops at Seton Hill University, his columns from Hellnotes and his Bram Stoker Award-winning newsletter, The Goreletter — has already helped hundreds of horror writers, dark “creatives” and unconventional artists…many of whom have not only crafted original material, but published it as a result of responding to these twisted prompts.
Contents include: Prompts: 365 Sick Scenarios | Spurs: 31 Turns for the Worse | Resurrections: 13 Radical Revisions | Memoir Mayhem: 151 Prompts for Journaling | The Devil Made You Do It Yourself: 6 DIY Exercises | Essays on Writing on the Dark Side: “In the Mood: Getting Ready to Write”; “Binge Writing and NaNoWriMo”; “Discovering Your Hidden Intentions”; “Question-Storming”; “Making Modern Monsters”; “What Corrupted Me”; “The Five Laws of Arnzen” | Tips For Further Instigaton | Apps, Websites, Related Readings, and Writing Communities
See the catalog page for more information on this dangerously helpful ebook. Or visit scribd.com for a meaty 30 page preview, with a heaping supply of prompts and an article on "Binge Writing and NaNoWriMo" excerpted from the book.
Many Genres co-editor Michael Arnzen reports a successful kickstarter campaign (that doubled its goal) for The Fridge of the Damned: a quirky horror poetry magnet kit that draws words directly from his book The Gorelets Omnibus. Magnets have been distributed to all backers, and you can read the strange-yet-fun results in the active online gallery.
Most writers will tell you their top professional priority is developing rapport with that all-important editor. She’s bought your manuscript; his revision suggestions are clear; you’ve signed your first multiple book contract.
Nearly twenty years have sailed by since my agent’s words, “Leslie, I’ve sold your manuscript,” danced through the phone lines. Armed with my IBM Selectric typewriter and a lifetime supply of Wite Out, I set sail. Not to belabor the metaphor, but with calm seas and a steady breeze I left port heading toward long term relationships with supportive, enthusiastic editors, increasingly lucrative multiple book contracts, and sterling reviews. Fan mail! Classroom visits! Book signings! Royalty checks! --
With the simultaneous sales of a YA and adult romantic suspense novel, Leslie Davis Guccione left public relations and fundraising copywriting to concentrate on fiction.Over 25 years she’s published 28 novels for adult, middle grade and teen readers, garnering awards, starred reviews and genre fiction best seller status.Her work has been translated into eight languages. As Kate Chester she created and wrote the six book Hear No Evil series, featuring deaf protagonists, for Scholastic, including Tell Me How the Wind Sounds, which was optioned for television. Leslie is adjunct faculty for Seton Hill University’s MFA program. Professional memberships have included The Authors Guild, Romance Writers of America and The Society of Children’s Book Writers and Illustrators.
Did you know that Frank Sinatra was permanently scarred from birth and never went anywhere without using pancake makeup … that in his youth this supposedly self-taught singer took voice lessons from a Metropolitan opera singer … that he learned breath control by swimming underwater and mentally singing lyrics?
These are only some of the little-known revelations in this e-work. Based on more than forty years of listening and reading, it provides an in-depth analysis of Sinatra’s music and shows why this troubled high-school dropout came to be justly called the greatest interpretative singer in the recording era. After you read this, you might never listen to Sinatra or any other singer the same way again.
Frank Sinatra. Nat “King” Cole. Ella Fitzgerald. Judy Garland. Peggy Lee. Rosemary Cloony. Linda Ronstadt. No matter their various styles, these and other iconic popular singers had one thing in common — much of their best work was arranged by Nelson Riddle, whose fame within the world of arrangers rivaled that of the legends for whom he wrote. Indeed, some critics maintain that, if not for Riddle, Sinatra might not have overcome his mid-career failure and climbed to the superstar status that he eventually attained.
This e-work describes the career of a musical genius, who changed popular music and proved that a great arranger is as important as a great song and a great singer. At its core is the irony that a man whose music is described as “light” and “bright” should have been so bitter and disappointed in his life.
I was never a young writer, but for ten years I have been teaching teens to write what they love. I feel that I am in a unique position to make observations about the differences between young writers and people who are merely new to the craft. Teaching them has taught me a lot. My experience shows me that young writers can turn out genre work equal in quality to that produced by battle-hardened, aged writers. Many of the young writers I have known, through inspiration and force of will, have learned what it takes to produce professional copy and have stuck with the challenging current publishing climate until their work sold.
Advantages to being a young writer abound.
-- Diane Turnshek is an astronomer and a science fiction author with short fiction in Analog magazine and elsewhere. She teaches astronomy at the University of Pittsburgh, Carnegie Mellon University and St. Vincent College, where she’s also taught creative writing. Since 2002, Diane has been mentoring graduate students at Seton Hill University in the MFA in Writing Popular Fiction. She founded Alpha, the SF/F/H Workshop for Young Writers in 2002 and the Triangulation anthology series (as editor) in 2003. She served as Eastern Regional Director for SFWA, a professional organization of 1500 genre writers and directed the 2007 SFWA Nebula Awards in NYC. She has four delightful sons and a sweetly supportive dream guy.
The conventional wisdom is simple enough: start writing your second. That’s how you build a career. Write every day. Submit work when it’s finished. Keep submitting your finished work until it’s accepted. Unfortunately, none of these career-building steps are going to pay the rent. Indeed, even after acceptance, you’ll have to wait awhile for that first advance. Contracts will need to be vetted, signed, and returned. Checks will need to be cut (and if that sounds like a quick operation, just you wait). And if you’ve employed the services of an agent, you’ll have to wait for the publisher’s check to clear the agent’s bank before another check can be cut and mailed to you.
Lawrence C. Connolly's fiction has appeared in many of the major genre magazines, among them Amazing Stories, Fantasy & Science Fiction, Cemetery Dance Magazine, and Rod Serling's Twilight Zone Magazine. His work can also be found in a number of best-of collections, among them Year's Best Horror, Best of Borderlands, and Best of the Magazine of Fantasy & Science Fiction from Audible.com. One of his short stories, “Echoes,” has been made into two films. His supernatural thrillers Veins and Vipers are published by Fantasist Enterprises.
My work in progress is a YA novel set on Mars. In order to research the setting, I took a two week trip to the Mars Desert Research Station in the badlands of Utah. The Mars Society has been operating facilities like this for a decade to study how colonists would adapt to the isolation, rehydrated/dehydrated food, limited water supply, bitter cold and awe-inspiring red vistas. I didn't expect to have so much fun with my teammates, heading outside in spacesuits, off-roading on ATVs and being the subjects of an indy Swiss film. "Do your research!" now has a whole new meaning.
Many Genres editor Michael Arnzen has combined forces with indie publisher Raw Dog Screaming Press and horror flash fiction site Microhorror.com to launch a Kickstarter campaign to make The Fridge of the Damned -- a twisted refrigerator magnet poetry set -- a reality. Help fund the fridge and get some fun word magnets to mess with...and an ebook filled with offbeat writing prompts (Arnzen's trademarked "Instigation") to inspire your fiction! Pledges need to be received before February 1st, so don't delay.
Instigation: Creative Prompts on the Dark Side by Michael Arnzen:
Instigation: Creative Prompts on the Dark Side is a treasury of twisted tips, strange scenarios and disturbing sparks to help ignite the fuel in your creative furnace. Its aim? To push you into the danger zone of your imagination, by thinking in unconventional ways and trying things you never thought — or dared — to try before in your writing, art, or dreams.
NOW AVAILABLE for direct purchase from this website! Purchase price is just $3.99 via Paypal to firstname.lastname@example.org. Click the button below to order and a password with download information will be provided within 48 hours.
NOTE: This book is currently only available in .mobi, .epub, and .pdf formats, which are readable in most ebook devices and computers. A print edition is not currently available (though you can get a large sampler in the hardcover only edition of The Gorelets Omnibus published by Raw Dog Screaming Press).
Subscribers to the newsletter at the mastication website can get a copy directly from this website at a discount, once it is available for sale online. Backers of The Fridge of the Damned will all be getting their copies first via email, as their reward. It will also be made available for purchase via paypal here. Then it will begin to appear on amazon, nook, and other ebook providers over the week to come. The circle will be complete. The corruption will spread. The end will be nigh. The four horsemen of the gorpocalypse ride tonight. They’ve got meat wagons hitched up behind them. Climb aboard!
I have also just released the Instigation Showcase page to highlight the work that people produce as a result of working on the Instigation prompts. Let me know if you’re already one of them and you’ll get listed early. I love receiving feedback in reviews, comments, and email as well. It’s no longer my book once it is released this evening. It will then be yours. — Mike Arnzen
Here is Renate Muller’s final cover art for our soon-to-be-published ebook, Instigation: Creative Prompts on the Dark Side. She did a fabulous job building all the pitchfork components from scratch — and I love all the little details (like the way it pokes through the “O” in “prompts” and how the ‘pencil’ tip smolders with puffs of smoke made of lettering. The title font, too, is fetching and dastardly.
The book rocks and the scope of it is quite epic. It is in the final editing stages and on time for an early March release. Backers of the Fridge of the Damned (sneak photo of the tins here) will be getting their copies first, in gratitude.
“Quantity produces quality. If you only write a few things, you’re doomed.” — Ray Bradbury
February has been a high production month, to the core.
Current Prototype for Instigation Cover – Art by Renate Muller
Working hard to finish many things related to the recently funded (doubly-so!) kickstarter campaign for The Fridge of the Damned, in cooperation with the good folks at Raw Dog Screaming Press and microhorror.com. (You can see some of what I’ve been up to behind-the-scenes this month in my flickr photo set related to it). Chief among these projects is the Instigation ebook, which is a very big collection of creative writing prompts, story starters, and imagination agitations — and everyone who backed the fridge magnet set will be getting a free copy of it. The book right now has 365 prompts, 31 “spurs” for stories-in-progress, and countless other forms of inspiration for journal writing, revision and more. Proofing and organizing the ebook has gotten me thinking of all sorts of new things… and Bradbury’s quote above rings true to me. The more you do, the better you get. But more than that, the more you do, the more you want to do. Creativity is contagious and sparks lead to fire.
I’m excited to see how people will respond to Instigation…I want to see a raging inferno come out of it. Assuming everything stays on track, the ebook will be released early March.
Here’s a screen capture of the “corkboard” in Scrivener that I’ve been using to organize the prompts… and this is only a partial, vague, view of what is going into this book.
Raw Dog Screaming Press is sponsoring something called Arnzstigation Days for the second half of January 2013. It’s a neat way to get a glimpse of how a book like Instigation has inspired some of the dark creative writers and artists out there. There’s an event page on facebook and a “hub” page on livejournal collecting everyone’s Arnzstigated writing. If you want to participate, check in with them before Jan 31st!
Current Prototype for Instigation Cover – Art by Renate Muller
Although we’re still “tweaking” it, I couldn’t wait to share with you the prototype book cover for Instigation: Creative Prompts on the Dark Side, featuring an awesome “devil’s pitchfork” icon with a pencil tip! Renate Muller made it totally from scratch — which impresses the hell out of me. We may adjust the fonts or layout, but this is the general look of what the final cover will be like.
You may already know that you can reserve a copy of Instigation for as little as a one dollar page on The Fridge of the Damned kickstarter campaign, since it is one of the many rewards for that campaign. And I’m happy to report that the Fridge was “fully funded” this morning, which means that the project was backed and that all pledgers WILL get the ebook come March! If you haven’t made a pledge yet, now’s the time — the chance to get this ebook for a buck (and to support our “stretch goal”) will expire on February 1st! Pledge right now!
Demo of cover art concept for Instigation ebook (on a Kindle).
Here’s a glam photo of our test cover art for the Instigation ebook in progress for Mastication Publications (to be published in March 2013). This is NOT the final cover…but it’s close!
Instigation: Creative Prompts on the Dark Side is a collection of ideas, questions, and scenarios to help writers, filmmakers and artists formulate new horror or suspense stories… or to give their ideas more crazy levels of conflict and more terrifying twists.
The book is scheduled to be released in March 2013, for a price tbd. But you can reserve your copy for as little as a $1 today. Every pledge to the Fridge of the Damned will get a free copy of this ebook in March, so please back us before the campaign expires on Feb 1st: kck.st/YUsPdL
If you have feedback on the cover, please leave a comment!
Today our Kickstarter page for The Fridge of the Damned included a very special reward level: the “Compulsive Chewer”! Pledge $175 or more to the project, and you’ll not only get ebooks and books and CDs and collectables galore, but also a LIFETIME SUBSCRIPTION to all products that Mastication Publication ever puts out in ebook or print format, for as long as you or the press shall live. I’ll even throw in the box our early chapbooks from the 1990s, and a copy of Sportuary.
Act fast, because this pretty awesome offer expires on Feb 1st, 2013!
Feel free to add Arnzen to your friend feeds on any of the social media networks you belong to that appear on this site. To learn more about Arnzen's freaky deaky writing and scary storytelling, visit his popular horror website, gorelets.com, and don't neglect to subscribe to his free newsletter, The Goreletter while you're there.
"Mike Arnzen is the craftiest horror writer in the Biz...devilish, bizarre and
irreverent...imagination pouring out of every orifice." -- D. Harlan Wilson, author of The Kafka Effect