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Featured Author: Logan McConnell

The sunrays were so intense they stung the farmer’s eyes, and for moments the daylight was as blinding as pitch black. Long sleeves and a wide brim hat shielded his skin from the brutal sun, growing wet and sticky with sweat by noon. Looking out on land this flat and remote, the farmer felt abandoned and isolated. Nobody to threaten him, nobody to aid him. He toiled alone.

The farmer caught sight of nothing but his home, which was really a large gardening shed, and land that disappeared beyond the horizon, dipped beneath the curvature of the planet. That and haze from suffocating heat that had lingered for days.

Only a week ago, the farmer had collapsed from a heat stroke, later waking up face down in the dirt, stinging with sunburn. He was naked with no memory of removing his clothes. Delirious ramblings had wheezed out through his cracked lips. He used his remaining strength to crawl to the water pump to avoid death. Never again. Never again would he allow that to happen, and he wouldn’t begin farming without being fully hydrated and protected from the sun.

He wiped sweat from his brow and pondered how farming provided a precarious kind of freedom that only seemed glamorous until you tasted it. Until he actually started farming, he couldn’t fathom the crushing hardship of watching his plants wither. Now it’s all he knew. These barley-living plants haunted him night and day.

Dull. That’s what his crops were. Dull green, bordering on brown colored, languishing in the hardening dirt. A few were bright green though, managing to look healthy. He felt a kinship with the vibrant hue, as if nature noticed and appreciated his hard work.

He crouched down to hold one of the few green leaves between his fingers, the reedy texture, so different from the unhealthy flaky crackle of the other plants, could be felt through his thick gardening gloves. The farmer tugged upwards a little on the stem and saw…white. White. That shouldn’t be. He wasn’t growing anything white. He yanked a little harder, lifting up the plant to reveal that the stem and roots were made of something round with firm turgor pressure. This was soft, fresh bone…

Continue reading this story:

Logan McConnell is a health care worker. He is a lifelong reader and new to writing fiction. He has upcoming short stories for the webzines Schlock! and Yellow Mama. He is influenced by the works of Mary Shelley, Octavia E. Butler, and Thomas Ligotti. He currently lives with his boyfriend in Tennessee. To keep up with Logan, follow him on Twitter.

FEATURED EXTRA!

We loved SHOULD I SCREAM? and had to know more about the story and its creator. So, we asked Logan McConnell some quick questions to learn more about his writing and creative process.

TDS: What was your inspiration for writing this piece?

Logan McConnell: Skulls. I was coming up with ideas for a story premise, and the image of a skull popped into my head. I knew I wanted a story where multiple skulls were featured. 

TDS: What was the writing process you used when creating this story?

Logan McConnell: I came up with the first half of this story spontaneously, but I didn’t know the ending when I started Should I Scream? When I got half-way through, I took a break and spent hours thinking of the most obvious/likely endings, then ruling them out. I wanted something unexpected, and eventually came up with an ending I liked. 

TDS: Who influenced you as a writer?

Logan McConnell: Fyodor Dostoevsky and Vladamir Nabokov are my two favorite authors. I discovered them in high school and have been reading them ever since. They aren’t horror writers, but they do explore the darker side of human nature using creative narratives. 

As far as horror influences, I would list Mary Shelly and Thomas Ligotti. I think Shelly tapped into the relationship of man/monster really well in her writing, and I admire Ligotti’s creative out-of-the-box thinking in crafting stories.


What do you think of Logan McConnell’s story? Let us know in the comments below.


As always, if you’d like your gothic, horror, fantasy, or psychological realism work featured, be sure to SUBMIT to us.


The Creative Nook with Samir Sirk Morató

Samir Sirk Morató’s story STAND NOT AT YOUR GRAVE was featured in The Dark Forest on April 6. I was enthralled from the start by this story’s bleak, harsh atmosphere. The climactic moment was so intimate and disturbing. I wanted to learn more about Mx. Morató’s creative process, influences, and other works, so I requested an interview. Join me as I delve even deeper into the fascinating world of this amazing author.


TDS: Do you remember the particular moment when you realized you wanted to become a writer? Did a particular book or movie inspire you? Or something you experienced or observed?

Samir Sirk Morató: I don’t think I ever had the realization “hey, I want to be a writer.” That desire overtook me the same way boiling water overtakes a frog. I was a voracious reader and scribbler from day one; as a child, I littered countless composition notebooks with plagiarized retellings of stories I had just read. Horror story anthologies, science fiction, and dark swashbucklers – escapist fiction that embraced horrific outcomes without flinching – were lifeboats for me. I wanted to create those for someone else too.

TDS: What attracted you to the Gothic and Horror genres, and what would you say are your favorite books amongst them?

Samir Sirk Morató: Moody atmospheres, monsters, body horror, and the layered decadence of decay all attracted me to the Gothic and Horror genres at an early age, though I was a B-roll creature feature fan before I was anything else. Full disclosure: I prefer short stories to novels. Peter Watts’ “The Things,” Shirley Jackson’s “The Haunting of Hill House,” Jeff VanderMeer’s “Annihilation,” and Alan Moore’s 1980s “Swamp Thing” are all favorites of mine. If we started getting into my favorite movies we’d be here all day.

TDS: What do you find to be the most difficult task when approaching a new project?

Samir Sirk Morató: Figuring out how to turn ideas and a handful of notes into a fully realized, fleshed out story is always the hardest part for me. Without fail, every time I start a project, I overwhelm myself by imagining all the themes / threads in the final product, then despair over how complicated it seems. The solution to this is always simple: just write the damn rough draft. Worry about editing in finesse later.

TDS: What’s the best advice you’ve ever received about writing?

Samir Sirk Morató: Few pieces of writing, or sentences, are irreplaceable. Learn to let go. Don’t be afraid to reframe or restart if something isn’t working. In ceramics, there’s a tradition of taking failed works outside and shattering them before zealously trying again. That’s the attitude to have here too.

TDS: How do you feel your personal beliefs influence your creative projects? Any fascinating experiences or ideas that become infused in your creative work?

Samir Sirk Morató: For better or worse, who I am permeates my writing. My rural upbringing and longtime fascination with death influence everything. As a nonbinary person who has suffered from Depersonalization/derealization disorder (DPDR), I also have strong feelings – and questions! – about what it means to perceive and inhabit a body. What scares you when you spend every day longing to crawl out of your own skin? What is flesh, really?

My DPDR in particular influences my approach to Gothic and Horror. Mental illness is a staple in both genres. Sometimes its inclusion is compelling; oftentimes, it’s cruel. Disorders that include hallucinations or disconnection from reality tend to be portrayed with malignant ignorance. I’ve become numb to these depictions, but in my own projects, I reject them.

I aim to create horror that viscerally discomforts readers without mocking them. If they feel uncomfortable but understood, that’s even better.

TDS: Do you believe in writer’s block and, if so, what methods do you use to combat it?

Samir Sirk Morató: To me, writer’s block is all too real. Unfortunately, there’s no shortcut to getting around it. If I’m facing writer’s block I’ll designate time to write something, anything, and see if that helps. Sometimes, in severe cases, I abstain from writing and focus on other hobbies to let myself recharge. When I feel rested, I’ll buckle down and try to write again. There’s no point in looking for water in a dry well. You need to let it replenish itself. I remind myself that it’s also impossible to write if I haven’t been consuming new material or absorbing new experiences to write about. There’s a life outside the rough drafts.

TDS: Other than writing short stories, what other creative outlets do you enjoy? What are some of your other interests and hobbies?

Samir Sirk Morató: I love to embroider, create collage art, hike, and send postcards. I’m also a casual birder. That being said, fellow birders, please don’t ask me to identify any bird via calls. If it’s not a Red-winged Blackbird, a Red-tail, or a nuthatch I won’t know it.

TDS: Thank you so much for your time. One last question: What stories have you published since appearing in TDS?

Samir Sirk Morató: I haven’t been too active this year, but I have a forthcoming short story in Cuir Kitchen Brigade’s queer ecology anthology, which I’m thrilled about. Thanks for having me!


Samir Sirk Morató is a scientist and an artist. They draw much of their inspiration from their love of horror movies and their experiences in rural landscapes. Some of Samir’s work can be found in The Hellebore Issue #5, Color Bloq’s RED collection, and Somos En Escrito’s 2021 Extra Fiction Contest honorable mentions. To connect with Samir, visit them on Twitter (@bolivibird) and Instagram (@spicycloaca).


TDS is always seeking talented creatives to uplift and promote. If you craft fiction, poetry, art, or screenplays in the subgenres of gothic, horror, fantasy, or psychological realism, don’t hesitate to SUBMIT to us.


Featured Author: Samir Sirk Morató

You have always been close to your youngest sister. Whether that is through love or duty is questionable, but the closeness itself cannot be denied. As the eldest, it was you who pressed balls of pemmican into her maw during the wintertime, you who let her watch the pouring of lead into blinding bullet crucibles during summer, you who cleaved her favorite hound’s skull in half with an ax when he began slavering and staggering in the spring.

            Your mother made Carolina, but make no mistake: you crafted her. Not the plump, melancholic woman who thrust Carolina’s care upon you so she could tend to the six other children and the farm. Not the sow who rolls over for men’s advances between waves of sorrow and deep pits of torpor. Not the soiled damsel who wallpapered your father’s darker skin on you in the womb, then took it as proof you are a caretaker, or a grown thing in a girl-body.

            Though eleven-year-old Carolina lies in a coffin two feet beneath the brittle soil, you tend to her still. Is that not devotion rivaling love?

            You run short of breath as you lug a water pail across the yard. The sunbeams that stroke your sweaty locks and thinning, trembling hands are almost autumnal in their capacity for coolness, for bloodletting life while they pretend to grant it. It’s strange to feel their sucking warmth in early winter, when death has already homed itself in the landscape. Your lungs seize. You set your pail on the frosty mud.

            When you cough into your handkerchief, no pearly molars come this time. No blood—though there is never blood. Despite what your watching mother fears, despite all the moments she spends searching your handkerchiefs for red splotches, no tuberculosis afflicts you. You feel her gaze as you seize the pail again, as you limp another half of the yard before you must begin your coughing anew.

            It takes grace not to smile at your mother with the handful of teeth you have left. You sense her presence in the window of your crooked, creaking miscarriage of a home. Newborn guilt grants you restraint. After all your shared loss, it is difficult to continue despising the woman before you. She cannot escape the purgatory she knows she inhabits. That is a punishment greater than anything you could inflict. Forgiveness still stays difficult. Fondness, too.

            I am not sick, you want to tell her. I am paying penance for my sin of destroying you. You taught me to do that.

            But they do…

Continue reading this story:

Samir Sirk Morató is a scientist and an artist. They draw much of their inspiration from their love of horror movies and their experiences in rural landscapes. Some of Samir’s work can be found in The Hellebore Issue #5, Color Bloq’s RED collection, and Somos En Escrito’s 2021 Extra Fiction Contest honorable mentions.

FEATURED EXTRA!

We loved STAND NOT AT YOUR GRAVE so much that we had to interview the talented Samir Sirk Morató to learn more about their inspirations for this story and who has influenced their writing.

TDS: What was your inspiration for writing this piece?

Samir Sirk Morató: “Stand Not At Your Grave” is inspired by Mercy Brown, a teenager whose ritual exhumation was one of the New England vampire panic’s most famous cases. Mercy was a nineteen-year-old who lost her mother and sister to tuberculosis before following in their footsteps, yet due to coincidence, ignorance, and superstition, her town labeled her a vampire. Mercy’s older brother Edgar – the last tuberculosis-afflicted Brown child left – consumed a tonic made of her cremated liver and heart in an effort to break his sister’s purported spell on him. He died two months later.

There’s something terrible and intimate about the concept of consuming a sibling’s organs to survive, especially if you consider the old belief of one’s soul being in their blood, and the vampire’s tendency to pray on their family once reanimated. The questions of what hungry intimacy (or lack thereof) would lead someone to protect their sibling’s remains sparked the creation of this story.

TDS: What was the writing process you used when creating this story?

Samir Sirk Morató: I’m a planner, so I wrote an outline detailing scene breakdowns and emotional beats before going back and filling in details. Then I wrote out any dialogue exchanges and key moments that I could visualize regardless of when they happened in the plot. After I had the rough draft of this story written, I spent time considering its themes and incomplete character interactions, then went back and added in details related to the new development I was thinking of. There was a lot of rinse and repeat here, but it kept me organized, thinking, and excited to finish writing, which is the most I can ask for.

TDS: Who has influenced you as a writer?

Samir Sirk Morató: R.L. Stine, Susan Power, and Dario Argento have all influenced me. I also want to give credit to the scriptwriters of all the schlocky horror movies I consumed as a kid. I would not be the same without having watched Squirm (1976) and The Killer Shrews (1959) at a formative age.


What did you think of Samir Sirk Morató’s story? Let us know in the comments below.


As always, if you’d like your gothic, horror, fantasy, or psychological realism work featured, be sure to SUBMIT.


Fiona’s Guardians: A Review

Rating: 💀💀💀💀💀

“When she hires you, you’ll wish you were dead” is the tagline for Fiona’s Guardians by Dan Klefstad. After following the main character, Daniel, through his day-to-day life as a guardian for the vampire Fiona, the sentiment of the tagline is certainly understandable. Life has changed for vampires in the modern world. Now that modern policing includes far more sophisticated means of detection, vampires can’t so easily hunt down people like they used to. Humans nowadays have become their partners in crime, hired on as guardians to not only protect the vampires they serve, but they also must supply the blood, using an investment portfolio to buy the blood from secret suppliers who steal from hospitals. Fiona is a 250-year-old vampire. She requires 10 pints of blood every night, otherwise she begins to waste away, shriveling into a hideous, monstrous shell of her former self: “…her hair starts to fall out on the second. Then her skin wrinkles and begins to smell, and her eyes harden to the point where I think she’d eat an entire schoolyard of children. I work very hard to make sure I never see that look again” (234).

The one who makes the tremendous commitment as a vampire guardian must be willing to give up any connection with their family and friends and say goodbye to vacations. The plus sides of the job: recreation with the finest wines and Cuban cigars. Oh, and how about a frocking great retirement settlement, somewhere in the realm of 10 million dollars. When we are introduced to Daniel, he is in the process of retiring. He’s given his all to Fiona, even lost an arm in his service to her. Daniel is a man nearly stripped of all his sense of humor; the rosy tint has completely faded from his view of life, and it’s easy to understand why. Enter Wolf, Daniel’s upcoming replacement for the job, who’s ignorant and arrogant, though not necessarily stupid. Daniel hopes to quickly get him trained and hand over the reins for good, though there’s a little complication that gets in the way. Yes, little is an understatement. How about a complication hundreds of years in the making?

Mors Strigae is an order of monks existing within the Catholic church. The full name for this group is a mouthful: “The Prefect for the Sacred Congregation for the Inquiry into all Things Preternatural.” Back in 1900 they battled the vampires, and now they’re on the rise again, also adapting to the modern world with more sophisticated weapons and technology for hunting down vampires, and their devotion to the mission has been deepened by hundreds of years of tradition. Both vampires and guardians alike are being hunted down and executed.

The novel jumps between the point-of-view of those in the vampire clan and those serving within Mors Strigae with quite a balanced approach throughout the narrative, meaning the reader attains a very in-depth understanding of the intentions of both sides. This produces an intriguing effect. It never becomes clear who the good or bad guys are. The reader can easily sympathize with either side for various reasons. The vampires are hell-bent on surviving. Obtaining blood is their only purpose in life, and they will reach to any extreme to attain it. Many of those sired to become vampires become so without a choice. They are victims in the purest sense, damned to their state of endless lust and done so completely against their will. The reader can easily sympathize with this wretched state. Yet, one can easily sympathize with those who serve Mors Strigae. They are the protective force surrounding humans, preventing us from falling to either death by the vampire or the worse state of becoming a vampire. It should be obvious that we root for them. Right? It’s not, because the novel shows the contradictions that exist within Mors Strigae, their own moments of ignorance, moments when their own lust for power destroys them. One of the great strengths of this novel is its ability to explore with depth the contradictions between both sides.

Well-executed dialogue is another strength. The dialogue crackles with life and feels genuine to the characters. One of my favorite passages involves a conversation between Daniel and Wolf during their first meeting:

            I grab my fresh drink. “And how do we pay for all this bloo—”

            “The product?” Daniel’s voice drowns me out, and he
scolds me with a look. “You invest her money.” Then he
swirls the dark, heavy liquid under his nose before sipping
“Lately we’re staying away from tech stocks. New admini-
stration, playing it safe. We’re in toothpaste, deodorant—
stuff people use every day.”

            “So they smell good if we experience a ‘hang-up.’”

            “Very funny.”

            “Tell me: How often will I… disappear people?” (pg. 27)

This exchange between Daniel and Wolf depicts their personalities well. Daniel’s sense of humor is all dried up; he’s all business and knows the serious cost if things aren’t done right. Wolf is ignorant and arrogant; he’s still not sure if he believes any of it or not. The dialogue flows so naturally and reveals so much about the characters. The reader will find that Klefstad’s deft touch with dialogue drives the narrative along. Much of the time the wonderful dialogue keeps the reader turning pages.

The narrative is told in the first-person form, jumping from different characters’ point-of-views. One chapter in particular, titled “Epistles,” utilizes an epistolary method, taking us back to 1900 when the order of monks Mors Strigae first battled the mysterious vampires near a small village called Campoleone. This chapter is pivotal, lending a sense of depth and intrigue to the story as a whole. Letters between Abbot Martinez and Cardinal Soriano tell the story, unveiling much of the folklore surrounding the vampires. We learn of the origins of Mors Strigae as well as the meaning of the vampire name— “striga”—meaning “evil spirit” or “witch.” The vampire hunters come to learn during encounters with the strigae that much of their folklore is debunked. For instance, crucifixes and holy water do nothing but make the vampires angry. Yet silver does have an effect on them, prompting the monks to produce armor made of silver. Also, the old practice of stabbing the heart and removing the head before cremation is unnecessary to those who are victims of a vampire attack, for it takes more than mere exsanguination to transform someone into a vampire. The old conflict between science and religion comes up as well, when Abbot Martinez mentions the continued rise of diarrheal diseases due to the haphazard disposal of waste amongst the men of the camp. The Abbot had been reading scientific journals and realizes better hygiene practices such as providing shovels in the brethren’s travel kits for the purpose of waste disposal could protect the men from the growing plague of dysentery. We well know that the standard-bearer for the vampire genre—Bram Stoker’s Dracula—is suffused with themes about advancing technology prevailing and/or conflicting with age-old superstitions, and that’s the other reason this chapter in the book is so entertaining—it lends depth and intrigue and serves as a homage to Bram Stoker’s vampire tale.

Fiona’s Guardians by Dan Klefstad displays the full entertainment package. Some moments are dark, gritty, and disturbing. Others are lightened by fun, comedic timing. And still other moments are titillating and lustful. All of it resonates with a strong sense of adventure. You will find unexpected plot twists and complex characters wrestling the contradictions within themselves. I strongly recommend reading this book.    

You can find Dan Klefstad’s Fiona’s Guardians on AMAZON.


RATINGS: TDS rates all books based on the dark content and how well the reading experience lends itself. Of course, author craft, storytelling, and mechanics are considered, as well. For this purpose, we use skulls (💀💀💀💀💀). And explanation of the skull system follows.

RATING: 💀 Boring, not dark, not interesting. Do not recommend.

RATING: 💀💀 Fair plot, not too dark, fairly interesting. Read at own risk.

RATING: 💀💀💀 Good plot and mild darkness, good reading experience. Encouraged read.

RATING: 💀💀💀💀 Great reading experience with heaps of dark tone. Strong recommend.

RATING: 💀💀💀💀💀 Excellent prose, tons of dark tone. A MUST READ!


Do you have a short story, piece of art, poem, or screenplay that you think might be a good fit for Dark Sire? If so, visit darksiremag.com/submissions.html.

Self-Editing Your Manuscript Series: How to Line Edit Your Manuscript

Line editing, by nature, requires the structure of your story to be solid and complete. Finish developmental edits first. It is not an efficient use of your time to perfect sentences that you may not need later. We’ve just wrapped up our series on developmental edits of short fiction. You can find them here:

6 Elements of Characterization
How to Assess Your Plot
How to Assess Your Pacing
How to Assess Your World-building
How to Revitalize Your Setting

We defined line editing in our initial post as working on a sentence level. It is digging into your craft to improve the clarity and reception of your manuscript.

These are some of the many questions line editing will ask:

Do the sentences make sense to a reader?

Did you use the right word for that scene’s mood, or does a different one have more impact? Do you need to make sure that you didn’t use overly long sentences in your fast-paced fight scene?

Everyone has a different writing and editing process. Some elements may cross over, but at the end of the day, use whatever method works for you. Let’s start off with some format elements that can benefit your line editing before we dive deeper into the process.

Change the format:

Some may suggest you even print the story out. However, if you are looking for zero cost to low budget ways to elevate your writing you can work around that.

If you have been looking at your manuscript on the standard 8.5in x 11in page that comes with word documents, and 12pt Times New Roman font, it may become difficult for you to start seeing any mistakes. This is specifically because the writer of the manuscript can go story-blind.

Story blindness is when you miss obvious mistakes, or subtle ones, in your own writing because you are overexposed to the material.

Change it up.

Use a smaller page size. Example: 5 in x 8 in.

Use a different font. Georgia, Courier New, even the oft-dreaded Comic Sans can make the manuscript look new.

It may also help to change the page color and font color. 

For example:

When I write I use white font on a black page.

When I edit I use black font on a white page.

Read the story aloud:

This age-old advice comes in handy for a reason. When the material is read to you by another person or a device, you can’t add in the tonal changes to help push your meaning to the reader. And while you may miss a double word, the computer will read it it aloud. Notice the previous sentence used it twice.

If you aren’t comfortable reading aloud or listening to the computer speakers blaring your manuscript, there are options–and they come with headphones.

Microsoft Word and Google Docs both have text-to-speech features that can read your MS to you. There are also online programs such as naturalreaders.com, and ttsreader.com

Common Mistakes (and how to fix them):

While the above is a way to see your manuscript differently, let’s look at some line editing examples and how you can apply that to your own work.

Please note: This list will not be comprehensive. You may or may not come across these depending on the strengths and weaknesses of your own manuscript.

Too many words:

For example, this is the process of using entirely too many words than the manuscript calls for at any given time, in a way that can cause run-ons.

Cut the fluff.

How many ways can you find to rewrite the above sentence? There is no one right or best answer. Use the version that best suits your manuscript and *relevant era.

*Relevant era: Some line editors and copy editors will take the setting into account when marking up a manuscript. Certain time periods have slightly different grammar rules for authenticity.

Pronouns for clarity:

You may have come across a sentence like the following either in your own work or in another’s.

He plunged the stake into his chest, and he screamed as black smoke poured from his gaping maw.

Bare with the lack of imagination, but can you see how the reader may not understand that there is both a vampire and a vampire hunter in this sentence?

Bonus! Did you also notice that this sentence needed to be split? There is simply too much happening…

Hunter plunged the stake into the vampire’s chest. The creature screamed, black smoke poured from his gaping maw.

Gerunds and when they hinder plausibility:

While the advice may be met with staunch resistance, let me show you what editors mean when they say gerunds and past participle phrases.

Action scenes, or when speed is necessary, the past participle phrase seems an easy answer to make things happen quickly.

This is, by far, one of the most common errors I see when working with authors.

Jumping up, he ran down the stairs and flipped the breaker.

Our brains are hardwired to see these as chronological events. First this, then that. However, that is not what has been written. In the above example, the character is running down the stairs while jumping up–something that the author clearly intended to be two separate actions.

A quick fix:

He ran down the stairs and flipped the breaker.

Unless the character’s jumping is relevant, it’s not an important word. The reader will know that in order to run down the stairs he stood in some manner. Keeping or cutting the phrase in the sentence is a matter of personal taste.

Make sure that, if you are using a gerund (an -ing word) to start a sentence, it makes sense.

The right emotional word:

The character and their emotions are how a reader experiences a story. It is true that you can show emotions by describing the way a character feels, and how it affects their body and mind, but you also have to make sure that you have utilized your narration properly. This is not to say that you should be using telling words like “angry,” “happy,” or “sad.” The right emotional word means, to ask yourself “Is this the best descriptor word for my character’s, or my scene’s mood?”.

Which of the following examples sounds more like the creature is dangerous?

Example 1:

Snow crunched under the weight of the creature as he trudged through the ice-laden briar patch. Wispy flakes of magic fell from his scaled skin and swirled in the air like campfire embers.

Example 2:

Snow crunched under the weight of the creature as he trudged through the iced-over thicket. Wispy flakes of magic fell from his scaled skin and swirled in the air like little fairy lights.

We covered some common problems and solutions for line editing, however, you may have a more specific manuscript problem to address. Do you have any specific line editing questions that we missed? Drop them in the comments below.

Next Self-Editing Topic:

Next time we’ll continue our dive into prose and cover the big one everyone thinks about when they hear editing. How do you copy edit your own work?

Self-Editing Series: How to Revitalize Your Setting

Self-Editing Your Manuscript: Revitalizing Your Setting

The setting should be as essential to the manuscript as the character and plot. Without the setting, your characters would meander around an abyss of nothing with no discernible life, just floating people and an occasional pop of something like a dagger in their hands, or even a staircase. Have you noticed that that happens as you read back over your manuscript?

The setting should be intrinsic to the world. If characters appear in a place, there needs to be a reason for it, and if the characters are in a setting they need to interact with it. Otherwise, they have become floating bodies in an abyss of white with nothing to help ground the readers in their reality. The setting is more than what we see with our eyes. It should involve all the senses: sight, touch, sound, taste, and scent. Word count is precious in short fiction; do not let the eyes have it all.

Note: if your character is missing any of these senses, simply skip over it and think of how you can use the others to better let your reader imagine the world as the characters are experiencing it.

As you work through your manuscript, also ask yourself if you are using the right words to describe your character’s senses. A character’s personality and emotion will heavily impact the words used to describe the setting. Imagine coming upon a pond in the forest. That little bit of water is going to have a different description to a group of friends on a nature hike than it would to stranded travelers who are lost and dehydrated. In the same way, it would be different to someone who is afraid of the water as opposed to someone who loves it. The character(s) should help you define the word choice for setting your scenes.

Sight:

This is one not often forgotten when working through a manuscript. Many writers find themselves hacking away the words ‘see’, ‘saw’, and ‘seen’ like thorny brambles around a golden treasure chest. You are free to simply describe things that the characters are observing because it is your description that lets us follow the camera pan of their eyes.

Did you have a quick blanket-style description to start the scene before you focused on the more intricate details? This establishing shot is a quick view to place the main elements of your story so that the reader understands what to imagine. This makes it less confusing when your characters start interacting, as you’ve already established certain things were present.

Touch:

It can be easy to forget to include what things feel like when writing, as most of the feeling goes into the emotions. Rough bark on a tree scratching against someone’s hand, or how hot or cold something is as it touches the skin. That blade may be cold when pressed to your character’s neck by an enemy, or it could still be warm with the previous victim’s blood.

Did you make sure that your character was able to touch/feel things in the physical world of their setting? Patting someone on a shoulder in congratulations will feel different if they’ve freshly bathed, or they’ve just been covered in monster entrails.

This is not always another character, but their surroundings. If they do not interact with where they are, it may be time to consider why they are even in that particular place.

Sound:

Whether hearing the trilling of monsters closing in, the groaning of another character, a babbling brook, or the scratch of pencils on paper… Sound is just another way to breathe more life and immersion into your character’s world.

A note on filters. Heard and hear, while valid at times, do not always need to be used to describe the sound in one’s fiction. Simply being told that a piano played softly, or nails scratched against wood is more than enough for the reader.

Did you incorporate sound into your manuscript, in more than just dialogue?

Taste:

This is where food is always fun to play with in a manuscript, but with short fiction, what if you don’t have a scene where the characters eat? You don’t have to add those kinds of scenes just to fulfill this sensory element.

Maybe you have a character just wanting to get through the story so they can have a delectable piece of pie that they may or may not get by the end. If a character has their face pushed into the dirt, dirt has a taste. The grainy texture can make them overly aware of their tongue, and even bring bile–which also has a taste–to their mouth. Blood can leave a metallic flavor, and there’s a powdery substance on gloves.

Have you included taste in your manuscript, either through action or memory?

Scent:

Much like with taste, it’s not hard to want to toss in every delicious sounding word to describe the way food smells, or even someone–sandalwood is quite popular. However, scent goes beyond food and even people when it comes to setting a scene.

An unused and dusty room can smell musty, or if there is something old and decaying in the cellar, rot and death can choke your character. It is also easy to flip the script, as they say, and include appealing scents, a common one being the cleanliness of lemon, or freshly baked cookies, and have it at war with the scene–more disturbing for your reader.

Bonus Setting Tip: Weather.

One of the easiest ways to set the mood and even speak for a story’s theme is the weather. By nature, humans–readers–take cues from their surroundings. Dark clouds gathering in the distance can be an omen, and a storm with a torrential downpour when you finally enact your vengeance can be a visual theme of washing the old version of the character away. In that same way, your character can have a happy, shining day, with no clouds and blue sky when something tragic happens–the weather helps the irony of the concept of a perfect day hit a bit harder.

How have you used the weather to set the mood in your manuscript? You may notice that you placed everything organically. If you didn’t, consider ways to pull more depth of the world up for the reader. Is there an interesting way to play with the weather of your setting to make the story mood have more impact?

Next Self-Editing Topic:

Next time we’ll start diving into your prose. How can you line edit your own work?

American Southern Gothic

There’s no doubt that the origins of Gothic literature came from England, rich in medieval history. Not surprisingly, then, that American Gothic differs from the old world, especially since it grew from the New England tradition, with its own unique twist on the genre.  When the Gothic genre crossed the ocean and appeared on American shores, it was championed by Edgar Allan Poe, whose Gothic tales of horror set the standard for American authors.  It is interesting to note that Poe’s Gothic tales are virtually all set in New England, the oldest part of America (1850s), with the kind of places that paralleled the dark and haunted places in which the English authors set their Gothic tales.  Hardly anyone stops to think that Poe’s Fall of the House of Usher is actually set in Boston.

But then something happened: The Civil War, and a once grand and pastoral part of America was reduced to ruins, destruction heaped upon it by the conquering Northern Armies.  Plantation houses were abandoned; dark forests reclaimed the land. Places once bright and sunny became grotesque and macabre.  It became the perfect milieu for the birth of a literary sub-genre: AMERICAN SOUTHERN GOTHIC.

Unlike its predecessor, American Southern Gothic uses the tropes of the Gothic not only for the sake of suspense, but also to explore the social issues besetting the country.  There is a realism in the American Southern Gothic that makes it unique.  Disturbing rural communities replace the magnificent plantations of an earlier age. Madness, decay and despair are common themes as is the blurred line between victim and villain.  You find these themes developed in the works of William Faulkner, Carson McCullers, Flannery O’Connor and Truman Capote.

The roots of Southern Gothic can be traced back to such authors as Henry Clay Lewis and Mark Twain in portions of their works.  Originally “Southern Gothic” was used as a dismissive way to pan an author’s works.  Many early critics were not fond of the style.  One early critic panned William Faulkner’s novels as being filled with aimless violence and fantastic nightmares.  Obviously, the Nobel Committee did not feel that way when it awarded Faulkner the Nobel Prize for Literature in 1949.

In Faulkner, the clash between Old South and New South becomes uniquely Gothic as it explores the suppressed sins of slavery, patriarchy, and class strife. And all this takes place in a landscape of swamps, deep woods, and decaying plantations. Add to this the language of Faulkner’s works, which creates a singularly Gothic sense of uncertainty and alienation.

A perfect example of Faulkner’s Southern Gothic genius is A Rose for Emily. Narrated from multiple viewpoints, the story tells of the spinster Emily Grierson, who after her father’s death scandalizes the community when she takes up with the northern carpetbagger Homer Barron. Homer disappears shortly after Emily has purchased arsenic making her the talk of the town.  Decades later, after living a reclusive life, Emily dies, and when the townspeople break open the door to an upstairs room, they discover a man’s “fleshless” corpse on the bed, the remains of him “rotted beneath what was left of the nightshirt.” Next to the corpse is a pillow, with “the indentation of a head” and “a long strand of iron-gray hair.” The story’s themes of necrophilia, sin, repression, revenge, and secrecy mark it as Gothic, yet the locale mark it as uniquely Southern Gothic.

American theater of the 1940s and 1950s was infused with a heavy dose of Southern Gothic thanks to the plays of Tennessee Williams. Characters with varying degrees of illness populate his works, and his own sexual orientation (socially unacceptable at the time) found its way into plays such as Cat on a Hot Tin Roof.   In other plays, Williams created Gothic spaces in which familiar tropes of the Southern Gothic, such as disintegrating southern families, alienation, loneliness, alcoholism, and physical and psychological violence abounded.

Is Southern Gothic here to stay?  You only have to look at your TV guide or movie selection to discover that Southern Gothic has become a staple of the entertainment industry.  Even in music, Southern Gothic has influenced a genre called Dark Country, which is an acoustic-based alternative rock with songs featuring themes of poverty, criminal behavior, religious imagery, death, ghosts, family, lost love, alcohol, murder, the devil and betrayal.

Yes, I would say that American Southern Gothic is here to stay.


When you are satisfied, share your setting with us in the comments below.  We would love to read about the setting of your next Gothic piece. And, if you turn your setting into a full short story, poem, piece of art, screenplay, or novella, don’t forget to submit it to us by visiting darksiremag.com/submissions.html.

A Brief History of Gothic Literature

At THE DARK SIRE we are incredible fans of the Gothic genre.  Our go to author is Edgar Allan Poe.  Who can deny the dark, eerie settings in stories like The Fall of the House of Usher or The Pit and the Pendulum?  His critics at the time accused him of being too heavily influenced by German authors.  But if that were the case, who influenced the German writers?  Now, for me, all of this begs the question: Where did the Gothic genre come from?  Someone had to write the first story, and succeeding authors had to build on that.  So, I did the research (just in case there were other fans of the genre like me out there) and, with the sources of John Mullan, the Lord Northcliffe Professor of Modern English Literature at University College London and the other researchers at the British Library, I discovered:

Gothic fiction began as a sophisticated joke. Horace Walpole first applied the word Gothic in The Castle of Otranto: A Gothic Story, published in 1764.  When he used the word, it meant something like barbarous, having devolved from a word used in the Middle Ages.  Walpole pretended that the story itself was an antique relic – complete with a preface that claims a translator discovered the tale – and was published in Italian in 1529. According to this origin story, the book was discovered “in the library of an ancient Catholic family in the north of England.” The story itself, “founded on truth,” was written three or four centuries earlier still. Some readers were duly deceived by this fiction and aggrieved when it was revealed to be a modern fake.

The novel itself tells a supernatural tale in which Manfred, the gloomy Prince of Otranto, develops an irresistible passion for the beautiful young woman who was to have married his son and heir. The novel opens memorably with this son being crushed to death by the huge helmet from a statue of a previous Prince of Otranto, and throughout the novel the very fabric of the castle comes to supernatural life until villainy is defeated. Walpole, who made his own house at Strawberry Hill into a mock-Gothic building, had discovered a fictional territory that has been exploited ever since. According to Professor Mullan, Gothic involves the supernatural (or the promise of the supernatural), and it often involves the discovery of mysterious elements of antiquity, and it usually takes its protagonists into strange or frightening old buildings. With this imagery in mind, Walpole was trying to recreate the visual and physicality of the Gothic in real life.

In the 1790s, novelists rediscovered the world that Walpole had imagined. The queen of Gothic novelists at that time was Ann Radcliffe.  Her most famous novel, The Mysteries of Udolpho (1794) took its title from the name of a fictional Italian castle where much of the action is set.  Like Walpole, she created a brooding aristocratic villain, Montoni, to threaten her resourceful virgin heroine, Emily, with an unspeakable fate.  All of Radcliffe’s other novels are set in foreign lands, often with lengthy descriptions of sublime scenery.  Udolpho is set amongst the dark and looming Apennine Mountains.  Radcliffe was known to derive her settings from travel books.  While other authors of the time chose Gothic for their subtitle, Radcliffe chose a different word to accompany the title on the front cover: Romance. Around this time, Minerva Press was providing reading material to the eager public who was hungry for this new kind of fiction.

Gothic then soon leaned toward natural, if complicated, explanations.  Gothic truly came alive in the thoughts and anxieties of the characters.  Gothic showcased the fear of the supernatural rather than the supernatural itself.  And some authors, like Matthew Lewis, strove to go to the extreme – experimenting the outrageous of the Gothic tale. In his The Monk (1796), Lewis wrote a plethora of supernatural occurrences, including ghosts, demons, and Satan himself.

A second wave of Gothic novels in the 2nd and 3rd decades of the 19th-Century established new conventions.  Mary Shelley’s Frankenstein (1818) gave a scientific form to the supernatural formula. Charles Maturin’s Melmoth the Wanderer (1820) featured a Byronic anti-hero who had sold his soul for a prolonged life.  And James Hogg’s elaborately titled The Private Memoirs and Confessions of a Justified Sinner (1824) is the story of a man pursued by his own double.  A character’s sense of encountering a double of him- or herself, also essential to Frankenstein, was established as a powerful new Gothic motif.  Doubles crop up throughout Gothic fiction, the most famous example being the late 19th-Century Gothic novella The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson.

This motif is one of the reasons why Sigmund Freud’s concept of the uncanny (or unheimlich, as it is in German) is often applied to Gothic fiction. In his 1919 paper “The Uncanny,” Freud drew his examples from the Gothic tales of E. T. A. Hoffmann in order to account for the special feeling of disquiet – the sense of the uncanny – that they aroused. He argued that the making strange of what should be familiar is essential to this, and that it is disturbing and fascinating because it recalls us to our original infantile separation from our origin in the womb.

And this brings us to our favorite author Edgar Allan Poe.  He used many of the standard properties of Gothic (medieval settings, castles and ancient houses, aristocratic corruption) but turned these into an exploration of extreme psychological states. He was attracted to the genre because he was fascinated by fear.  In his hands Gothic was becoming horror, a term properly applied to the most famous late-Victorian example of Gothic, Bram Stoker’s Dracula.  The opening section of Dracula uses some familiar Gothic properties: the castle whose chambers contain the mystery that the protagonist must solve; the sublime scenery that emphasizes his isolation. Stoker learned from the vampire stories that had appeared earlier in the 19th century (notably Carmilla (1872) by Sheridan Le Fanu, who was his friend and collaborator) and exploited the narrative methods of Wilkie Collins’s sensation fiction.  Dracula is written in the form of journal entries and letters by various characters, caught up in the horror of events. The fear and uncertainty on which Gothic had always relied is enacted in the narration.

Meanwhile, Gothic had become so influential that we can detect its elements in much mainstream Victorian fiction. Both Emily and Charlotte Bronte included intimations of the supernatural within narratives that were otherwise attentive to the realities of time, place and material constraint.  In the opening episode of Wuthering Heights, the narrator, Lockwood, has to stay the night at Heathcliff’s house because of heavy snow. He finds Cathy’s diary, written as a child, and nods off while reading it. There follows a powerfully narrated nightmare in which an icy hand reaches to him through the window, and the voice of Catherine Linton calls to be let in. The vision seems to prefigure what he will later discover about the history of Cathy and Heathcliff. Half in jest, Lockwood tells Heathcliff that Wuthering Heights is haunted; the novel, centered as it is on a house, seems to exploit in a new way the Gothic idea that entering an old building means entering the stories of those who have lived in it before.

Two of Charlotte Brontë’s novels, Jane Eyre and Villette, feature old buildings that appear to be haunted.  As in the Gothic fiction of Ann Radliffe, the apparition seen by Jane Eyre in Thornfield Hall, where she is a governess, and the ghostly nun glimpsed by Lucy Snowe in the attic of the old Pensionnat where she teaches, have rational explanations.  But Charlotte Brontë likes to raise the fears of her protagonists as to the presence of the supernatural, as if they were Gothic heroines.  Gothic still provides the vocabulary of apprehensiveness.  Similarly, Wilkie Collins may have introduced into fiction, as Henry James said, “those most mysterious of mysteries, the mysteries which are at our own doors,” but he liked his reminders of traditional Gothic plots.  In The Woman in White, all events turn out to be humanly contrived, yet the sudden appearance to the night-time walker of the figure of “a solitary Woman, dressed from head to foot in white garments” haunts the reader as it does the narrator.  The Moonstone is a detective story with a scientific explanation, but we never forget the legend that surrounds the diamond of the title, and the curse on those who steal it – a curse that seems to come true.  The final triumph of Gothic is to become, as in these examples, a vital thread within novels that otherwise take pains to convince us of what is probable and rational.

As I pointed out earlier, one really useful term for thinking about Gothic writing is uncanny.  Gothic fiction often strives to reach those uncanny moments in which the reader suddenly recognized somebody who seems unfamiliar and strange or has an identity that the reader already knows but is not quite human. 

Now, this whole concept of the uncanny leads me to examine how American Exceptionalism took the Gothic genre and turned it into something truly unique.  In another blog, I will examine the rise of American Southern Gothic stories.


THE DARK SIRE is always looking for Gothic fiction, art, and screenplays to add to our issues. If you have something that delves into psyche, traverses the dark and twisted, and has the eeriness of Poe, we’re waiting for you to submit to us.

Self-Editing Series: How to Assess Pacing

Pacing is an important part of a functioning manuscript.

Good prose, great characters, even a working plot can all be in place, but if the story is rushed or too slow… readers will lose attention.

There are two ways to check the pacing of your story. To simplify the process, we are going to use the terms Macro Pacing for the large scale pacing on the manuscript as a whole unit and Micro Pacing for the smaller scale page level edits.


NOTE: Part of today’s self-editing topic requires familiarity with plotting techniques that are heavily used in the process for outliners. However, checking the pacing of your novel does not require you to have one. It merely requires the manuscript.

For your convenience, we have provided worksheets that will make this process easier. You will find them below the next section.


Macro Pacing: 

Do you know where the First Pillar of your story should fall? The Midpoint? And what in the world are pinch points?

It is true that some writers don’t like feeling like their story must fit into a ‘write by numbers’ formula, but this is a guide. It’s meant to help you. It does not exist to stifle your creativity.

For example: If you have Critique Partners or Beta Readers telling you that your story is dragging, or moving so fast they simply couldn’t keep up…etc. the structure is the special key to fix that!

These points mainly apply to writers who are using general narrative formats. While there are many, let’s focus on the most popular style guide for short stories (and western fiction in general): Three-Act Structure. (As a graphic you can save for your referencing ease.)

You can use the above points to check your manuscript’s pacing by applying a few percentages. These percentages are not made up but found from delving into screen-writing and literature to mark the perfect places for the above-mentioned points/moments to fall for impactful stories. There is math involved, but I promise you it’s just plugging stuff into a formula, getting the answer, and then scrolling (if you are on a digital device) through your manuscript.

Act One is the first 25%.

Act Two is 26%-75%.

Act Three is 75%-100%

To check your pacing, simply plug your overall page count (or word count) into the following formula.

If my short story is fifteen pages long, and I need to check that my Act One ends in the proper place, all I have to do is the following:

OverallCount x 0.25 = End of Act One

15 x 0.25 = 3.75

That means my Act One should conclude, meaning that I have everything set up and ready to roll into the next act, on/around page 4 of the manuscript.

If by page 4 everything is set up and my two main points are in place, then I know that Act One’s pacing is good. However, if there is an issue, then I will know what needs my attention.

If the section is too long, I can search back over the elements to see if I have included any superfluous information.

If the section is too short, then I will know that I need to make sure that I have included all necessary information.


Here are the worksheets we have created to make this process easier for you:


Micro Pacing:

In what we are going to call “micro pacing,” we are going to cover a few “small” aspects of a manuscript that can hinder the pacing. Hooks, sentence length, and point-of-view.

Hooks:

Tasty points of intrigue that are intended to have the reader salivating. They are unable to put the story down because they have to know what comes next. These are not things that are contrived or made up; they should already be in the story.

Think of these visually. Have you noticed in TV shows that something intentionally vague or surprising happens before the commercial rolls in? Scriptwriters do this on purpose! You should too. Control your readers’ experiences by planting hooks before your scene breaks. If your scene has ended on a note that feels like a present with a prettily tied bow, the manuscript should be ending.

Dwight Swain, an Oklahoma Writing Hall of Fame inductee, screenwriting documentary pioneer, and author explained the format of a scene as follows: Goal, conflict, disaster.

Goal: The character wants something.

Conflict: Something is pushing back against the character from achieving their goal.

Disaster: Something happens to stop the character from achieving their goal.

Disaster does not mean an apocalypse, or death, per se, but it does mean that if the story hasn’t been resolved the character should still have a need.

Ex: Maybe the protagonists succeeded in getting the silver to stop the werewolves, but all that was available was a silver dagger…and now they’ve got to decide who is going to be the lamb that allows the others a chance at escape.

Without a hook, the pacing, tension, and the story overall can drag because the character wasn’t in a state of ‘need’. If your character is always supplied with everything easily and has no hard choices to make, go back to the lesson on Character to better assess the internal and external conflict.

Bonus Tip:
Giving your story a hook does NOT mean that you should be giving the story over-maxed conflict. There are definitely times that a character should be allowed to breathe, or else, your story may come across as angsty and melodramatic.

Sentence Length:

Beware of purple prose, or excessive detail, where you can wax on a bit too long of the seemingly more poetic aspects of your story. Even if more dramatic language might be serviceable in a particular scene, try to contain it. Use it wisely. The writer can easily, and subconsciously, drag on with consecutive long sentences, and these run-ons can slow the pacing down because they simply take forever to read.

In other words, use varying lengths of sentences, not just long, drug out one. Short sentences are okay; short paragraphs are also a nice way to break up consecutive long ones. By varying your sentence length, you create unique pacing and keep reader interest.

The details may seem pretty, but tightening a story can be one of the hardest parts next to actually writing it. Do you need that adjective, adverb, prepositional phrase? Your pacing of the events themselves may be spot on if you cut unnecessary words, which in turn can create varying lengths of sentences – sometimes, quickening the pace where, otherwise, it was too slow.

Point of view:

How can Point of View hinder your pacing? Easily. It’s actually a concept known as ‘navel gazing’. With this pace-hindering element, the manuscript spends too much time in the narrator’s head and thoughts and feelings.

It is easiest to do this in certain deep POVs such as Third Limited, or First.

If you are using a deep POV, make sure each thought and feeling is necessary and fits with the cause and effect, or the action and reaction of the story. If the internal narration does not advance the plot, cut it.

It is also possible to do the exact opposite of this and forget to include enough detail on the character’s thoughts/feelings to rationalize why they are making certain decisions. This lack of detail can lead to a story that reads as plot-plot-plot with no emotional pull to keep your readers grounded in the story.


Here is a worksheet we have created to help you work through the macro and micro pacing elements in your manuscript.


What’s the Next Topic?

World-building is not just for long epics. It’s for any story you write – in any genre. Place, which is setting and thus world, should have an impact on your characters. However, putting too much (or too little!) can be detrimental to the success of your story. We’ll be covering how to make sure that you haven’t put too many details in your descriptions while ensuring you’ve included enough. See you next week!

Reality Meets Fiction: Communicating with Spirits

by Barry Pirro

Don’t you just love spiral staircases? I know I do. You don’t see many in houses these days apart from the narrow, metal ones that are installed as an afterthought when converting a garage or some other such space into a proper room. But the spiral staircase I was climbing down this particular day was a real beauty. It was broad, carpeted in a deep white pile, and it was in a house in Ridgefield, Connecticut.

The young couple who contacted me were experiencing a lot of unusual, disturbing activity — the sound of phantom footsteps in the night, objects moving by themselves, and sighting of the ghostly figure of a man in a blue plaid shirt. They asked for my help in figuring out what was there, and hopefully to get rid of it. Of course, I was more than happy to oblige.

As I continued making my way down the staircase, a feeling of apprehension began to build, as if someone was waiting for me at the bottom of the stairs. The feeling didn’t frighten me because I’ve felt this kind of thing many times before. I’m never afraid during investigations, but I’m always curious. ‘Knock-Knock. Who’s there?’ I thought. 

I made one last turn of the helix, and as my foot left the last step and set down on the hardwood floor, I knew. Something was in the room with me, and it wasn’t happy to see me. This wasn’t exactly the warm welcome I was hoping for, but it was nothing I couldn’t handle.

I stopped for a minute and scanned the beautiful finished basement with hardwood floors. A leather couch faced a large stone fireplace, and sliding doors led to a deck overlooking a sunny, spacious backyard. Overall, it was a bright, cheerful space that anyone would love to spend time in. The only problem was, the place was haunted as hell. How did I know? I could feel it.

As I stood there allowing my intuition to take over, the thing in the room crept closer and closer to me. Then, it suddenly rushed at me and gave me a message loud and clear — You are not wanted here.

‘That may be the case,’ I thought back calmly. ‘But whoever you are, there’s something you need to know — I never back down. You don’t frighten me, so don’t even try. I’m here to help you. Why are you here, and what is it that you want?’

Although people’s stories about the ghostly activity in their home is interesting, I don’t really need to hear them. If a house is haunted I’ll feel it right away. What does it feel like? Each experience is different, but more often than not it begins with a feeling of being watched, observed, studied.

Imagine being in a room where there’s a security camera in the corner, and every time you take a step the camera follows your every move. It’s that kind of a feeling; as if I’m being scrutinized by someone I can’t see, but I know that they’re there.

Next comes a flood of emotions that usually have nothing to do with the way the surroundings look. I might walk into a warm, sunny room and suddenly feel sad, depressed, or lonely. Likewise, I can walk into a dark, dingy basement and be flooded with feelings of happiness.

Then, I begin receiving intuitive information. Sometimes the messages come in the form of names or dates, other times I see visual ‘snapshots’ of the past in my mind’s eye. One common thing about these clairvoyant messages is that they are always extremely persistent.

During one investigation, I kept “hearing” a voice say, ‘I’m Elizabeth. Ask them about Elizabeth.’ I pushed the message away, in case it was just my imagination, but it kept coming back and repeating over and over again — ‘I’m Elizabeth. Ask them about Elizabeth.’

Finally, I said to the homeowner, “I don’t know if this means anything to you, but I’m supposed to ask you about Elizabeth.”

“Elizabeth?” the homeowner said with a start, “Why, she’s the woman who lived here before I bought this house. She was very old, and I was told that she died in a nursing home. I never met her, but I’m certain her name was Elizabeth because that name was on all of the documents we signed when we bought the house. How did you know?”

“A little bird told me,” I said with a smile. “A little bird named Elizabeth.”

Most times, intuitive information is very brief. Just a word or two, then it’s gone. But other times it’s extremely detailed, as if I’m watching a movie. Once while taking a tour of an historic home, the group stopped in a bedroom on the second floor. The room was tiny with a small bed pushed into a dark corner. The tour guide was talking about the history of the house, but I was barely listening. I was beginning to receive intuitive information, and it was very strong.

As I stood there looking around the room, waves of happiness washed over me. In my mind’s eye, I could see lots of very young children running through the door and around the room. All of the children were barefoot. The boys wore light colored, loose fitting pants that went to the knee, and shirts with buttons. The girls wore simple, light colored dresses that went down to their ankles. They were running in circles through one door and out the other. Then they would loop back and run in again. There was a man sitting on the bed, and as the children ran by he was pretending to try and catch them. The scene was extremely vivid and filled with laughter and joy.

There had been no mention of children up to this point in the tour, so before we moved on to the next room I casually said to the tour guide, “There were a lot of children in this house, weren’t there?”

“Yes,” she said with a smile. “There were a LOT of children in this house. Eleven! And they were all born in this very room. You wouldn’t think that a house as small as this could hold so many kids, but somehow they made it work. They were a very happy family.”

Not all of the sensations I get are intuitive. Sometimes they’re purely physical. These include feeling pains and other feelings in various parts of my body. The pains usually correspond with what the spirit was feeling during their lifetime, or when they died. Sometimes I’ll feel sharp pains in my head or my chest, or I’ll feel short of breath. Once during an investigation, my legs suddenly became stiff and leaden, as if I had arthritis. It felt as if I could barely walk. I later learned that the person who lived in the home was an invalid, and that she walked with the aid of a walker.

Then there are the ghostly touches; soft caresses on my arms, face, and hands. And if you’ve never been poked by a ghost, I highly recommend it. Poking seems to be their favorite way of letting me know that they are with me. I’ll be walking down a hallway when all of a sudden I’ll feel a very strong jab in my arms, back, or shoulders. It feels exactly like someone is poking me a few times with two or three fingers. I usually only experience this once or twice during an investigation, but in very active houses I’ll get poked several times.

One of the most striking examples of a spirit communication happened during an investigation I conducted at a haunted day spa in Connecticut. The owner contacted me because she and her employees had been witnessing very disturbing paranormal phenomenon at the spa.

One morning two of the workers watched as a large, heavy metal bowl levitated off of a table, then floated down to the floor. Another day, one of the employees caught a glimpse of a man walking into one of the treatment rooms. When she went to investigate, the room was empty. Every morning, the person opening the shop finds objects thrown on the floor in the gift shop area. But the last straw was when the owner and another employee heard the blood curdling scream of a man coming from one of the treatment rooms. Needless to say, they investigated and there was no one there.

After interviewing the owner and staff, I did a walkthrough of the spa. I immediately felt a male presence in one of the treatment rooms. As I tried to communicate with him, the spirit would move to another room. After following him from room to room, trying to get him to tell me what the problem was, I decided to conduct a clearing and send him on his way.

The two women came into the room to ask what I had come up with when all of a sudden, soft music started playing in all of the treatment rooms. The owner was shocked, and totally baffled. The only way to turn the music on in the spa was to login to the computer with a password, login to Spotify, then choose the Meditation Music station. But neither of the women had touched the computer.

As we were talking about this strange occurrence, the music started playing louder, and louder. The ghost was actually turning the volume up on the speaker that sat on the shelf. The music in all of the other rooms remained quiet. He clearly wanted us to know that he was there.

The shop owner and her employee went back to the front of the spa while I conducted the clearing. To clear a space of a spirit, I talk to them and try to make them realise the situation they are in. They are no longer living, they don’t belong here, and there are loved ones waiting for them on the other side.

“It’s time for you to move on,” I said out loud. “You don’t belong here any longer. There is a beautiful place waiting for you filled with light and love. Your friends and family have been waiting for you for a very long time. It’s time for you to go to them.”

Suddenly, an overwhelming sense of sadness and abandon washed over me, and I could hear the spirit’s voice in my head. ‘There’s no one waiting for me,” he said. ‘I have no one. No one is waiting for me.’

The feeling of despair and hopelessness was so powerful that I felt it to my core, and the sadness and loneliness that came over me was so strong that I actually started to cry.

A few minutes later, the women came into the room from the front of the store. I told them that I finished the clearing, but that the spirit was refusing to move on. I didn’t share any of the details about the emotional exchange I had just had.

“I have to tell you,” the owner said. “While you were back here doing the clearing, we both got very sad. We both felt like we wanted to cry.” I was amazed. They had picked up the same feelings and emotions from the spirit that I had.

The most important tool in a paranormal investigator’s toolbox is his intuition. Cameras, recorders, meters, and sensors can give you a clue that a ghost is present, but the real proof comes from direct communication with the spirit.

My advice to anyone wishing to have these kinds of experiences is to stop blocking thoughts and feelings. If you walk into a room and it doesn’t feel quite right, let that feeling sit with you for a while. Silently ask, ‘Is there someone here with me? Can you tell me your name?’ Just don’t be surprised if you get an answer. It’s not just your imagination. Chances are, you just communicated with a spirit, and you’ve just taken the first step toward a new and amazing journey.


UPDATE: Due to lack of reader interest, Reality Meets Fiction will be ending in two months. That means, just two more stories will be published (October and November). If you’d like for the series of paranormal investigation stories to continue, please let us hear your voice in the comments.

“Reality Meets Fiction” is a series on non-fiction, real-life stories as experienced through personal accounts and investigations conducted by Barry Pirro, a paranormal investigator known as the Connecticut Ghost Hunter. Barry has over a decade of paranormal investigation experience and will share his stories every 4th Friday of the month. Don’t forget to catch the last article on November 26th. To learn more about the Ghost Hunter, visit http://www.connecticutghosthunter.com/.

READERS: Have you had or have heard of spirit communication and encounters? If so, tell us about it in the comments. Better yet, write your non-fiction story and send it to us: darksiremag@gmail.com (subject: Spirit Communication). Your story may be picked to appear on our blog as a follow up to Barry’s.

WRITERS: Use Barry’s real-life story to inspire your creativity! Write a story using spirit communication and then submit it to us for publication consideration: https://www.darksiremag.com/submissions.html.

As always, thanks for supporting THE DARK SIRE! If you’re not following us, please do. We are on Twitter, Facebook, and Instagram under @DarkSireMag. And, of course, you can pick up a digital copy of our issues on the TDS website or paperback copies through AmazonThe Bibliophile Bookstore (Dover, Ohio), and now Poe’s New & Used Bookstore (New Berlin, Pennsylvania).

Until we meet again, take care!

TDS Turns Two: An Interview with Founder, Bre Stephens

October 31, 2019, The Dark Sire was born! To celebrate our birthday, the new EIC of TDS, J.L. Vampa, sat down for an interview with our founder, Bre Stephens.

Bre has 13 years of experience as a writer, publisher, educator, literary judge, and editor. She has worked as Editor-in-Chief of a TDS and has taught university composition, technical writing, and creative writing. Bre holds an MA in English and Creative Writing, an M.Ed. in ESL, and a BA in Art History. In her spare time, she loves attending Japanese festivals and learning more about world cultures.

“Give a Voice to the Voiceless.”

-Bre Stephens, TDS Founder

TDS: We’re turning two! Congratulations to you, our founder. Can you tell us a little about what led you to begin a literary magazine, now a journal, especially one such as TDS?

Bre Stephens: While studying for my second masters degree, one of my professors asked the class how we would give back to the writing community. At the time, I didn’t think I could. I mean, I was a graduate student who was a writing professor. I didn’t think there was anything left to do other than write my stories. But then, after searching for publication opportunities, I found a major gap in publishing and became aware of all the censorship that magazines employ. The answer to my professor’s question was clear: Start a magazine that specializes in genre fiction and run it without censorship. To this day – 2.5 years after its creation, TDS has provided opportunities for writers that have given them a voice, which is our motto: “Give a Voice to the Voiceless.” 

TDS: You’ve poured your heart and soul into this phenomenal literary magazine. What are some of your favorite memories with TDS over the last two years?

Bre Stephens: There are literally too many to list, but I’ll try to highlight a few. By Issue 2, TDS was an international magazine – in readership and in represented creatives. I was honored to publish some works that were rejected elsewhere due to censorship; authors told me that it took them, at times, years before finding TDS and getting their voices back. The 1st Annual TDS Creative Awards is a special memory to me because I was able to give back to all my authors; we all had fun and everyone loved the skull trophies. And, I will never forget the joy of working with my authors, sometimes with content or editing, and other times with creative consultations. Most of all, though, my ultimate memory is creating a family, where creatives come together, get support, and are uplifted because we are all TDS Family.

“A magazine that specializes in genre fiction and run it without censorship.”

-Bre Stephens, TDS Founder

TDS: So much has changed for TDS since the inception of your idea and the release of Issue One. Even more has changed recently with a new EIC, a fresh, incredible logo, and more. With a new year and a new era descending upon TDS, what are some of the things you’re looking forward to? 

Bre Stephens: Everything! I know the new EIC is going to be amazing. She’s all about aesthetics and sticking to the original TDS brand. She’s the one who crafted the newest cover and TDS logo. If I had to narrow it down, I’m looking forward to seeing the covers for Issues 10-12, the new TDS Book Boxes, new TDS merchandise (mugs, shirts, mousepads), and a brand-new website that will be for a JOURNAL (not magazine). All of those things are just around the corner.

TDS: What would you say is the most valuable lesson you’ve learned on this journey as founder and editor of TDS?

Bre Stephens: This journey has taught me so much about publishing, genre, and craft of writing. When I first started TDS, I didn’t really know much about the industry; I learned by doing – and making mistakes. Now, I’m a professional in the publishing industry, a literary agent, and an even better editor. All these skills, and my career growth, is directly influenced by my work at TDS. I wouldn’t be where I am today had I not undergone this wonderful adventure.

TDS: TDS has distinct roots in our founding fathers, but what would you say are the three books that most influenced you personally, as both Founder/EIC and in your life?

Bre Stephens: Instead of books, per se, let’s talk genre and specific pieces. Poe was a heavy influence on me as a child. I remember writing like him when I was just 8 and 10 years old. By the time I was a teen, I was crafting short fiction daily in the vein of Poe. A few of his works that are my favorites, and still influence me today, are Tell Tale Heart, Hop-Frog, Fall of the House of Usher, and, my favorite poem of all time, Annabel Lee. Also as a teen, I loved Anne Rice. Her Vampire Chronicles was my bloodline. I combined my love of Poe with the vampires of Rice to create a writing style all my own. To this day, I use that style; though, now, it’s more sophisticated. Put these together and you have the major influencers of TDS. Just add Tolkien for high fantasy and Dostoevsky for psychological realism, and you have the major players needed to create a magazine (nee journal!). 

“My ultimate memory is creating a family, where creatives come together, get support, and are uplifted because we are all TDS Family.”

-Bre Stephens, TDS Founder

TDS: You are an author yourself. What originally sparked your love of writing and editing as well as the desire to champion other authors? 

Bre Stephens: The championing of others comes naturally with my personality. However, championing writers, specifically, comes from my professor’s questions of how I was going to give back to the writing community. With my education and natural energy, I easily became an advocate for the writing community. My love of writing started when I was 6 years old, which is when I wrote my first stage play (5 whole pages!). My 1st grade class had read a play – or maybe discussed plays, and I immediately was interested in writing one. Writing stuck with me from that point. As for editing, I’ve always loved grammar and after studying it when I was earning my undergrad degree, I just fell in love with the process of editing. Add some courses for my second masters degree (in English & Creative Writing) and it was just destiny. 

TDS: When did you know this was a career you wanted to pursue? Has it always been a dream of yours to start a literary journal?

Bre Stephens: I never considered a career in creative writing. My writing is for myself, no publication really needed. However, after about 1.5 of running TDS, I knew it was something I wanted to pursue more seriously. It led me to founding a small press (bscpublishinggroup.com), where uplifting authors is the number one governing rule, and to becoming a literary agent. I am now in the best position to advocate for and uplift writers, making their career goals a reality. I didn’t find the career, the career found me – and I’m glad it did.   

“I didn’t find the career, the career found me – and I’m glad it did. “

-Bre Stephens, TDS Founder

TDS: Since the journal’s inception, you’ve handled everything from submissions, to editing, to publication and event planning. What is your favorite part of working on The Dark Sire?

Bre Stephens: Layout!!! Taking the raw stories and editing them to fit the TDS Style Guide; formatting the pages for consistency; inputting settings; planning the artwork to go with the works accepted for the issue, which includes pairing the artwork with a specific story. All of that would go under publication, of course, but specifically, layout is my favorite – and I’m going to miss it. 

Help TDS celebrate our 2nd birthday by sharing on social media and don’t forget to get your copy of our newest issue, which is Issue 9, and available now!


TDS proudly brings you gothic, horror, fantasy, and psychological realism
from talented creatives. You can order past and current issues
from the TDS Store.

Spirit Photography: Hoax or Reality?

Spirit Photography, or the capturing of a spirit on film, first became known in the 1850’s and 60’s with the rise of photography in general. As more individuals gained access to cameras, as well as the means to sit for photographers, the greater chance there was to witness spirits of the dead or supernatural beings captured on film. At least, that’s what photographers like William H. Mumler would wish us to believe.

Mumler was among the first to see spirits lurking in his freshly developed photos. Allegedly, after sitting for a self portrait and developing the film, Mumler noticed an otherworldly image hovering behind him. Assuming it was merely his inattention to detail and the result of not properly cleaning his lens, Mumler sat for the photo again. After development, the figure appeared once more and Mumler claimed it was the spirit of a deceased cousin of his.

With this newfound ability of his, or his camera, Mumler became the first to turn such a gift into a well-oiled, lucrative business, photographing multitudes of people with the spirits of their loves ones. That is, until P.T. Barnum sat for Mumler just after President Abraham Lincoln was assassinated. Lo and behold, the president’s spirit haunted Barnum’s sitting, appearing behind the circus tycoon in his photo. As it turns out, the self-acclaimed trickster of all tricksters simply enjoyed a good humbug and wanted to see if Mr. William H. Mumler and his medium wife were the real deal.

When Mumler was charged with fraud, Barnum was called as a witness as, according to Oxford University Press papers, an expert on “humbuggery.” Upon reciting his encounter with the spirit photographer, Barnum admitted that he saw the process and even examined the glass himself. Nothing was out of the ordinary, and Lincoln’s ghost appeared as soon as the photo was developed in the dark room. Regardless, Barnum claimed it all to be a hoax. Other spiritualists came forward in Mumler’s defense, claiming their deceased loved ones had truly been there and Mumler had captured them. More skeptics came forward claiming to have seen some of the ghosts in Mumler’s stills walking the streets in living color, alive and well. Ultimately, the court found no true evidence of Mumler’s supposed fraud and he was acquitted. However, his career as a Spirit Photographer was over.

Many skeptics claim that spirit photography is simply a trick of the light, or the result of budding photographic techniques of that day and age. Two methods often blamed for hoodwinking the general public are Double Exposure and Stereoscopic Illusion.

Double Exposure. For an explanation of this technique, we must first understand that in the early days of photography, exposure time was 20-40 minutes at the very least. This means the subject(s) had to remain as perfectly still as possible, lest their image appear blurry. Therefore, if a subject, say, rose from their seat and moved to another, their image would appear twice in the final shot, most assuredly a little blurry at the edges and rather translucent. This effect would also occur if someone shrouded in white linens jumped in the frame for a moment and then jumped back out. This effect can also be achieved post-shooting in the dark room. This is a delicate process, but the layman’s gist is that the photographer essentially sandwiches two negatives together and exposes them for longer than a single-negative image. 

In our day and age, it is commonplace to shoot double exposure, or manipulate it easily within moments using editing software like PhotoShop. To show how easily this can be accomplished, I created this graphic in about five minutes’ time.

Another technique often used was stereoscopic illusion. 

Stereoscopic Illusion creates depth in an image by moving the subject ever so slightly. The brain combines the two (or more) images to create depth. Again, anything recorded with movement during a long exposure time would appear transparent and ethereal.

We can all see where the skeptics are coming from now, yes? But let’s take a journey with the believers…

To delve deeper, we must traverse the difference between Spirit Photography and Ghost Photography. Spirit Photography is when an individual, or individuals, sits for a photo, specifically waiting to see the spirit of one of their loved ones. Ghost Photography occurs when a photo is taken without knowledge of a spirit’s presence and that spirit is only visible on the film or digital camera after the fact.

Here are some of the greatest, inexplicable ghost photographs from the ages between Humbuggery and PhotoShop. 

In 1919 Sir Victor Goddard’s RAF squadron encountered a recently deceased air mechanic, Freddy Jackson, who died two days prior.

In 1963, The Spectre of Newby Church absolutely shattered the conceivable. Reverend K.F. Lord was particularly fond of the altar area of his church and snapped a photograph of it, along with several others detailing the interior of the building. Upon developing the film, the reverend was flabbergasted to find a blurred figure ascending the steps.

Many believe this to be a hoax because the figure is somewhat posed. However, as he claims, the reverend was entirely alone in the church when the photograph was taken. No double exposure was used, and, allegedly, the photos were developed by no one with means to tamper with it. When skeptics came forward, the reverend, guarding his reputation, sent the photo off to scientific experts. The report came back stating that, though the figure in the photo was perfectly poised on the steps and looking at the camera, it was nine feet tall and the photo had not, in any way, been tampered with by any means.

On August 17, 1997, a loving granddaughter, Denice Russell, snapped a photo of her grandmother as they visited that afternoon. Prints were made and almost everyone in the family had the photo of Grandma. It wasn’t until they all sat around one Christmas three years later, looking at old photos, that someone noticed a foggy shape of a man behind her head. The family immediately stated it was the exact representation of their grandfather who had died in 1984.

There is also a distinct case that occurred in Manila in the early 2000’s.  Two young girls in the Philippines posed for a photo, not sensing anything out of the ordinary. When the photo popped up on the screen of their digital camera, the ghostly image of a third person could be seen holding onto one of the young women. They have absolutely no explanation for this occurrence.

There are all kinds of theories and camera tricks, but what do you think? Can film truly capture the spirits of the dead, or is it all a hoax? Leave us a comment with your thoughts.


READERS: Do you have a paranormal true story to share with us? We’d love to read it and maybe even publish it on our blog. Send your non-fiction story to: eic.tds@gmail.com (Subject: Non-Fiction Paranormal Story).

CREATIVES: Did this article inspire your paranormal storytelling? Please write that short story, craft that poem, paint that picture, and then submit it to us for publication consideration: https://www.darksiremag.com/submissions.html.

As always, thanks for supporting THE DARK SIRE! If you’re not following us, please do. We are on Twitter, Facebook, and Instagram under @darksiremag. And, of course, you can pick up a digital copy of our issues on the TDS website or paperback copies through AmazonThe Bibliophile Bookstore (Dover, Ohio), and now Poe’s New & Used Bookstore (New Berlin, Pennsylvania).

TDS Enters a New Era

With TDS’ second birthday just around the corner (Halloween), a new era of all-things THE DARK SIRE has come. With the new look and feel comes a new Editor-in-Chief. But let’s start from the beginning…

If you’re new to TDS, we are a quarterly speculative journal for the unconventional reader, founded in 2019 by Bre Stephens to appeal to those who love the darker-toned fiction, poetry, art, and screenplays. TDS’s founding fathers are the ever-talented and influential Edgar Allan Poe (Gothic), Mary Shelley (Horror), J. R. R. Tolkien (Fantasy), and Fyodor Dostoevsky (Psychological Realism).

Major Changes

First, TDS has updated its branding. The covers, as you might have noticed in the feature image of this post, have completely changed. One of the most notable differences is the name: TDS will no longer be a literary magazine, but a literary journal. This slight difference in verbiage going forward really encompasses the overall feel of TDS and the professionalism we offer to both our readers and writers. That’s because a journal lasts longer than a magazine, seen as a valued piece of writing for years to come. Since we value our creatives, seeing them as family members – and are always thinking of how better to uplift them, being a journal just suits us better. That said, TDS will continue to publish the same great content you’re accustomed to.

Second, we have a great new logo. Simple yet dynamic, the powerful image encompasses TDS’ gothic roots, while also holding onto the traditional black and red coloring.

To go along with the new logo, TDS has a new title design. Though not red, it highlights the gothic and harkens back to Edgar Allan Poe, himself. It’s perfect to usher in this new TDS Era!

The third major change is none other than the introduction of a brand-new Editor-in-Chief, Jane Lenore (J.L.) Vampa.

J.L. Vampa

J.L. Vampa is a published author of Dark Fantasy and Victorian Gothic fiction. She has a background in journalism and in editing, both short and long fiction. J.L. also owns a macabre-style bookish shop and lives in Texas with her musician husband and their two littles who are as peculiar as their parents. 

As the new EIC, J.L.’s main focus is two-fold: To preserve the pillars that have established the TDS brand and to uplift even more creatives for a stronger community.

“I want TDS to be a place where the often-overlooked can
sit at the table and have their craft appreciated, published,
and read by readers who truly thirst for the unconventional.
In addition, I’ll strive to continue to build a strong community
for our authors, poets, and artists, as well as our readers.”

Saying that TDS is changing is an understatement. A better way of putting it is that we’re rebranding, reinventing, and revitalizing ourselves. And you are NOT going to want to miss any part of our new look and feel reveal. More information, updates, and content will be released throughout October, our birthday month.

Look out – The New Era of TDS is now!

The Creative Nook with John Kiste

John Kiste’s short story, Kettering Hall, first appeared in the second issue of THE DARK SIRE. As a winner of Best Fiction at the 1st Annual TDS Creative Awards, Kettering Hall also graced the pages of the special edition collector’s issue, The Dark Sire: Accolades, with best-selling author and owner of Cemetery Dance Richard Chizmar presenting the award.

“Even as the coach rumbled beneath the great wrought iron gates that announced
Kettering Hall, I strained my eyes through the side window without ever catching a
glimpse of the manor through the crisp late afternoon air”.

Kiste had me in his grips with this first line of Kettering Hall. His visceral descriptions pulled me into the story so smoothly that I didn’t even realize the real world had slipped away. After reading Kettering Hall, the epitome of gothic horror, interviewing Kiste became a need rather than a simple desire. I had to interview him to find out more about the mind that created such a splendid piece of writing.

TDS: You’re from Ohio. Were the town of Kettering or the real-life (Virginia W.) Kettering Hall (the residential facility at the University of Dayton) inspirations for the setting and its name? If not, why did you choose Kettering Hall as the name of the story and its setting?

John Kiste: I wish I could say I had a stroke of inspiration for the name Kettering Hall. I did not. It sounded like a manor from a Sherlock Holmes story – very old-fashioned.

TDS: What was the inspiration for the story itself, then? Was it Holmes or maybe Edgar Allan Poe?

John Kiste:
Though Poe infuses most of my haunted house tales, Kettering Hall owes a great debt to a humorous ghost story from John Kendrick Bangs, The Water Ghost of Harrowby Hall.

TDS: Your narrator goes unnamed – why did you decide to leave him so?

John Kiste: Poe often left his narrators unnamed. I always felt it gave them an added layer of mystery.

TDS: Lord Kettering describes the cultists on his land as “wicked offspring who were blossoming into wretched adults” and “children.” Why did you decide to have them be children /young adults instead of the adult laborers?

John Kiste: Thank you for this question. I wanted to show Lord Kettering as a benevolent landlord who had cared about his laborers for decades. It was the next generation that destroyed that bond. This was not an indictment of teens or even peaceful pagans.

TDS: Lord Kettering is tormented by the victims he accidentally caused the deaths of. In Kettering Hall, it is explained as a curse placed on him by the cultists he’s driven away. To your mind as the author, do you think that is the sole reason he has the nightly visits, or could his own guilt or some twisted karma also play a role?

John Kiste: Readers are invited to draw their own conclusions about Kettering’s state of mind. I did intend the curse to be real, as others have also experienced its effects.

TDS: After reaching the end of Kettering Hall I was left wanting to know more. Do you plan on continuing the tale of Lord Kettering and the unnamed narrator? Will we ever know if they found the cultists and reversed the curse?

John Kiste: Interestingly, I got several paragraphs into that very sequel before I gave it up as diluting the mystique and the purposely unanswered questions of the first work. I rather like it as is at present.

TDS: What’s your writing process? Are you a plotter, pantser, or plantser? Have you researched for your stories, or do you rely solely on your imagination?

John Kiste: I am embarrassed that I have never heard the word plantser for someone who does both – but it is definitely me. I sometimes start with just a first line, and the story then retaliates by going off wildly. However, others have required a massive amount of research. As an example, one story that took place in the 1890s could not include modern terms, metaphors, or slang. It was amazing as I researched every phrase, to learn how many things we say came into usage in the Twentieth Century.

TDS: Would you share a bit more about your writing process? How many hours a day do you write? What are the most difficult and most enjoyable parts of your writing process? What risks have you taken in your writing that have paid off?

John Kiste: I only write when an idea comes to me. I keep these ideas as notes on my phone and muse them over, sometimes for a very long time. I generally write my first draft late at night in bed on my phone, then transfer it to my computer for editing. I love creating the proper atmosphere, and when I have written tangled mysteries, I love seeing the threads come together. I have authored a number of bizarre and unusual works, but many have not found homes. I once penned a banshee story called Thincoldnightwindkeenslikeabanshee (all one word for reasons explained in the telling) and Unnerving Press picked it up for the anthology, Haunted Are These Houses, the title notwithstanding.

TDS: Speaking of brainstorming ideas… Do you believe in writer’s block and, if so, what methods do you use to combat it?

John Kiste: Walk away. Do something unrelated. That’s the best way for me to work through it, though everyone has their own process.

TDS: Other than writing short stories, what kind of other creative outlets do you enjoy?

John Kiste: I proofread for my daughter, Gwendolyn, and I have a collection of Aurora monster models. I run planetarium shows at the McKinley Museum (in Canton, Ohio) and have done a one-man show of Poe dozens of times – in chapels, on trains, in theatres, for tour groups, and in schools. I am busy two months before Halloween preparing what neighborhood children say is one of the best houses for trick-or-treaters in the whole town: haunted walkway, graveyard with real coffins, guillotine, full-sized Hershey bars and bags of other candy for each. This October 31st will mark the 40th wedding anniversary of my wife Lonna and me.

TDS: Speaking of Poe and your Poe impersonation. What draws you to Poe and how long have you been an impersonator of him?

John Kiste: My childhood bedtime stories from my father were Poe and plots of Universal Horror movies. I have been a fan of dark fiction and all things Halloween as long as I can remember. Happily, my wife Lonna is the same, and we passed along this love to our three-time Bram Stoker Award winning daughter, Gwendolyn. I started impersonating Poe when I was President of the Stark County Convention & Visitors’ Bureau. My tourism manager needed entertainment for a bus tour group at an old mansion, and she asked if I would perform as Poe. I have since done dozens of various Poe presentations.

TDS: Since you have a love of Poe and gothic literature, I’m very interested in your perspective on a current debate. Some readers/writers have expressed that the style of Poe is outdated and that a new gothic form of literature is needed. Today, gothic is combined with aspects of horror to create the gothic-horror subgenre, which, to some, is not true gothic literature as Poe (the father of American Gothic literature) envisioned it. The debate then is whether or not there is a market for real Poe-esque gothic literature. What are your thoughts on this?

John Kiste: Good heavens, I hope Poe is still relevant. Some complain of the flowery prose of classic authors like Poe and Hawthorne and Shakespeare, but these storytellers still show us the beauty of the English language, even as it evolves. Joseph Conrad’s native language was Polish, but he loved English so much that he learned it in all its nuances for his novels. The generation of Hemingway decided to write in a basic, straightforward way, and Papa H. and others like Steinbeck created barebones styles, but I truly believe there is room for old Gothic and new. And I can enjoy even hybrids of both.

TDS: Thank you so much for your time today. One last question: What stories have you published since appearing in TDS?

John Kiste: It’s always a pleasure! As for my work, Tinhorn Tintype, has appeared in the anthology Six Guns Straight from Hell 3; a flash fiction piece, Night Chat, was picked up by Third Flatiron; With Painted Words published Reflections on Reflection; and a Jolly Horror anthology called Coffin Blossoms came out last October with my humorous horror story Carl the Fortuitous. Most recently, however, was my short story An Inverted Haunting, published in the anthology Terrifying Ghosts by Flame Tree Press.

*   *   *

John Kiste is the author of over one hundred short stories and one trilogy. He has also written with his daughter, Gwendolyn Kiste, a three-time Bram Stoker Award winner. John and Gwendolyn will be presenting at The Creative Quill Writing Conference on 10/23 at The Dover Public Library (Dover, Ohio) from 12-6pm. Join them by registering for the event at https://forms.gle/u95wPM7GxyqEapHU9. To learn more about this talented writer, visit his website or find him on Facebook.


TDS proudly brings you gothic, horror, fantasy, and psychological realism from great creatives. You can order past and current issues from the TDS Store.

Finches: A Review

by Kausambi Patra

Rating: 💀💀💀💀

Release Date: October 1, 2021

AM Muffaz started writing this concise novel 15 years ago to process a different trauma. She is facing difficulty in accepting that the beloved country of her childhood has changed into a problematic place that is not easy to question. The author deals with intergenerational trauma and the danger its poses. She wants to celebrate diversity, inclusiveness and cultural understanding. In the Introduction, she notes that Charles Darwin wanted to be a parson. But after his journey, he altered his and peoples’ thinking “to see change as beautiful.” The author aspires for that. The novel ‘Finches’ is strewn with quotes from Ayats and ‘The Origin of Species.’

Restless spirits flit around within the novel seeking something. Grandmother Jah deeply resents her husband Ghani’s second marriage, which is legal in Malaysia. She hates the couple with vehemence even after their unnatural deaths. She goes back to live in their family’s old home, claiming it as her own. She experiences ‘cold spots’ in the house and the unquiet spirits. She beats up her dead husband’s spirit and is spitefully uncivil to his wife’s spirit. During an exorcism, she stops the bomoh from forcing a ghost out of a room and locks the door.

The story follows a nonlinear narrative. It moves from one character to another and comes back again. In Rahim’s chapter, he faces the spirits in the old house. His meetings are terrifying, and he narrowly escapes violent harm.

From time to time, the story moves back to the past. The author paints beautiful images of a warm and cosy family enjoying themselves in their flowering garden with abundant refreshments and supporting each other. The children of the first wife seem to share relationships of trust and nurture with the second wife. But the fractures get exposed at times. The author stresses that the granddaughter and the new wife, Aisya, are the same age. Aisya is very good-looking and delicate, in sharp contrast to the granddaughter Khatijah. She is beautiful even more after her death.

The author has vivid flowing portrayals of the physical surroundings and poetic descriptions of everyday mundane activities and objects within the house. She goes into minute details and piques the interest of the reader –

There, the jars had clouded over, some bloodied red, the others opaque white. Her eyes were drawn towards a particular jar in the middle of the rack, whose curtain of white cleared when it had her focus. Inside, a milky-coloured mass curdled upon itself like a clot of grubs, wriggling limbs, she thought, as it rotated in place. From the centre of this clot, wrinkles unfurled like a flower, until, in the depths of its heart, it flicked open an eye. (Page 63)

The pickle jars were Grandmother Jah’s precious possession. The ‘cold spots’ manifest there and respond to her hatred. All the characters sense the ‘cold spots’ and the restive spirits as they gradually become violent and malicious. But the surviving family members are not scared. Instead, they grope for answers. They remain calm and composed and try to piece together their broken fragments.

Reading Muffaz’s words, one can almost see and touch the spirits and inhabit that house. But it is what they have left behind that the living is forced to deal with. Even when these people were living happily, there was the case of the chickens metamorphosing. This mirrors the undercurrent that erupts at the end. When Fatimah is forced to visit the house, the bougainvillaea claws her car.

The scratches ran as deep as the awful sound they’d made, making five broken lines from the side mirror to the handle, their ragged path edged with fine silvery powder. (Page 90)

The spirits, too, answer her hate. 

Ghani and many of the characters are unable to accept the change around them, which pushes the gradual unfolding of the incidents. The house and its environment has soaked it all and rushes to its revelation in the climactic ending. The concluding chapters are left open for the reader’s interpretation.

I found the novel unsettling and the ghosts terrifying. I was scared for the family members living in that old haunted cottage. The narrative is about people trying to understand their past and surroundings and the resulting frictions. The author strongly feels that unless one adapts and faces reality, they face destruction. This short novel is wrapped in the author’s emotion.

Finches is available from Vernacular Books and comes out October 1, 2021. Purchase a copy wherever books are sold, including on Amazon.


RATING:  💀
Boring, not dark, not interesting. Do not recommend.

RATING: 💀💀
Fair plot, not too dark, fairly interesting. Read at own risk.

RATING: 💀💀💀
Good plot and mild darkness, good reading experience. Encouraged read.

RATING: 💀💀💀💀
Great reading experience with heaps of dark tone. Strong recommend.

RATING: 💀💀💀💀💀
Excellent prose, tons of dark tone. A MUST READ!

Reality Meets Fiction: Voodoo Dolls

What do Barnes and Noble, Walmart, and Target have in common? They all sell Voodoo Dolls! And they’re not the only ones. You can buy Voodoo dolls and kits from hundreds of online vendors, and browsing through the many different types of online Voodoo dolls is quite entertaining. There’s the “Mini Office Voodoo Kit” that you can use to put a curse on your boss or co-workers; the “Happy Couple Voodoo Doll Kit” to cast love spells; the “Passion Masters Sex Voodoo Doll” to ‘attain massive, animal-like sex stamina’; and my favorite–the “Photo Revenge Voodoo Doll” where you send a photo of your ex, wait for the doll to arrive, then go to town sticking pins in the doll that has your ex’s face on it.

Those who use dolls in Voodoo-type rituals swear by them, but do they really work? Apparently so. In Connecticut, a Voodoo doll was used to cause the death of two people.

In 2008, John Brightman of New England Paranormal Research was contacted by a woman named Amanda in Westport who was experiencing paranormal activity in her home, such as objects moving on their own, and doors opening and slamming shut. In addition, a deceased family member was reportedly seen in the home.

During the investigation, Brightman learned that three people who had been living in the house had died several months earlier–Amanda’s mother, Esther, her brother, Roger, and her younger sister, Vivian. After the deaths, Amanda inherited the home. When she arrived to clean the house, she discovered a hand-made altar in Roger’s room. Four candles were on its surface, and in the center was a box about eight inches long and four inches wide. Inside was a stuffed doll, and tacked to it were three photographs. One was a photo of Amanda’s younger sister, and the other was of her mother. The third was of a man Amanda did not recognize. Small pins had been inserted into the doll in various positions, and it was charred in several places. The box also contained herbs, and small bottles containing oils and ointments.

Amanda told the investigator that Roger discovered that his sister Vivian had convinced their mother to cut him out of his inheritance. Apparently, he used the doll to put a curse on his mother and sister, and it worked. Esther died shortly after Roger found out about losing his inheritance, and two months later, his sister Vivian died of a ruptured spleen. But it seems that Roger’s scheme backfired because he died a few months later. So, in the end, three people died as the result of using the Voodoo doll.

In order to understand the use of dolls in ritual magic, it’s important to understand the concept of sympathetic magic whereby a magician believes that he can produce any desired physical effect merely by imitating it. In addition, there is the belief that whatever is done to a material object will also be done to the person that it was once in contact with. This is why dolls used in magic rituals are often constructed or decorated with hair, nail-clippings, or pieces of cloth once owned by a person.

The use of dolls in sympathetic magic goes back thousands of years. The melting or burning of ritualistic dolls was written about in great detail in some ancient Greek texts. In ancient Egypt, enemies of Ramses III used wax images of the Pharaoh in rituals to help bring about his death. Greek dolls, known as Kolossoi, were used for various ritual purposes, such as to restrain a ghost, to ward off an evil entity, or as a way to bind lovers together.

Voodoo dolls are the most familiar type of doll used in casting spells and curses, but there are actually a number of different types of dolls used in ritualistic magic and witchcraft. The oldest examples of dolls stuck with pins and used in ritual magic don’t come from Africa or the Carribean, they originated in Britain where during the middle ages, practitioners of magic called ‘cunning folk’–also known as wizards, wise men or women, or conjurers– would make cloth dolls made to resemble a person in the community who was thought to be a witch. The doll would be stuck with pins to do the witch harm, and to help break any magic spells she may have put on anyone. 

If you ever get a chance to visit England, be sure to visit the Museum of Witchcraft and Magic in Cornwall, England. Among the museum’s many interesting artifacts is a curious figure–a small, crudely formed female clay doll stuck with four pins. This type of ritualistic doll is known as a poppet, and this particular one appears to be blackened in places as if it had been charred by fire.

Poppets are made to represent a person and they’re used to cast spells on that person for good or for evil, or to put a curse on the person. They can be made out of a number of different materials such as carved roots, corn husks, a piece of dried fruit, wax, clay, branches, or cloth. Dolls made out of cloth are often stuffed with herbs or other materials thought to have magical properties. Poppets that have a curse on them would be hidden in a home to make sure it is close to its intended victim.

Now let’s get one thing straight, Voodoo has very little to do with so-called Voodoo dolls. In fact, the name Voodoo isn’t even the actual name of the religion. Vodou (the proper spelling and pronounced VOO-dow or VOE-do) originated in the 17th century French colonial empire among enslaved West Africans. An 1685 law required all slaveholders to Christianize slaves within eight days of their arrival, and this was often Catholicism. Over time, the slaves combined elements of their religious beliefs with Roman Catholicism. Because they were forced to adopt Catholic rituals, slaves gave them double meanings and in the process, many of their African spirits became associated with Christian saints.

Vodou is a fascinating and complex religion, and although dolls are used in Vodou, they are usually used for good, or for protection against evil, similar to the use of religious statues in churches and homes. Dolls are used for a variety of purposes such as love, healing, guidance, fertility, and empowerment.

When West African slaves were brought to the United States, they retained their religious practices of using dolls. One type of doll that they made was called a fetish which was thought to be possessed by spirits connected to the doll’s owner. The fetish would be worn for good luck, or to access magical powers. Fetish dolls are also used to create a bond between the physical and spiritual worlds. They are also known by the names ‘juju’ and ‘grisgris’. The term ‘grisgris’ also refers to charm bags filled with magical powders, roots, herbs, bones, spices, stones, feathers, and so on. So, grisgris bags are actually a type of magic potion–a combination of ingredients designed to produce an intended outcome. The bags are usually worn by a person, but they are sometimes tied to fetish dolls as part of a spell.

Psychologists say that Voodoo dolls work only if you believe in them, and that there is a real psychological benefit to getting your frustrations out on another person by sticking pins in their effigy.  But as we’ve seen, you don’t have to believe in a curse to be affected by it. In fact, you don’t even have to be aware that you’ve been cursed for the curse to take its toll.

If you’re interested in experimenting with Voodoo dolls, I would advise you to keep the Wiccan “Rule of Three” in mind. The rule of three states that whatever energy a person puts out into the world, be it for good or bad, will be returned to that person three-fold. So, using a doll to help heal or to bring joy and happiness to someone should bring you a handsome reward. But be warned–before you go sticking black pins in a doll made to resemble your worst enemy, keep in mind that, in the end, the person you’ll be hurting the most is yourself.


UPDATE: Due to lack of reader interest, Reality Meets Fiction will be ending in two months. That means, just two more stories will be published (October and November). If you’d like for the series of paranormal investigation stories to continue, please let us hear your voice in the comments.

“Reality Meets Fiction” is a series on non-fiction, real-life stories as experienced through personal accounts and investigations conducted by Barry Pirro, a paranormal investigator known as the Connecticut Ghost Hunter. Barry has over a decade of paranormal investigation experience and will share his stories every 4th Friday of the month. Don’t forget to catch his next article on September 24th. To learn more about the Ghost Hunter, visit http://www.connecticutghosthunter.com/.

READERS: Have you used voodoo dolls or have heard stories about them? If so, tell us about it in the comments. Better yet, write your non-fiction story and send it to us: darksiremag@gmail.com (subject: Voodoo Dolls). Your story may be picked to appear on our blog as a follow up to Barry’s.

WRITERS: Use Barry’s real-life story to inspire your creativity! Write a story using voodoo dolls and then submit it to us for publication consideration: https://www.darksiremag.com/submissions.html.

As always, thanks for supporting THE DARK SIRE! If you’re not following us, please do. We are on Twitter, Facebook, and Instagram under @DarkSireMag. And, of course, you can pick up a digital copy of our issues on the TDS website or paperback copies through AmazonThe Bibliophile Bookstore (Dover, Ohio), and now Poe’s New & Used Bookstore (New Berlin, Pennsylvania).

Until we meet again, take care!

The Creative Nook with Corey Nyhus

by Zachary Shiffman

A red-skinned demon. A winged abomination with a curved blade. An insect – wide-eyed and dying – ripped from the pages of Kafka. These are images that can only come from the mind of an artist. I wanted to gain a glimpse into that mind, so I invited Corey Nyhus, an artist currently living in New York, into THE DARK SIRE’s Creative Nook on YouTube.

We started by discussing some of the images mentioned above — such as Redboy, the demon who acts as a sort of mascot to Nyhus’ works, as well as the blade-wielding Corvian and Nyhus’ Metamorphosis-inspired piece, “Kafkaesque.” We discussed the tools used to create these characters and pieces and how they relate to Nyhus’ vision, along with the relationship between handwriting and art.

Nyhus and I also talked about the dynamic between himself and his art — how the mind can affect the artistic and vice versa. Then we discussed Nyhus’ recommended readings, including the web comic Kill Six Billion Demons by Tom Parkinson-Morgan and surrealist novel The Vorrh by Brian Catling.

I had a blast interviewing Nyhus. If you like horror and gothic art as much as I do, then you’ll love this interview!

https://youtu.be/cxboVaL3JHM

September New Release Books

It’s time to look ahead and see what the publishers are offering in our favorite genres. What mouth-watering, mind-expanding delights are awaiting us in the up-coming month? There are a few on this list that I, personally, can’t wait to sink my teeth into. How about you?

GOTHIC

September 21th

The Bronzed Beasts by  Roshani Chokshi. This is the third book in The Gilded Wolves Series. After Séverin’s seeming betrayal, the crew is fractured. Armed with only a handful of hints, Enrique, Laila, Hypnos and Zofia must find their way through the snarled, haunted waterways of Venice, Italy to locate Séverin.

Meanwhile, Séverin must balance the deranged whims of the Patriarch of the Fallen House and discover the location of a temple beneath a plague island where the Divine Lyre can be played and all that he desires will come to pass.

With only ten days until Laila expires, the crew will face plague pits and deadly masquerades, unearthly songs and the shining steps of a temple whose powers might offer divinity itself… but at a price they may not be willing to pay.

September 28th

Horseman: A Tale of Sleepy Hollow by  Christina Henry. In this atmospheric, terrifying novel, everyone in Sleepy Hollow knows about the Horseman, but no one really believes in him. Not even Ben Van Brunt’s grandfather, Brom Bones, who was there when it was said the Horseman chased the upstart Crane out of town. Brom says that’s just legend, the village gossips talking.Twenty years after those storied events, the village is a quiet place. Fourteen-year-old Ben loves to play Sleepy Hollow boys, reenacting the events Brom once lived through. But then Ben and a friend stumble across the headless body of a child in the woods near the village, and the sinister discovery makes Ben question everything the adults in Sleepy Hollow have ever said. Could the Horseman be real after all? Or does something even more sinister stalk the woods?

The House of Dust by Noah Broyles. Deep in the heat and silence of rural Tennessee, down an untraveled road, sits the forgotten town of Three Summers. Mere miles away, on an overgrown river island, stands the house that once presided over the grand plantation of Angel’s Landing, moss-draped, decrepit. Waiting.

Failing crime writer Bradley Ellison and former prostitute Missy Holiday are drawn to this place, fleeing a world turned against them. For Brad, it is work—he must find a compelling story before the true-crime magazine he writes for judges him expendable. For Missy, it is recuperation—four years at “the club” have left her drained.

But the price of peace is high, and soon Brad and Missy discover that something hides behind the quiet. Something moves in the night. Something that manifests itself in bizarre symbols and disturbing funeral rites. Something that twists back through time and clings in the dust of the ancient house. A presence they must uncover before their own past catches up with them.

The Liar Of Red Valley by Walter Goodwater. Don’t trust the Liar. Don’t go in the River. Do not cross the King. In Red Valley, California, you follow the rules if you want to stay alive. But even that isn’t enough to protect Sadie now that she’s unexpectedly become the Liar: the keeper and maker of Red Valley’s many secrets.

In a town like this, friendships are hard-won and bad blood lasts generations, and when not everyone in town is exactly human, it isn’t a safe place to make enemies.

And though the Liar has power—power to remake the world, with just a little blood—what Sadie really needs is answers: Why is the town’s sheriff after her? What does the King want from her? And what is the real purpose of the Liar of Red Valley?


HORROR

September 7th

Certain Dark Things by  Silvia Moreno-Garcia. Welcome to Mexico City, an oasis in a sea of vampires. Domingo, a lonely garbage-collecting street kid, is just trying to survive its heavily policed streets when a jaded vampire on the run swoops into his life. Atl, the descendant of Aztec blood drinkers, is smart, beautiful, and dangerous. Domingo is mesmerized.

Atl needs to quickly escape the city, far from the rival narco-vampire clan relentlessly pursuing her. Her plan doesn’t include Domingo, but little by little, Atl finds herself warming up to the scrappy young man and his undeniable charm. As the trail of corpses stretches behind her, local cops and crime bosses both start closing in.

Vampires, humans, cops, and criminals collide in the dark streets of Mexico City. Do Atl and Domingo even stand a chance of making it out alive? Or will the city devour them all?

Empire Of The Vampire by Jay Kristoff. Twenty-seven years have passed since the last sunrise, and for almost three decades, the creatures of the night have walked the day without fear. Once, humanity fought bravely against the coldblood legions, but now, we exist only in a few scattered settlements—tiny sparks of light in a growing sea of darkness.

Gabriel de León is the last of the Silversaints, a holy order dedicated to defending realm and church, now utterly destroyed. Imprisoned for the murder of the vampiric king, Gabriel is charged with telling the story of his life.

His tale spans years, from his youth in the monastery of San Michel, to the forbidden love that spelled his undoing, and the betrayal that saw his order annihilated. Most importantly, Gabriel will tell of his discovery of the Grail—the legendary cup prophesied to bring an end to the eternal night.

But the Grail was no simple chalice; and its secret was held by a smart-mouthed teenage urchin named Dior. Their journey with a band of unlikely allies would see Dior and Gabriel forge an unbreakable bond, and set the broken paragon on a road to redemption.

But now, the Grail is shattered. And with the cup of the Savior destroyed and the last Silversaint awaiting execution, what can bring an end to this unholy empire?

No Gods, No Monsters by Cadwell Turnbull. One October morning, Laina gets the news that her brother was shot and killed by Boston cops. But what looks like a case of police brutality soon reveals something much stranger. Monsters are real. And they want everyone to know it.

As creatures from myth and legend come out of the shadows, seeking safety through visibility, their emergence sets off a chain of seemingly unrelated events. Members of a local werewolf pack are threatened into silence. A professor follows a missing friend’s trail of bread crumbs to a mysterious secret society. And a young boy with unique abilities seeks refuge in a pro-monster organization with secrets of its own. Meanwhile, more people start disappearing, suicides and hate crimes increase, and protests erupt globally, both for and against the monsters.

At the center is a mystery no one thinks to ask: Why now? What has frightened the monsters out of the dark? The world will soon find out.

The Bones of Ruin by Sarah Raughley. As an African tightrope dancer in Victorian London, Iris is used to being strange. She is certainly a strange sight for leering British audiences always eager for the spectacle of colonial curiosity. But Iris also has a secret that even “strange” doesn’t capture…​ She cannot die.

Haunted by her unnatural power and with no memories of her past, Iris is obsessed with discovering who she is. But that mission gets more complicated when she meets the dark and alluring Adam Temple, a member of a mysterious order called the Enlightenment Committee. Adam seems to know much more about her than he lets on, and he shares with her a terrifying revelation: the world is ending, and the Committee will decide who lives…and who doesn’t.

To help them choose a leader for the upcoming apocalypse, the Committee is holding the Tournament of Freaks, a macabre competition made up of vicious fighters with fantastical abilities. Adam wants Iris to be his champion, and in return he promises her the one thing she wants most: the truth about who she really is.

If Iris wants to learn about her shadowy past, she has no choice but to fight. But the further she gets in the grisly tournament, the more she begins to remember—and the more she wonders if the truth is something best left forgotten.

The Haunting of Leigh Harker by Darcy Coates. Sometimes the dead reach back… Leigh Harker’s quiet suburban home was her sanctuary for more than a decade, until things abruptly changed. Curtains open by themselves. Radios turn off and on. And a dark figure looms in the shadows of her bedroom door at night, watching her, waiting for her to finally let down her guard enough to fall asleep.

Pushed to her limits but unwilling to abandon her home, Leigh struggles to find answers. But each step forces her towards something more terrifying than she ever imagined.

A poisonous shadow seeps from the locked door beneath the stairs. The handle rattles through the night and fingernails scratch at the wood. Her home harbours dangerous secrets, and now that Leigh is trapped within its walls, she fears she may never escape.

Do you think you’re safe? You’re wrong.

The Summoning by J.P. Smith. When it comes to contacting the dead, it’s easy to go a step too far. Every year, as the anniversary of 9/11 inches closer on the calendar, Kit Capriol scans the memorials published in the New York Times. It’s a simple thing to look up a name and phone number, to reach out to surviving family members who might still be yearning for connection with their lost loved one… to offer assistance. After her husband went down in the north tower, Kit scraped by as an actress, barely supporting herself and her daughter. But now Zoey is in the hospital, bills are due, and the acting work has dried up. Becoming a medium is almost too easy for someone used to pretending for a living—and desperate clients aren’t hard to come by.

Now, though, something has changed. The seances Kit holds in her apartment are starting to feel unsettlingly real, and the intriguing man she met at a local bar could be more complicated than he seems. As the voices of the dead grow louder in her head and the walls of her apartment close in, Kit realizes that despite her daughter’s absence, she hasn’t been quite as alone as she thought…

September 28th

Court by Tracy Wolff. This is the fourth book in the CRAVE SERIES. This series is a TWILIGHT-like YA series written especially for modern youth and filled with your typical brooding teenagers both vampire and normal. The series follows the adventures of Grace who, after the death of her mother, moves to a small part of Alaska where her uncle and cousin run a boarding school which is not your normal boarding school.

The Ex Hex by Author Rachel Hawkins, writing as Erin Sterling. Nine years ago, Vivienne Jones nursed her broken heart like any young witch would: vodka, weepy music, bubble baths…and a curse on the horrible boyfriend. Sure, Vivi knows she shouldn’t use her magic this way, but with only an “orchard hayride” scented candle on hand, she isn’t worried it will cause him anything more than a bad hair day or two.

That is until Rhys Penhallow, descendent of the town’s ancestors, breaker of hearts, and annoyingly just as gorgeous as he always was, returns to Graves Glen, Georgia. What should be a quick trip to recharge the town’s ley lines and make an appearance at the annual fall festival turns disastrously wrong. With one calamity after another striking Rhys, Vivi realizes her silly little Ex Hex may not have been so harmless after all.

Suddenly, Graves Glen is under attack from murderous wind-up toys, a pissed off ghost, and a talking cat with some interesting things to say. Vivi and Rhys have to ignore their off the charts chemistry to work together to save the town and find a way to break the break-up curse before it’s too late.

The Last Graduate by Naomi Novik. Book 2 in the Scholomance Series. A budding dark sorceress determined not to use her formidable powers uncovers yet more secrets about the workings of her world in the stunning sequel to A Deadly Education, the start of Naomi Novik’s groundbreaking crossover series.

At the Scholomance, El, Orion, and the other students are faced with their final year—and the looming specter of graduation, a deadly ritual that leaves few students alive in its wake. El is determined that her chosen group will survive, but it is a prospect that is looking harder by the day as the savagery of the school ramps up. Until El realizes that sometimes winning the game means throwing out all the rules . . .

September 30th

Shaula by A.M. Kherbash. The second book in The Stringer Series. The sight of the body did not sicken Ben. Not right away. Guilt was what got him: the mounting consequences rising in his throat, and the truth which would inevitably come spilling out.

Sometime after the events at Duncastor (See Lesath), two men are dispatched to make a delivery. It was a straightforward assignment: take the sealed cargo—a container roughly the size of a child’s casket—and deliver it to a reclusive specialist residing in a lakeside cabin. What this specialist did or specialized in was never mentioned. Not that it mattered, when the task was simple—simple enough that even a young and inexperienced bureaucrat like Ben could handle it. If only he weren’t charged with keeping an eye on his wayward senior.

The lakeside cabin was the last remnant of a closed down resort, which Ben guessed was bought by a dummy corporation belonging to their employers. All the other cabins were torn down, leaving them with an empty property that served to distance the lakeside cabin from public grounds. Something about it reminded Ben of the horticultural practice of pruning spent flowers to further enhance the beauty of the crowning blossom. Not that it did anything to improve the cabin’s appearance he observed, as they stood in front of the stocky wooden building, sheltered under interlacing branches of towering evergreens. Much like the faded photos, an eerie hush permeated the place: no breeze ruffled the reflected image on the lake’s surface, nor whispered through the green needles above. It was all very quiet.


FANTASY

September 14th

A Dark and Starless Forest by Sarah Hollowell, When her siblings start to go missing, a girl must confront the dark thing that lives in the forest—and the growing darkness in herself—in this debut YA contemporary fantasy for fans of Wilder Girls.

Defy The Night by Brigid Kemmerer. A fantasy about a kingdom divided by corruption, the prince desperately holding it together, and the girl who will risk everything to bring it crashing down.

The kingdom of Kandala is on the brink of disaster. Rifts between sectors have only worsened since a sickness began ravaging the land, and within the Royal Palace, the king holds a tenuous peace with a ruthless hand.

King Harristan was thrust into power after his parents’ shocking assassination, leaving the younger Prince Corrick to take on the brutal role of the King’s Justice. The brothers have learned to react mercilessly to any sign of rebellion–it’s the only way to maintain order when the sickness can strike anywhere, and the only known cure, an elixir made from delicate Moonflower petals, is severely limited.

Out in the Wilds, apothecary apprentice Tessa Cade is tired of seeing her neighbors die, their suffering ignored by the unyielding royals. Every night, she and her best friend Wes risk their lives to steal Moonflower petals and distribute the elixir to those who need it most–but it’s still not enough.

As rumors spread that the cure no longer works and sparks of rebellion begin to flare, a particularly cruel act from the King’s Justice makes Tessa desperate enough to try the impossible: sneaking into the palace. But what she finds upon her arrival makes her wonder if it’s even possible to fix Kandala without destroying it first.

September 21th

The Leopard Behind The Moon by Mayonn Paasewe-Valchev. There are three important laws in Ezomo’s village: Do not go to The Valley, do not go out at night, and never, ever, ever open the magical door that protects them all. But when Ezomo encounters the leopard believed to have killed his father, he and his two best friends embark on a journey that leads them past the boundaries set by their elders.

With his friends by his side, Ezomo chases after the leopard, certain that it has the power to cure all, and in the process he discovers the true history of his village, and that cautionary tales exist for a reason.

The Wolf’s Curse by Jessica Vitalis. Twelve-year-old Gauge’s life has been cursed since the day he witnessed a Great White Wolf steal his grandpapá’s soul, preventing it from reaching the Sea-in-the-Sky and sailing into eternity. When the superstitious residents of Bouge-by-the-Sea accuse the boy of crying wolf, he joins forces with another orphan to prove his innocence. They navigate their shared grief in a journey that ultimately reveals life-changing truths about the wolf––and death.

September 28th

Beasts Of Prey by Ayana Gray.

Magic doesn’t exist in the broken city of Lkossa anymore, especially for girls like sixteen-year-old Koffi. Indentured to the notorious Night Zoo, she cares for its fearsome and magical creatures to pay off her family’s debts and secure their eventual freedom. But the night her loved ones’ own safety is threatened by the Zoo’s cruel master, Koffi unleashes a power she doesn’t fully understand–and the consequences are dire.

As the second son of a decorated hero, Ekon is all but destined to become a Son of the Six–an elite warrior–and uphold a family legacy. But on the night of his final rite of passage, a fire upends his plans. In its midst, Ekon not only encounters the Shetani–a vicious monster that has plagued the city and his nightmares for nearly a century–but a curious girl who seems to have the power to ward off the beast. Koffi’s power ultimately saves Ekon’s life, but his choice to let her flee dooms his hopes of becoming a warrior.

Desperate to redeem himself, Ekon vows to hunt the Shetani down and end its reign of terror, but he can’t do it alone. Meanwhile, Koffi believes finding the Shetani and selling it for a profit could be the key to solving her own problems. Koffi and Ekon–each keeping their true motives secret from the other–form a tentative alliance and enter into the unknowns of the Greater Jungle, a world steeped in wild magic and untold dangers. The hunt begins. But it quickly becomes unclear whether they are the hunters or the hunted.


PSYCHOLOGICAL REALISM

September 7th

The Final Child by Fran Dorricott. Erin and her brother Alex were the last children abducted by ‘the Father’, a serial killer who only ever took pairs of siblings. She escaped, but her brother was never seen again. Traumatized, Erin couldn’t remember anything about her ordeal, and the Father was never caught.

Eighteen years later, Erin has done her best to put the past behind her. But then she meets Harriet. Harriet’s young cousins were the Father’s first victims and, haunted by their deaths, she is writing a book about the disappearances and is desperate for an interview. At first, Erin wants nothing to do with her. But then she starts receiving sinister gifts, her house is broken into, and she can’t shake the feeling that she’s being watched. After all these years, Erin believed that the Father was gone, but now she begins to wonder if he was only waiting…

The Magician by Colm Toibin. An epic family saga set across a half-century spanning World War I, the rise of Hitler, World War II. The novel opens in a provincial German city at the turn of the twentieth century, where the boy, Thomas Mann, grows up with a conservative father, bound by propriety, and a Brazilian mother, alluring and unpredictable. Young Mann hides his artistic aspirations from his father and his homosexual desires from everyone. He is infatuated with one of the richest, most cultured Jewish families in Munich, and marries the daughter Katia. They have six children. On a holiday in Italy, he longs for a boy he sees on a beach and writes the story Death in Venice. He is the most successful novelist of his time, winner of the Nobel Prize in literature, a public man whose private life remains secret. He is expected to lead the condemnation of Hitler, whom he underestimates. His oldest daughter and son, leaders of Bohemianism and of the anti-Nazi movement, share lovers. He flees Germany for Switzerland, France and, ultimately, America, living first in Princeton and then in Los Angeles.

In a stunning marriage of research and imagination, this novel explores the heart and mind of a writer whose gift is unparalleled and whose life is driven by a need to belong and the anguish of illicit desire. The Magician is an intimate, astonishingly complex portrait of Mann, his magnificent and complex wife Katia, and the times in which they lived—the first world war, the rise of Hitler, World War II, the Cold War, and exile. This is a man and a family fiercely engaged by the world, profoundly flawed, and unforgettable.”

September 9th

Keep Me Close by Jane Holland. Someone is hurting the most vulnerable person in your life, but they can’t tell you who it is. What would you do?

When shy publisher Kate Kinley finds mysterious bruises on her mother’s arms she assumes the worst. Suffering with early onset dementia, her mother insists that nothing is wrong; it was just a clumsy accident. But was it an accident, or has her mother’s illness made her forget what really happened?

In desperate need of someone she can trust, her isolation and paranoia grow as the closest people in her life become key suspects.

With each heart-stopping revelation, Kate begins to realise that the perpetrator is no longer interested in inflicting bruises; they want blood.

Keep Me Close is a compelling story of gross immorality, a cautionary tale of how easily wicked people can take advantage of the vulnerable elderly people in your life.

September 14th

Dark Things I Adore by Katie Lattari. A Gone Girl-esque tale of atonement that proves that in the grasp of manipulative men, women may momentarily fall. But in the hands of fierce women, men will be brought to their knees.

Three campfire secrets. Two witnesses. One dead in the trees. And the woman, thirty years later, bent on making the guilty finally pay.

1988. A group of outcasts gather at a small, prestigious arts camp nestled in the Maine woods. They’re the painters: bright, hopeful, teeming with potential. But secrets and dark ambitions rise like smoke from a campfire, and the truths they tell will come back to haunt them in ways more deadly than they dreamed.

2018. Esteemed art professor Max Durant arrives at his protégé’s remote home to view her graduate thesis collection. He knows Audra is beautiful and brilliant. He knows being invited into her private world is a rare gift. But he doesn’t know that Audra has engineered every aspect of their weekend together. Every detail, every conversation. Audra has woven the perfect web.

Only Audra knows what happened that summer in 1988. Max’s secret, and the dark things that followed. And even though it won’t be easy, Audra knows someone must pay.


So many amazing books coming out next month!
Which will you be reading?


TO OUR READERS: Do you have a favorite author that you would like THE DARK SIRE to keep track of? Or did we miss a title that came out that should have been listed? Let us know in the comments. We love to uplift amazing writers. In fact, if you drop the name of an author for us to include, we will add them to our future new release lists – which are now a MONTHLY staple of The Dark Forest. Check back at the end of September for our late Fall and early Winter new releases.

And don’t forget to ORDER TDS’ DARK SUMMER Issue 8. More details available at darksiremag.com/issue8.html.

Camelot’s Reckoning: A Review

Rating: ⚜️⚜️⚜️⚜️

If you are fans of the Arthurian legend, you are sure to get a kick out of Caleb Kelly’s CAMELOT’S RECKONING.  It’s a new twist on the legend and the characters will keep you turning the pages.  In fact, when you get to the end, you will be shouting for more.

This is a high fantasy story that doesn’t start off like one.  It starts us off at an archeological dig as Oliver is on his quest to find Excalibur, the fabled magic sword of King Arthur.  In fact, the legend and search for the sword has consumed his life and practically ruined his reputation in the archeological world.  However, this time he is on to something, and he needs his twin brother to help him continue the search.

Which brings us to a small problem:  Oliver’s brother, Roland, is a lawyer in a high-profile law firm who is bucking for partnership, while sleeping with his boss’ trophy wife.  Roland has problems that don’t include his brother, and a life that couldn’t be more different than his archaeologist brother.

In order to get his brother to accompany him to Scotland in pursuit of the sword, Oliver has to sabotage Roland’s life and get him fired from his job.  In Scotland, Oliver finds Excalibur AND its sister sword.  The brothers are swept into an alternate dimension, a magical one set up by Merlin where they learn that the two swords were wielded by Arthur and Sir Kay.  Kay and Arthur were of one mind and accord and worked in tandem with each other.  Oliver and Roland learn from Garrison, a shape-shifting apprentice to Merlin, that for the magic to work, they, too will have to work together.  And that’s a major problem because Oliver and Roland do not think alike, and thus they disturb the swords’ magic.  Things that are supposed to happen don’t, and vice verse, causing all kinds of chaos to ensue.

As I read this story, one thing really caught my attention: Mr. Kelly’s attention to detail. This book is the first in the Primis Vipris Saga (series). I appreciated that the author spent the time needed to really introduce his characters to the readers.  He methodically charted Oliver’s and Roland’s lives in such a way that I understood them, knew them. These characters were real.  We see Oliver working through the puzzle that is an archeological dig:

“Oliver wiped his brow with the back of his gloves, took them off, and
hurled them against the toolbox across from him.  He got up from the
dirt and brushed away the loose soil from his brown khakis and sweat-
stained tee shirt.  He grabbed hold of the edge of the pit and hoisted
himself out and on to the edge…”

We follow Roland on an intricate court case, one that Oliver sabotages in order to get his brother to accompany him:

“Roland flipped through the files in his lap as the lead prosecutor of
his firm marched back and forth at the front of the courtroom.  He
stopped for a moment to listen to what was unfolding.  The room
was drenched in palpable tension as the veteran lawyer paced in
front of the witness stand.  He stopped and thumbed through the
layers of documentation inside the manila folder.  Anticipation of
the trial had left the entire city of Greenville on edge as the
proceeding unfolded.”

I felt like I was right there, witnessing the events unravel firsthand. With this kind of detail, Mr. Kelly takes us into his magical world; into Merlin’s magic books; and into the confrontation against dragons.  Will Oliver and Roland be able to defeat the beasts? Only if they can manage to come together, strengthen their bonds, and act as one – like Arthur and Kay before them. Their adventure, humanity, and brotherly struggles make this book a page turner.

Be forewarned, however! This book ends at a cliffhanger, one that will make you scream for Book 2. That’s not a bad thing, but there is no information for when Book 2 will be released, so try to remain patient as you wait for the Saga to continue.

Because this story is cleverly written and delves into wonderful characterization, with great attention to detail, I give it a four Fleur de Lis.  If you are looking for a different take on the Arthurian legend in a high fantasy story, you will thoroughly enjoy CAMELOT’S RECKONING. I highly recommend it!

You can find Caleb Kelly’s Camelot’s Reckoning on AMAZON.


RATINGS: TDS rates all books based on the dark content and how well the reading experience lends itself. For fantasy, the craft of world building and the story’s classification (high, epic) is also of interest. As always, author craft, storytelling, and mechanics are considered, as well. For this purpose, we use Fleur-de-lis (⚜️). An explanation of the Fleur-de-lis system follows.

RATING: ⚜️
Boring, flat fantasy elements, not interesting. Do not recommend.

RATING: ⚜️⚜️
Fair plot, below average fantasy elements but fairly interesting. Read at own risk.

RATING: ⚜️⚜️⚜️
Good plot and average fantasy elements, good reading experience. Encouraged read.

RATING: ⚜️⚜️⚜️⚜️
Great reading experience with heaps of wonderful fantasy elements. Strong recommend.

RATING: ⚜️⚜️⚜️⚜️⚜️
Excellent prose, amazing fantasy elements, well-written. A MUST READ!

The Creative Nook with Richard Chizmar

by Zachary Shiffman

Odds are, you’ve heard of Richard Chizmar. The horror giant is the editor of several anthologies, the founder of horror press Cemetery Dance, and the author of multiple works, including the book The Girl on the Porch and the novella Gwendy’s Magic Feather (the sequel to Gwendy’s Button Box, which Chizmar co-authored with Stephen King). What you may not know is that Chizmar is no stranger to THE DARK SIRE literary magazine; he played a role in THE DARK SIRE Creative Awards Ceremony in February 2021, presenting the award for Best Fiction. And so, it was the natural next step for me to invite him into THE DARK SIRE Creative Nook on YouTube for an interview.

Our first topic of discussion was Chizmar’s next book, which will be released on August 17th, 2021: Chasing the Boogeyman, a small-town thriller surrounding a serial killer. In the interview, Chizmar delves into the backstory of the novel—its inspiration, how it developed, and the intriguing quasi-autobiographical elements to it. Chizmar described the book as a sort of “campfire story” that any reader will be able to have a good time with. And if his previous works are any indication, then he’s correct and you should add Chasing the Boogeyman to your TBR list today.

We moved on to talk about horror and writing in general, from Chizmar’s process to the disparate experiences of writing his various projects (including those conjoined with Stephen King). We also delved into his role at Cemetery Dance and how Chizmar balances writing and publishing. Finally, we closed the interview with Chizmar’s advice to emerging writers and anyone attempting to enter the publishing industry.

This interview is chalk full of great information that will entertain readers and writers alike. You’re not going to want to miss a single second of it!

https://youtu.be/YvQbIBsaWU0