Archive for the ‘ Collections ’ Category

TRESPASS!

Now through the end of June 10th, 2019, trespass the fiction of Erik T. Johnson for free, and anywhere in the world! His debut fiction collection, Yes Trespassing, a tome of over 120,000+ words, is available on Kindle for absolutely nothing. If you’ve ever thought of trespassing, now is the time.

Country-specific links: US, UK, Canada, Australia, Italy Germany, France, SpainJapan, India, Mexico, or search Yes Trespassing on any other Amazon site. The book is also available in a glorious trade paperback from Written Backwards.

And yes, that is a picture of little Erik on the front cover, and an entire short story.

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“Electric.” – Josh Malerman, author of Bird Box

“Absolute greatness. A magnum opus of almost staggering proportions … reminiscent of the works of Vandermeer, Burroughs, and Bradbury, but fully unique.” – This is Horror

“The stories read with an acidic note something akin to Chuck Palahniuk mixed with Sir Arthur Conan Doyle.” – Unnerving Magazine

“Brilliance unfettered and unscarred by convention … Weird fiction at its gonzo best.” – Ginger Nuts of Horror

“A trippy mescaline-binge of truly superb fiction. Extraordinary.” – Patrick Freivald, author of Jade Sky

“No one writes a line like Erik T. Johnson.” – John F.D. Taff, author of The End in All Beginnings.

A LITTLE OF EVERYTHING

The latest Written Backwards interview is with John Langan. author of such novels as House of Windows and The Fisherman, as well as numerous fiction collections, including Mr. Gaunt and Other Uneasy EncountersThe Wide, Carnivorous Sky and Other Monstrous Geographiesand his latest Sefira & Other Betrayals. His work can be found in magazines and anthologies all over the world. We discuss a little of everything …

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Michael Bailey: When overhearing people discussing the fiction of John Langan (because I often find myself doing most of the listening and not much of the talking while in crowds), I often hear things like “literary” and “quiet horror.” What do you consider quiet horror, and likewise what do you consider literary?

John Langan: “Quiet horror” is a term I associate with the years surrounding the Splatterpunk movement, when it was thrown up as a more restrained alternative to the work of Skipp & Spector, Schow, etc. At the time, quiet horror was connected to writers such as Charles Grant and Steve Rasnic Tem. If I’m not mistaken, Doug Winter wrote a review essay arguing (compellingly, to my mind) that the apparent differences between the groups were vastly outweighed by their similarities. In the years since then, the term quiet horror has been employed in a less-systematic way in an attempt to identify works of horror in which the emphasis is on atmosphere and subtlety of effect rather than more dramatic narrative moves. Although I haven’t made a systematic study of it, I have the sense that it’s applied to those writers we associate with the classic tradition of the ghost story, with M.R. James or Susan Hill. The problem is, if you read James’s fiction, then you’ll find that there’s a lot of delightfully over-the-top stuff going on. (I also suspect that this more recent use of quiet horror is an attempt to draw a line between it and more cinematically inflected fiction, i.e. zombie narratives.)

As for the word “literary,” it’s one of those that tends to cause all manner of uproar, isn’t it? As I see it, the most important thing to remember about “literary” is that it’s an adjective, not a noun. In other words, it describes a certain set of characteristics that can be applied to any kind of fiction. What those characteristics are may be subject to debate, although I’m reasonably sure they would include attention to character and style. I think it was Nabokov who said that the literary is that which we are always rereading, and I like that definition very much.

MB: In the acknowledgments for your debut novel, House of Windows, you wrote, “This book had a hard time finding a home: the genre people weren’t happy with all the literary stuff; the literary people weren’t happy with all the genre stuff.” Who is your intended audience?

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JL: It used to be that I read everything I wrote to my wife. So while I wrote whatever I did because I wanted to read it, myself, she was my first audience. Then, after our son was born, it became harder to maintain this practice. I still have her in mind as my ideal reader, but these days, I’m also thinking about friends such as Laird Barron, Stephen Graham Jones, and Paul Tremblay. Anytime I write something that these guys like, I know I’ve made contact with the ball.

MB: Who do you write for? Who should anyone write for?

JL: At the risk of being redundant, I write for myself, my wife, my friends, and then anyone who’s willing to pick up the story or book and give it a chance. I’m not sure that there’s a universal answer for the second question—although it would seem to me difficult not to be writing for yourself—but I think you should write for whoever helps you to write. If writing for yourself alone is enough to make that happen, then that’s great. If writing for someone else helps, then that’s fine, too.

MB: Having read The Fisherman, which won the Bram Stoker Award for Superior Achievement in a Novel a few years ago, I would have to say that I would consider it a multitude of things (horror being one of them), but not necessarily any one thing over the other. It’s horror, sure, but it could be considered cosmic horror, or Lovecraftian, or “quiet,” the way Victor LaValle’s wonderful novella The Ballad of Black Tom is a little of each of those things. What do you consider The Fisherman?

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JL: I’m happy to call it a horror novel, but that’s because I subscribe to a big-tent view of horror, in which all manner of narratives can be gathered under its folds. I tend to think that fiction in general is a fundamentally hybrid or mixed art (an idea indebted in no small part to the ideas of the literary critic M.M. Bakhtin), so it seems to me entirely appropriate that all manner of genres and sub-genres should be part of a novel.

MB: Is there a need for genre and sub-genre? I recently read a post by a prolific writer in which he stated (not verbatim) that he doesn’t write horror, or science fiction, or any one thing; he simply writes what he wants to write, and lets other people determine what they want to call it. Do you agree?

JL: From a critical perspective, I don’t see anything wrong with having categories that allow you to point out similarities between different works of literature. From a reader’s perspective, I don’t see anything wrong with having categories that allow you to find books that are similar to those you’ve enjoyed already. And from a writer’s perspective, I don’t see anything wrong with having a tradition to engage with in my work. So I guess as long as the genre category functions in an expansive way, in a way that brings more to the critic / reader / writer, I’m quite happy with it.

MB: I once overheard an editor say that she wished you wrote more often. Your first novel was published in 2009, and your second in 2016. But between that seven-year span you also published two fiction collections: Mr. Gaunt and Other Uneasy Encounters (2008) and The Wide Carnivorous Sky and Other Monstrous Geographies (2013), and co-edited an anthology with Paul Tremblay called Creatures: Thirty Years of Monsters. That’s four books in seven years (five if you count the anthology, which I do, because I know how much work goes into them), which I would say is a good pace. Do you wish you wrote faster, or published more often?

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JL: Over the past several years, I’ve published a reasonable number of stories—as well as, very recently, a third collection of stories. My problem is, in part, that many of those stories have appeared in smaller press publications, which someone who’s read, say, The Fisherman may not necessarily have heard of. But I have enough material for at least another three collections after Sefira, and I’m hoping to do something about that sooner rather than later.

I do, however, wish I were one of those writers who can toss off a novella in a week. In part, my daily process means that I don’t work particularly quickly: I do a lot of revising as I’m writing. I’ve also learned that some works require more time than others to complete, and may need to be put aside for a while. (This was the case with both The Fisherman and Sefira, the title piece in my new collection, both of which took me years to finish.) And while I’ve enjoyed a great deal of success with my writing, it hasn’t been enough to support me and my family, which means I need to work a day job, which cuts into my writing time. In addition, I’ve been reviewing horror and dark fantasy for Locus magazine, which also requires a certain amount of time that would otherwise go to fiction writing.

Moving ahead, I’d like to devote a bit more time to writing longer works, especially novels.

MB: What are your writing and / or publishing habits? Do you write when you want to write? Do you set goals?

JL: I try to write every day, with a goal of completing a page a day. When I’m not working a day job, it’s easier to maintain that schedule. In terms of publishing habits, I’ve tried to say yes to every invitation to contribute to an anthology I’ve received. (Which I suppose has cut into my novel writing.) I have immediate goals, usually to have something done on or not too far past the deadline. My long-term goals are a bit more nebulous: I would very much like to complete one hundred stories and ten novels—arbitrary numbers, I know, but ones that help me have some sense of how I’m doing, overall. I think I’m up to around sixty stories, with several more underway; while I have plans for another six novels if I can ever find the time to write them.

MB: You have been a finalist for the International Horror Guild Award, a Bram Stoker Award nominee for Superior Achievement in a Fiction Collection for Mr. Gaunt, and won for your novel The Fisherman, as well as serve on the Board of Directors for the Shirley Jackson Awards. What do awards mean to you, and what do you believe they should mean to other writers?

JL: The recognition an award nomination brings is a fine thing, while an award can certainly make your day. In my case, the Bram Stoker was the award I had first wanted to win, back when I was a teenager and it was created, so while I could not have complained had any of the other writers I was on the ballot with won it, there was a special delight in hearing my name read out on that night.

At their best, awards can shine light on deserving work, leading readers to writers they might not otherwise have encountered. That said, in any award process, there’s always going to be work that is overlooked, that may not come to light until years later. And even if you win an award, you still have sit down to write the next day. So awards should be enjoyed, but not used as the final measure of success—which is, after all, having readers for your work.

OVERSIGHT: SIGNED / LIMITED

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1̶0̶  8 copies remain of Unnerving’s signed / limited hardback release of Oversight by Michael Bailey, featuring the novelettes “Darkroom” and “SAD Face.” Only 60 of these books were ever printed, and Written Backwards happens to have the last of them. Pretty little collectibles. If you want a one, click any of the images …

Once these are gone, they are gone. There will not be another printing.

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Each of the two stories are still available as individual eBooks, if you’re the eReader type. You can get them on Kindle from Unnerving here: Darkroom, and here: SAD Face.

“Darkroom” – After living most of her life blindfolded-for fear of what she might see-Grace shifts though time in a series of strange experiments involving old-fashioned black-and-white photography in order to create a flipbook of her father aging in reverse. Near completion of her project, and no longer able to go through with it on her own, she brings along her likewise blindfolded and temporarily deafened sister-for fear of what they might also hear in their travels-and together they take snapshots, wandering their childhood home, hand-in-hand, albeit with added disabilities to protect them from that which doesn’t hide so well in the past. The undeveloped, they soon discover, what they’d forgotten of their troubled youth, is perhaps more frightening than what they later develop in the darkroom. 

“SAD Face” – Yuliya dons a prosthetic face designed to help her cope with Social Anxiety Disorder, the essential oil infused mask not only disguising her expression, but the wet city stench as it soothes. Time, it can only stop when someone takes a photo, and that’s what they did, whoever made it-took her picture and made her a mask to hide behind whenever social phobia bullied her. A dead-face: expressionless, eyes only visible through open sockets, mouth slightly parted; the way she imagined she’d look the day she died. And now, whenever someone sees her-stares at her-wearing her Yuliya mask, they are looking at her past. Yet behind her SAD face, she sometimes finds confidence, until she takes it off and attempts to uncover the woman hiding beneath.

Individual eBook links:

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SHORT FICTION SALE

Now through April 21st, Written Backwards is hosting a short fiction sale. 6 books, 600,000 words, all for under 6 bucks. In other words, 6 books for under a buck (each) in both the US and UK. Time to fill up your Kindles!

All titles are also available for free through Kindle Unlimited, or are free if you’ve already purchased the paperback through Amazon. Simply click the book covers below for direct links in the US, or follow the links after each title if you’re in the UK.

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Winner of the Bram Stoker Award for Superior Achievement in an Anthology. Features illustrations throughout by gak, an introduction / novelette by Norman Partridge (nominated for Superior Achievement in Long Fiction), an afterword by Mary SanGiovanni, as well as photography and the interconnecting tale “The Librarian” by the editor. Also available in the UK for only £0.99.

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Bram Stoker Award-winning editor Michael Bailey brings you a genre-bending anthology of dark science fiction and poetry, with fiction illustrated throughout by world-renowned artist L.A. Spooner, poetry and spot illustrations by Orion Zangara, cover artwork by George C. Cotronis, and an introduction on humanness by New York Times bestselling author F. Paul Wilson. Also includes the Bram Stoker Award-nominated novelette “The Jupiter Drop” by Josh Malerman. Also available in the UK for only £0.99.

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A literary blend of science fiction and horror, and the winner of the Benjamin Franklin Award. Includes short stories, novelettes, and poetry from established authors and newcomers from around the world, such as the Bram Stoker Award-winning stories “The Vaporization Enthalphy of a Peculiar Pakistani Family” by Usman T. Malik, and “Ruminations” by Rena Mason. Also available in the UK for only £0.99.

Note that due to contractual obligations, the eBook edition does not include Stephen King’s short story “The Jaunt,” which is included in the trade paperback edition.

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Twenty-five, or maybe twenty-six or -seven or perhaps twenty-eight (let’s say it’s twenty-eight) individual works by Erik T. Johnson, some previously-published, some appearing  for the first time, stories like “The Leaf” and “Krug’s Pen,” “The Depopulation Syndrome,” “The Invention of the Mask” (which you can find on the front cover), “The Depopulation Syndrome” and the novella Scissors Seldom Come. Trespass. Read the horror, the wonder, the mindscrewing. Also available in the UK for only £0.99.

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Fourteen stories from the intersection of pain and anxiety, rage and fear by Paul Michael Anderson, illustrated throughout by Pat R. Steiner. Triumph and tragedy, terror and transformation. Includes an introduction by Damien Angelica Walters and and afterword by Bracken MacLeod. Also available in the UK for only £0.99.

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From the mind of award-winning author and editor Michael Bailey comes Inkblots and Blood Spots, a painfully beautiful collection of short stories and poetry that reaches deep into the imagination, breaking hearts and boundaries along the way. Includes the novelette “Dandelion Clocks,” illustrations and cover artwork by Daniele Serra, and an introduction by Douglas E. Winter. Also available in the UK for only £0.99.

PSYCHOTROPIC DRAGON, AND OTHER THINGS …

I will be incredibly busy over the next few months (already have been), so I thought I’d post about my current projects. In other words, you won’t hear from me in a long while (perhaps months, maybe not until summer). I have a lot of stuff on my plate, in various stages of development, so what follows is a summarized run-down.

Why am I so busy? I have been taking on editing and book design projects for clients, proofreading, editing and copyediting for Independent Legions Publishing, and have recently taken on a part-time role as Developmental Editor for New Degree Press to help new writers bring their books to life (and you can add “ghostwriting” to my resume ). Meanwhile, I am trying to finish a science fiction thriller called Seen in Distant Stars, and writing fiction and nonfiction to perhaps make a few sales and help pay the bills.

So here goes …



PSYCHOTROPIC DRAGON

This is a composite novel that’s been “in the works” since 2009 (yes, ten years!). Many have been waiting patiently for this book, and hopefully the wait won’t be much longer because I consider the manuscript done. Word-count is a little under 90,000.

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Why “composite” and why the long wait? Well, it’s part short novel, part novella, part novelette, includes a few children’s fables throughout, and four illustrators have been involved with its development over the last ten years (48 illustrations total!). I should also mention  John Skipp played an early part in this thing coming together, as well as my three amigos: Thomas F. Monteleone, F. Paul Wilson, and Douglas E. Winter.

So, where does it stand, then, this beautiful whatever-it-is?

My agent is busy shopping this monster. With a little luck and patience, perhaps it will sell (which could mean a while longer before it finds print). We have high hopes, though, so we’re aiming high. It’s worth the wait (I promise), and while the book works on its own, Psychotropic Dragon has many tie-ins to my other works, most notably the two previous composite novels, Palindrome Hannah and Phoenix RoseOther tie-ins include the novelette Our Children, Our Teachers, the children’s book Ensoand various work from Inkblots and Blood Spots.

The cover image above is from an “Advance Reader Copy” I created to make it easier for pre-readers to grasp the overall concept, and to perhaps gain a few more blurbs for promotion. This image has kept the project going, always on my mind.

One of my first pre-readers (and originally a collaborator, believe it or not) was Dallas Mayr, aka Jack Ketchum; while he couldn’t contribute to the fiction, when all was said and done, he offered a generous cover blurb instead. He loved this thing almost as much as I do: “Addictive, scary, and at times, mind-blowing.” Can’t ask for much better than that, right? Other collaborators have been in talks, but eventually I decided to finish this thing on my own, at least in terms of the text.

The illustrators? Ty Scheuerman worked on early concepts, Daniele Serra on illustrations for the novelette and spot-pieces throughout, Glenn Chadborne on the novella, and L.A. Spooner on the short novel and fables. Insane, right? Whether or not the illustrations (48!) will make it into the final product is yet to be determined, but here are a few teasers (section titles and visuals). Let’s just say this book is wild! No matter what, Psychotropic Dragon will someday have a “special edition,” which will include everything.

ORIGINAL CONCEPTS (Ty Scheuerman):

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SOMNAMBULISM / I SUMMON LAMBS (novelette / Daniele Serra):

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A ROSE / AROSE (novella / Glen Chadbourne):

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DRAKEIN (short novel / L.A. Spooner):

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As for the fables, they are titled ECLOSE, SCARLET HOURGLASS, ACHERONTIA ATROPOS, and APODEMUS. And a few of the other chapters connecting all this insanity: THE BEGINNING OF THE END, DEATH’S-HEAD, LIFE-MAGICENSŌand THE END OF THE BEGINNING. Like I mentioned before, this book is something wild!

Soon (haven’t I said that before?) …



SEVEN MINUTES

This book, which was recently trimmed from 100,000 words to 80,000 words, is the strongest thing I’ve ever written, and happens to be nonfiction. I’ll be reading a seven-minute chapter (called “Seven Minutes”) at StokerCon in May. Advance Reader / Burn After Reading copies are currently making the rounds while my agent shops this one around the nonfiction market (although nonfiction is something new for both of us).

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I wrote the manuscript in 23 days (most pages on an old Royal typewriter, about 75,000 words). 23 days happens to be how long the Tubbs fire burned (the setting for this book), and how long my cat Bram went missing (the end of the fire and the day he was found, one in the same), and so I made that my goal: to finish an entire book in under a month! The third draft was completed on day 23, the first anniversary of the day the Tubbs fire was finally extinguished, the day Bram was found.

The book is about the fire that took our home and many others (somewhere around 5,600 from the Tubbs fire alone), changing our lives (and many others’) forever. The book is structured like a therapy session. It contains poetry and lots of hard truths, with the narrative bouncing from first-person to first-person collective to second-person.

This one is close to the heart.


THE IMPOSSIBLE WEIGHT OF LIFE

This would be fiction collection number three (roughly 90,000 words, so lengthier than my previous collections), and will feature short fiction, long fiction, and a few poems (one quite long). Three of the stories have been nominated for the Bram Stoker Awards*, and most of the others have found their way into anthologies over the last few years. Most are autobiographical, in one way or another, and most were written during my recovery from Loss of Bilateral Labyrinthine Function.

My agent is shopping this one around as well (yes, I have her very busy), but here’s a teaser of its tentative contents:

“Time is a Face on the Water”*
“Speaking Cursive”
“The Long White Line”
“Möbius”
“Cartwheels” (poem)
“Hourglass”
“Ghosts of Calistoga”
“Darkroom” (novelette)
“Fade to Black”
“The Fire” (poem)
“The Other Side of Semicolons”
“SAD Face” (novelette)
“Essential Oils”
“Gave”
“A Murmuration of Souls”
“Fragments of Br_an”
“I Will Be the Reflection Until the End”*
“Shades of Red” (poem)
“Our Children, Our Teachers”* (novelette)


PRISMS:

This is an anthology I co-edited with Darren Speegle, to be release soon through PS Publishing. Expect more information on release dates and pre-ordering and whatnot as soon as its available. We’re hoping for a 2019 release date, if all the stars align. This is not the cover, but a mock-up I created during early development:

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And here is the official Table of Contents (and word counts). Yes, this book will be something incredible:

“We Come in Threes” – B.E. Scully (4,200)
“The Girl with Black Fingers” – Roberta Lannes (4,400)
“The Shimmering Wall” – Brian Evenson (4,300)
“The Birth of Venus” – Ian Watson (7,400)
“Fifty Super-Sad Mad Dog Sui-Homicidal Self-Sibs, All in a Leaky Tin Can Head” – Paul Di Filippo (3,500)
“Encore for an Empty Sky” – Lynda Rucker (6,700)
“Saudade” – Richard Thomas (3,900)
“There Is Nothing Lost” – Erinn L Kemper (5,200)
“The Motel Business” – Michael Marshall Smith (4,900)
“The Gearbox” – Paul Meloy (6,100)
“District to Cervix: The Time Before We Were Born” – Tlotlo Tsamaase (8,500)
“Here Today and Gone Tomorrow” – Chaz Brenchley (5,400)
“Daylight Robbery” – Anna Taborska (5,400)
“The Secrets of My Prison House” – J. Lincoln Fenn (4,600)
“A Luta Continua” – Nadia Bulkin (7,200)
“I Shall but Love Thee Better” – Scott Edelman (10,500)


MISCREATIONS: GODS, MONSTROSITIES & OTHER HORRORS:

This is an anthology I am currently co-editing with the always wonderful Doug Murano, to be released through Written Backwards. Expect this one in early 2020. Here is a glimpse of what we’re thinking for the cover. Follow along here!

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As always, expect an incredible anthology! The first two story acceptances:

“Brains” – Ramsey Campbell
“Resurrection Points” – Usman T. Malik


Things I’ve written lately:

“A Bouquet of Flowers” (2,000 words, nonfiction)
“Oll Korrect” (3,500 words, fiction)
“Emergence of the Colorless – Exordium to Conclusio” (6,200 words, fiction)
“L’appel du Vide” (in progress, fiction)

Things I’ve read lately (and enjoyed), and things I am currently reading (and enjoying):

There There by Tommy Orange
Baby Teeth
 by Zoje Stage
Inspection by Josh Malerman
The Hunger by Alma Katsu

That’s about it for now …

2018 BRAM STOKER AWARDS® FINAL BALLOT

The Horror Writers Association recently announced the final ballot for the 2018 Bram Stoker Awards®. I am happy to report that my novelette Our Children, Our Teachers is nominated for Superior Achievement in Long Fiction. You can read it for free here!

My work has appeared on the preliminary ballot twelve times over recent years, and on the final ballot seven, and it’s always a shock. I took home the statue for The Library of the Dead as editor back in 2015, so my fingers are crossed this year to bring home a statue for my own fiction.

Kudos to everyone who made the cut. 2018 was a spectacular year, book-wise / story-wise. I’ve had a few already ask what stuff of mine has been nominated in the past, so here you go. The complete list of the Horror Writers Association’s final ballot follows.

  • Superior Achievement in Short Fiction, “Fireman / Primal Tongue” (2013)
  • Superior Achievement in an Anthology, Qualia Nous (2014)
  • Superior Achievement in an Anthology, The Library of the Dead (2015)
  • Superior Achievement in an Anthology, Chiral Mad 3 (2016)
  • Superior Achievement in Short Fiction, “Time is a Face on the Water” (2016)
  • Superior Achievement in Short Fiction, “I Will Be the Reflection Until the End” (2017)
  • Superior Achievement in Long Fiction, Our Children, Our Teachers (2018)

 

Superior Achievement in a Novel

The Hunger – Alma Katsu

Glimpse – Jonathan Maberry

Unbury Carol – Josh Malerman

Dracul  – Dacre Stoker and J.D. Barker

The Cabin at the End of the World  – Paul Tremblay

 

Superior Achievement in a First Novel

What Should Be Wild – Julia Fine

I Am the River – T.E. Grau

The Rust Maidens – Gwendolyn Kiste

Baby Teeth – Zoje Stage

The Moore House – Tony Tremblay

 

Superior Achievement in a Young Adult Novel

Dread Nation – Justina Ireland

Sawkill Girls – Claire Legrand 

Broken Lands – Jonathan Maberry

The Night Weaver – Monique Snyman

The Dark Descent of Elizabeth Frankenstein – Kiersten White

 

Superior Achievement in a Graphic Novel

Abbott – Saladin Ahmed 

Moonshine Vol. 2: Misery Train – Brian Azzarello

Bone Parish – Cullen Bunn

Destroyer – Victor LaValle 

Monstress Volume 3: Haven – Marjorie Liu

 

Superior Achievement in Long Fiction

Our Children, Our Teachers – Michael Bailey

You Are Released – Joe Hill

Dead Lovers on Each Blade, Hung – Usman T. Malik

The Devil’s Throat  – Rena Mason

Bitter Suites – Angela Yuriko Smith

 

Superior Achievement in Short Fiction

“Mutter” – Jess Landry

“Dead End Town” – Lee Murray

“Glove Box” – Annie Neugebauer

“A Winter’s Tale” – John F.D. Taff

“And in Her Eyes the City Drowned” – Kyla Lee Ward

 

Superior Achievement in a Fiction Collection

Spectral Evidence – Gemma Files

That Which Grows Wild  – Eric J. Guignard

Coyote Songs  – Gabino Iglesias

Garden of Eldritch Delights  – Lucy A. Snyder

Dark and Distant Voices: A Story Collection – Tim Waggoner

 

Superior Achievement in a Screenplay

Hereditary – Ari Aster

The Haunting of Hill House: The Bent-Neck Lady, Episode 01:05 – Meredith Averill

Annihilation – Alex Garland

Bird Box – Eric Heisserer 

A Quiet Place – Bryan Woods, Scott Beck and John Krasinski

 

Superior Achievement in an Anthology

A New York State of Fright: Horror Stories from the Empire State – James Chambers, April Grey and Robert Masterson 

The Devil and the Deep: Horror Stories of the Sea – Ellen Datlow

A World of Horror – Eric J. Guignard

Hellhole: An Anthology of Subterranean Terror – Lee Murray

Lost Highways: Dark Fictions from the Road – Alexander D. Ward

 

Superior Achievement in Non-Fiction

Horror Express – John Connolly

The Howling: Studies in the Horror Film  – Lee Gambin

We Don’t Go Back: A Watcher’s Guide to Folk Horror – Howard David Ingham

It’s Alive: Bringing Your Nightmares to Life – Joe Mynhardt and Eugene Johnson

Uncovering Stranger Things: Essays on Eighties Nostalgia, Cynicism and Innocence in the Series – Kevin J. Wetmore Jr.

 

Superior Achievement in a Poetry Collection

Artifacts – Bruce Boston

Bleeding Saffron – David E. Cowen 

Witches – Donna Lynch

War – Marge Simon and Alessandro Manzetti  

The Devil’s Dreamland – Sara Tantlinger  

 

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2018 BRAM STOKER AWARDS® PRELIMINARY BALLOT

The Horror Writers Association recently announced the preliminary ballot for the 2018 Bram Stoker Awards®, the details of which you can find below. While Chiral Mad 4: An Anthology of Collaborations (the final anthology by Written Backwards) did not survive the great culling, there are many great anthologies competing this year for Superior Achievement in an Anthology. But hey, Lucy and I gave it our best, and it’s a great book full of collaborations that hopefully brought the writing community together. Check it out if you haven’t already!

The anthology co-editors made the cut for different categories, however. Garden of Eldritch Delights by Lucy A. Snyder is on the list for Superior Achievement in a Fiction Collection, and my own novelette, Our Children, Our Teachers, for Long Fiction.

Kudos to those on the preliminary ballot, lots of friends in the genre, no doubt, and also kudos to those whose work did not make the cut. There are many works I’d personally add to this list, but lists can only be so long. And 2018 was a great year for horror!

 

Superior Achievement in a Novel

The Shape of Water – Guillermo del Toro and Daniel Kraus

Dark Mary – Paolo Di Orazio

The Hunger – Alma Katsu

The Outsider – Stephen King

Glimpse – Jonathan Maberry

Unbury Carol – Josh Malerman

Naraka – Alessandro Manzetti

Hazards of Time Travel – Joyce Carol Oates

Foe – Iain Reid 

Frankenstein in Baghdad: A Novel  – Ahmed Saadawi

Dracul  – Dacre Stoker and J.D. Barker

The Cabin at the End of the World  – Paul Tremblay

 

Superior Achievement in a First Novel

The Garden of Blue Roses – Michael Barsa

What Should Be Wild – Julia Fine

Breaking the World – Jerry Gordon

I Am the River – T.E. Grau

The Rust Maidens – Gwendolyn Kiste

Fiction – Ryan Lieske

The Honey Farm – Harriet Alida Lye 

The War in the Dark – Nick Setchfield 

The Nightmare Room – Chris Sorensen

Baby Teeth – Zoje Stage

The Moore House – Tony Tremblay

 

Superior Achievement in a Young Adult Novel

Pitch Dark – Courtney Alameda

The Wicked Deep – Shea Ernshaw 

Attack of the 50 Foot Wallflower – Christian McKay Heidicker 

Dread Nation – Justina Ireland

Wormholes: Book One of Axles and Allies – Dani Kane

Sawkill Girls – Claire Legrand 

Broken Lands – Jonathan Maberry

The Night Weaver – Monique Snyman

The Wren Hunt – Mary Watson

The Dark Descent of Elizabeth Frankenstein – Kiersten White

 

Superior Achievement in a Graphic Novel

Abbott – Saladin Ahmed 

Cursed Comics Cavalcade – Alex Antone and and Dave James Wielgosz

Moonshine Vol. 2: Misery Train – Brian Azzarello

Redlands Volume 1: Sisters by Blood – Jordie Bellaire

Bone Parish – Cullen Bunn

Denver Moon: Metamorphosis – Warren Hammond and Joshua Viola

Destroyer – Victor LaValle 

Gideon Falls Volume 1: The Black Barn – Jeff Lemire

Monstress Volume 3: Haven – Marjorie Liu

Infidel – Pornsak Pichetshote 

 

Superior Achievement in Long Fiction

Our Children, Our Teachers – Michael Bailey

The Barrens – Stephanie Feldman

Shiloh – Philip Fracassi

You Are Released – Joe Hill

Cruce Roosters  – Brent Michael Kelley

Black’s Red Gold – Ed Kurtz

Dead Lovers on Each Blade, Hung – Usman T. Malik

The Devil’s Throat  – Rena Mason

Body of Christ – Mark Matthews

Bitter Suites – Angela Yuriko Smith

Shape Shifting Priestess of the 1,000 Year War  – Todd Sullivan

 

Superior Achievement in Short Fiction

“All Summers End” – Tom Deady

“Life After Breath” – Tori Eldridge

“Cold, Silent, and Dark” – Kary English

“The Gods in Their Seats, Unblinking” – Kurt Fawver

“The Woman in the Blue Dress” – Heather Herrman

“Mutter” – Jess Landry

“Dead End Town” – Lee Murray

“Glove Box” – Annie Neugebauer

“Fish Hooks” – Kit Power

“Her Royal Counsel” – Andrew Robertson

“A Winter’s Tale” – John F.D. Taff

“And in Her Eyes the City Drowned” – Kyla Lee Ward

 

Superior Achievement in a Fiction Collection

Something Borrowed, Something Blood-Soaked  – Christa Carmen

Spectral Evidence – Gemma Files

That Which Grows Wild  – Eric J. Guignard

Coyote Songs  – Gabino Iglesias

Octoberland  – Thana Niveau

Frozen Shadows: And Other Chilling Stories – Gene O’Neill

Apple and Knife – Intan Paramaditha

Occasional Beasts: Tales – John Claude Smith

Garden of Eldritch Delights  – Lucy A. Snyder

Little Black Spots – John F.D. Taff

Dark and Distant Voices: A Story Collection – Tim Waggoner

 

Superior Achievement in a Screenplay

Hereditary – Ari Aster

The Haunting of Hill House: The Bent-Neck Lady, Episode 01:05 – Meredith Averill

The Haunting of Hill House: Screaming Meemies, Episode 01:09 – Meredith Averill

Mandy – Panos Cosmatos and Aaron Stewart-Ahn 

Ghost Stories – Jeremy Dyson and Andy Nyman

Halloween – Jeff Fradley, Danny McBride and David Gordon Green

Annihilation – Alex Garland

Bird Box – Eric Heisserer 

Overlord – Billy Ray and Mark L. Smith

A Quiet Place – Bryan Woods, Scott Beck and John Krasinski

 

Superior Achievement in an Anthology

A New York State of Fright: Horror Stories from the Empire State – James Chambers, April Grey and Robert Masterson 

The Devil and the Deep: Horror Stories of the Sea – Ellen Datlow

Suspended in Dusk II – Simon Dewar

A World of Horror – Eric J. Guignard

Welcome to the Show – Doug Murano and Matt Hayward

Hellhole: An Anthology of Subterranean Terror – Lee Murray

The Fiends in the Furrows: An Anthology of Folk Horror – David T. Neal and Christine M. Scott

Phantoms: Haunting Tales from Masters of the Genre – Marie O’Regan

Lost Highways: Dark Fictions from the Road – Alexander D. Ward

Quoth the Raven – Lyn Worthen

 

Superior Achievement in Non-Fiction

Horror Express – John Connolly

Adapting Frankenstein: The Monster’s Eternal Lives in Popular Culture – Dennis Cutchins and Dennis R. Perry

The Howling: Studies in the Horror Film  – Lee Gambin

Woman at the Devil’s Door: The Untold True Story of the Hampstead Murderess  – Sarah Beth Hopton

We Don’t Go Back: A Watcher’s Guide to Folk Horror – Howard David Ingham

Sleeping with the Lights On: The Unsettling Story of Horror – Darryl Jones

It’s Alive: Bringing Your Nightmares to Life – Joe Mynhardt and Eugene Johnson

A Place of Darkness: The Rhetoric of Horror in Early American Cinema – Kendall R. Phillips

Wasteland: The Great Ward and the Origins of Modern Horror – W. Scott Poole

Uncovering Stranger Things: Essays on Eighties Nostalgia, Cynicism and Innocence in the Series – Kevin J. Wetmore Jr.

 

Superior Achievement in a Poetry Collection

Artifacts – Bruce Boston

The Comfort of Screams – G.O. Clark 

Bleeding Saffron – David E. Cowen 

The Hatch – Joe Fletcher

Witches – Donna Lynch

Thirteen Nocturnes – Oliver Shepard

War – Marge Simon and Alessandro Manzetti  

The Devil’s Dreamland – Sara Tantlinger  

Candle and Pins: Poems on Superstitions – Jacqueline West

Gwendolyn Witch and Other Macabria – Twyla Wren

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