Last night I did a 2-hour interview on Deadly Reads Radio Show with Linda Barton and Lisa Vandiver. We talk about writing horror fiction, what inspires writers, experiences with the paranormal and I read excerpts from DARKNESS RISING and DEAD OF WINTER. My interview starts around 12 minutes into the show.
You can listen to it here:
Coaching for Writers
Advice on the craft of writing, publishing, and marketing books
Friday, November 20, 2015
Wednesday, July 1, 2015
Cover Reveal and Excerpt for DARKNESS RISING
My latest book, DARKNESS RISING, is a blood-tingling revenge story with a supernatural twist. The novella releases as an eBook on Amazon
and other online bookstores September 1st. Below is a description of the book
along with a sneak peek of how the book begins.
It’s
all fun and games until...
Marty
Weaver, an emotionally scarred poet, has been bullied his entire life. When he drives
out to the lake to tell an old friend that he’s fallen in love with a girl
named Jennifer, Marty encounters three sadistic killers who have some twisted
games in store for him. But Marty has dark secrets of his own buried deep
inside him. And tonight, when all the pain from the past is triggered, when
those secrets are revealed, blood will flow and hell will rise.
-----------------------
“From the first page I was
hooked and couldn't read fast enough. Moreland takes a wicked revenge tale and
supes it up, and then when you think things are resolved and you wonder where
he's going with it, he delivers the goods. Filled with brutal violence, great
prose, nasty characters and ones you root for, Darkness Rising is a must
read!!!!”
--David
Bernstein, author of Goblins and Witch Island
-----------------------
Here’s
an excerpt from the book:
Prologue
Deep in the Oregon woods,
the lake watched in silence as the woman crawled across the muddy banks,
dragging her wounded legs. A switchblade jutted from the back of one thigh.
Moonlight glinted off the exposed bone of her hip. Hair, caked with blood and
dirt, clung to the woman’s face as she clawed her way into the shallow water.
She found her husband, or what was left of him, floating facedown near the
shore. Hugging his butchered torso, she wailed, an animal cry that echoed
across the valley. A flock of ducks took flight. Behind the mutilated couple
stood the killer with the white rabbit mask, head cocked, a bloody machete
resting on one shoulder. Then two more joined the rabbit, a toad and weasel,
both taller, their clothes covered in dark stains. The three masked killers
admired their blood work. The frantic woman released her husband’s body and
attempted to swim away, flailing her arms, but Toad and Weasel waded in after
her and brought her screaming back to shore. Then Weasel picked up the video
camera and began filming again. White Rabbit continued torturing the woman.
Then Toad had his fun. At dawn, the woman’s screams finally ended. The lake
watched in silence as the three animals danced around her corpse, then slipped
into the forest.
-----------------------
The world had always been a cruel place for Marty Weaver.
His scars were many and deep. Growing up, his teachers and various foster
parents had labeled him autistic, a problem child, emotionally disturbed, while
the kids at the foster homes and at school called him names—nerd, wimp, dweeb,
freak and worse. He seemed to walk through life with a sign that read “bully me”,
even though what he wanted most was a circle of friends and family to love and
love him back.
His best friends were dead poets―Yates, Hawthorne, Keats,
Byron, Frost and Poe, to name a few. They taught Marty how to pour the burdens
of his soul into poetry. With each poem he wrote and read to the lake, he
peeled back a layer of scar tissue and felt a sense of hope that he might one
day become a man others could love, maybe even a man who could learn to love
himself.
Tonight was a special night. Every full moon, in a
tradition he had started as a teenager, Marty did two things. First, he visited
the cemetery and put fresh flowers on his mother’s grave. Then he drove along
the wooded back roads that carved between the Blue Mountains to read his latest
poems to the lake. Writing poetry helped him deal with all his pent-up
emotions. It had helped him through his roughest times―the loss of his parents
when he was nine, all the hell he had gone through bouncing between foster
homes, and the rocky period that followed when he turned eighteen and ventured
out on his own.
He parked in the lot overlooking the water, eager to
share more about this radiant angel who had entered his life. As he climbed out
of his car, he noticed a van parked in the shadows of a tree with looming
branches. It looked like one of those custom vans with flames painted down the
sides.
This gravel lot, on the farthest side of the lake, was always empty.
Most people didn’t know this place existed because it wasn’t on the campground
maps and it took several dirt roads to get here. He came to this spot because
it was the special place his parents used to bring him to when he was a boy.
The lot and beach were completely hidden by dense woods. Across the water was
the most majestic view of pines and mountains. Occasionally a boat passed by,
but mostly this inlet was quiet and still. His mother had called their secret
spot “the Magic Cove”. She loved to swim here, sunbathe, and take him exploring
in the forest.
His father liked this cove because the fishing was good.
He taught Marty how to work a rod and reel, gut a fish with a knife, skin it
and flay it. Mornings were always spent with the two of them fishing for
whatever the lake offered that day, while Marty’s mother read her books or did
yoga. Then they’d have a picnic and cook their fish over a campfire. Those were
the best days of Marty’s childhood, before The Bad Thing happened.
That someone had discovered his private cove made Marty
feel invaded. He watched the van for a moment, but it looked dark and empty.
Maybe someone had abandoned it there. Or some hikers had gone on a long trek
around the lake. He didn’t see anyone, so he didn’t concern himself too much
about the van.
He walked down the hill to the water’s edge with his
journal. The moon’s glow cast his shadow across the lake’s glassy surface.
“Hello, old friend. It’s been a few weeks. I’ve got some
new poems for you.”
He opened his journal, feeling the worn leather cover
against his palms. The oversized book, filled with hundreds of pages of his
handwriting and drawings, was a memoir of his inner world from childhood to
now. The stiff, heavily inked pages crinkled as he turned them, and that sound
always made him feel a sense of nostalgia.
The book had been a gift from his
mother on his eighth birthday. Across these pages he had written countless
poems, short stories, and glued-together collages of magazine pictures of
things he wanted to one day own or become. At age eight, he had wanted to be
Batman and pasted cutouts from a comic book. At age nine, it was Aquaman. As he
got older, the pictures changed from superheroes to cars, to girls, to the
things he now aspired to have as an adult, like an education, professorship,
someday a wife.
Next to a pamphlet of St. Germaine College was a photo of him
and Jennifer at the campus gardens where they had taken a selfie standing in
front of a fountain. The last fifty or so pages were filled with his love
poems, some so sappy he felt embarrassed to read them. Most of his poems were
amateurish musings, while every now and then he wrote something he was proud
of. The only one who had ever heard any of his writings was the lake.
Marty held the big book open like a preacher about to
give a sermon, only his congregation was the frogs and the reeds and the dark
water. “I’ve been seeing Jennifer around campus more and more. Today she gave
me a gift and kissed me on the cheek. The way she acts around me sometimes, I…I
think I might actually have a shot with her.” He felt his heart expand just
thinking about her. “Her beauty has awakened something in me that I’ve never
felt for anyone. I can’t stop writing about her. I’ve got at least a dozen new
ones. This first one’s still a work in progress. The beats aren’t quite right,
but this is what I’ve written so far.”
He read the poem aloud:
In her eyes, fireflies
Sparks from my caress
On our faces, warm smiles
Cannons in our chests
Time's first gentle touch
Feathers along our flesh
Tall grass all around us
We whisper, touch, undress
Butterflies in our heads
Opening wings together
Taking flight in purple skies
Evaporating like the weather
The sound of hands clapping startled Marty.
“That is the most beautiful piece of shit I ever heard,”
a man’s voice echoed off the water, followed by laughter.
Marty turned to see three silhouettes walking along the
shoreline towards him.
-----------------------
“Just finished Darkness
Rising and still reeling from the conflict, terror, horror and emotional
rollercoaster that Brian Moreland has weaved so magically into this novella . .
. Weaving its superbly crafted way through demons, vengeance and an indomitable
spirit, this is a real winner. 5 star horror all the way!”
--Catherine
Cavendish, author of Dark Avenging Angel
and The Pendle’s Curse
Darkness Rising is now
available for pre-order:
Saturday, September 20, 2014
Guest Author Anthony Hains on Writing Dead Works
Today, guest author Anthony Hains talks about writing
his new horror novel Dead Works. If you like a good mix of psychological
suspense and supernatural horror, you’ll like Anthony Hains’ stories. I also
enjoyed his novel, Birth Offering.
The final version of Dead Works is only remotely similar to
the original version. My initial plot for the novel involved the mishaps of
ghost hunters exploring a 100 year old mansion situated in a glorious setting
on Long Island Sound in New York. One of the characters had a back story that
involved him in therapy as a child - an account that may have topped out at 800
words. So, this wasn’t a huge focus, but rather an interesting tidbit to
illustrate a character.
The only problem with this
back story idea was that I couldn’t shake it from my mind. The issues involving
the therapy became more complex, even if I didn’t start out with the intention
of putting them on paper. It was only a matter of time until this back story
became more interesting than the original plot. I realized that I needed to jettison the ghost hunter notion and go with the
kid-in-therapy narrative.
Since I am a psychologist
and a professor of counseling psychology, I immediately knew the angle I was
going to take. The main character was going to be a graduate student – a
counseling psychologist in training. The young man would be in a practicum
class where students are placed in a clinical setting and conduct therapy under
the supervision of an on-site psychologist and a university instructor. After
all, I live this stuff on a daily basis. I have taught at least one practicum
class a year for the past 25 years. I know how students think and act. And,
even though it has been a very long time, I still remember what it is like to
be a graduate student. The client, of course, needed to be a kid – again, no
problems since my professional area of focus is pediatric psychology and I have
been studying and interacting with adolescents most of my professional career.
While this group can be a pain in the butt for many professionals, I rather
enjoy the population.
The challenge came with
making the process authentic without losing a reader. Losing a reader can
happen a couple of ways with this type of narrative. First, if I wrote an
accurate account of therapy, the layperson would become increasingly
frustrated. Unlike screen portrayals of therapy, there are rarely (if ever)
those dramatic eureka moments when the client gains insight and the problem is
solved within minutes. In most cases, the problem and the goals of therapy are
identified early, and the difficult work involves the client learning and
practicing new ways of coping or behaving to address personal concerns. This
takes time, depending on the nature of the problem.
Second, if I did go for the
dramatic denouement and make the therapy passages unrealistic or simplistic, I
would run the risk of personal embarrassment if my colleagues or students
actually read my fiction (so far, none have as far as I know). Pure vanity (or
maybe self-respect?) on my part, I know.
So, I provided excerpts of
five therapy sessions involving my graduate student protagonist, Eric, and his
thirteen year old client, Greg. I deleted some of the more mundane interactions
between them, and stuck to the more “thrilling” proceedings. By the way, the
boy sees ghosts, so much of the interactions involve the kid learning how to
make sense of these events. I portrayed my student character as being competent
at this level of training. He makes all the “correct” responses in therapy and
his inner narrative is consistent with what graduate students might be
thinking.
Finally, you can’t get
around the fact that this is a ghost story and the topic of therapy involves
seeing ghosts. Most problems addressed in actual therapy are not
“other-worldly”. The terrors, fears, and concerns of clients are grounded in daily
realities. Sometimes these horrors exceed our experience, but we know about
them anyway: abuse, addiction, suicide… You don’t need ghosts when you have
these things to deal with. Nonetheless, every once in a while something rather
strange appears on the radar screen in therapy. I can think of three or four
times this has happened in my work. How do you address it? There is no one way
of doing it, but I think Dead Works
provides some indications. Curious? I hope you read Dead Works to find out.
--------------------------------------------------------------------------------------------------
Anthony Hains is a university
professor in counseling psychology, with a specialization in pediatric
psychology – his research involves working with youth who have a chronic
illness.
Here is the link to my website: http://www.anthonyhains.com
Labels:
writing,
writing books,
writing fiction,
writing novels
Saturday, August 16, 2014
Guest Author Eric Red on Researching Horror
My latest guest writer is
someone whose work I’ve been a fan of since the 1980s, when Eric Red was
writing screenplays and directing movies. Two movies he wrote I consider
classics. You may have seen The Hitcher
(1986) and the vampire flick Near Dark
(1987). When I was studying screenwriting at UT Austin back in 1989, my
professor talked about Eric Red and his screenplays, and we discussed The Hitcher in depth. I admired Red’s
early success as a writer. In 1991, I went to the theater to see the horror
movie Body Parts and there on the big
screen was Written and Directed by Eric Red. Mr. Red went on to write and direct
some other recognizable horror movies, including Bad Moon and 100 Feet, to
name a few.
After making his mark on the movie business, Eric Red has gone on to write comic book series, graphic novels and channeled his talents into writing horror short stories and novels. I was thrilled when he joined the team of authors at my publisher Samhain Horror. Now, with the release of his latest Sci-Fi monster novel, It Waits Below, I’m honored to have Eric Red as a guest on my blog as he shares his wisdom about researching for a horror novel.
What does research matter in
horror?
You’d think doing research
as an author would be less important for a horror novel than other literary
genres, because monsters and the supernatural aren’t real—or at least some
think so. But in my opinion, the more realistic the everyday details, technology,
ordinance, hardware, professional behavior, and science, the more the reader believes
what’s going on, increasing their involvement in the story. Even though the
reader knows a horror story is unreal, I believe the greater
the verisimilitude, that on an unconscious level people believe what is happening
just a little bit more—and it’s that much more scary. It all comes down to
suspension of disbelief.
I knew two things before
writing It Waits Below, my new
Samhain novel about the crew of a three-man Deep Submergence Vehicle who
encounter an alien life form at the bottom of the ocean. One, the book had to
be technically accurate. Two, I didn’t know shit about subs, and needed
technical advisers who did. With the help of The National Academy Of Sciences,
I was introduced to one of the top Alvin sub pilots in the world and his wife,
a prominent oceanographer and microbiologist. For months they gave me
invaluable help explaining how these subs are operated and what the crews
encounter many miles down. They answered a million questions and shared
fascinating materials that provided inspiration for some of the most terrifying
scenes in the book. Later, I would run finished scenes by them and ask if this
could happen or that could happen. Without the help of my technical advisers,
the novel would have been about as convincing as an old Voyage To The Bottom Of The Sea TV episode.
Some writers are research-wonks, but originally I wasn’t. When I started writing scripts for movies like The Hitcher—road thrillers set in a spare highway iconography—what the hell did you need to know? Get a map of Texas. Find out the makes of the police cars and what kind of guns they carried. The rest was pure imagination. But over the years, as my subject matter grew more involved, so did the research entailed. What I discovered was some of the most creative ideas often sprang from the research.
For instance, in Containment, my IDW zombies-in-space
graphic novel about to be re-republished, I had to research long-distance space
exploration and immediately realized the movie cliché of these cavernous space
arks is a total myth. The fact is everything would need to be built as small and
compact as possible to conserve weight and mass for propulsion. The creative
opportunity was since the story involved cryogenic zombies on a spaceship, the
more cramped and claustrophobic the surroundings, the greater the tension and
suspense.
In It Waits Below, the alien comes to earth and ends up at the bottom
of the ocean on a falling asteroid that destroys a Spanish treasure ship in the
1800’s. Centuries later, a salvage dive by treasure hunters sets the story in
motion. Again, a little research paid off. I hunted down some footage of meteor
strikes and was astonished by one event filmed not too long ago in the Eastern
Block by witnesses on DV cams and iPhones from every conceivable vantage point.
An actual large asteroid impact didn’t look like I imagined, or had seen in
movies—it was a pulsing light over the world that turned in day to night to day
to night and back again; utterly apocalyptic and chilling. So the crashing
meteor that hits the treasure gallon in the opening of the novel was described
in just such a manner.
Even when you know the
technical realities of the subject matter, you inevitably take certain
liberties. In It Waits Below, for
dramatic purposes, I needed a second chamber in the DSV that houses a specially
designed diving suit—people have to run and hide from aliens somewhere in a fifteen-foot
sub, after all—and neither of these exists in actual submersibles. Still, I ran
it all by my Alvin sub pilot consultant, and made it as “speculatively
accurate” as possible.
The space monster
stuff—well, that I made up!
-------------------------
Here’s the synopsis for It Waits Below:
It waits no more!
In the 1800s, an asteroid carrying an extraterrestrial life form crashed to earth and sunk a Spanish treasure ship. Now, a trio of salvage experts dives a three-man sub to the deepest part of the ocean to recover the sunken gold. There, they confront a nightmarish alien organism beyond comprehension, which has waited for over a century to get to the surface. It finally has its chance.
In the 1800s, an asteroid carrying an extraterrestrial life form crashed to earth and sunk a Spanish treasure ship. Now, a trio of salvage experts dives a three-man sub to the deepest part of the ocean to recover the sunken gold. There, they confront a nightmarish alien organism beyond comprehension, which has waited for over a century to get to the surface. It finally has its chance.
As their support ship on the
surface is ambushed by deadly modern-day pirates, the crew of the stranded sub
battles for their very lives against a monster no one on Earth
has seen before.
It Waits Below is
available through Amazon,
Barnes and Noble, and Samhain Horror.
------------------------------------------------------------------------------------------------
Eric Red is a Los Angeles
based motion picture screenwriter, director and author. His original scripts
include The Hitcher for Tri Star, Near Dark for DeLaurentiis Entertainment
Group, Blue Steel for MGM and the
western The Last Outlaw for HBO. He directed and wrote the crime film Cohen And Tate for Hemdale, Body Parts for Paramount, Undertow for Showtime, Bad Moon for Warner Bros. and the ghost
story 100 Feet for Grand Illusions
Entertainment.
Mr. Red’s first novel, a
dark coming-of-age tale about teenagers called Don’t Stand So Close, is available from SST Publications. His
second and third novels, a werewolf western called The Guns Of Santa Sangre and a science fiction monster novel called
It Waits Below, are available from
Samhain Publishing. His fourth novel, a serial killer thriller called White Knuckle, will be published by
Samhain in 2015. A collection of eighteen of his horror short stories titled Toll Road will be published by SST
Publications in 2015.
His recent published horror
and suspense short stories include “Colorblind” in Cemetery Dance
magazine, the western horror tale “The Buzzard” in Weird Tales magazine,
“Pack Rat” in Beware the Dark magazine, “Little Nasties”
in Shroud magazine, “In the Mix” in Dark Delicacies III:
Haunted anthology, “Past Due” in Mulholland Books’ Popcorn Fiction, and “Do
Not Disturb” in Dark Discoveries magazine.
He created and wrote the
sci-fi/horror comic series and graphic novel Containment for IDW Publishing and the horror western comic series Wild Work published by Antarctic Press.
Mr. Red’s website is: www.ericred.com.
His IMDB page is: http://imdb.to/LyPooe.
Labels:
horror fiction,
horror novels,
research,
writing books,
writing fiction
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