Halloween Extravaganza: Paul Flewitt: Clive Barker, Dark Dreamer Pt 1

When I invited Paul Flewitt to take part in this year’s Halloween Extravaganza, I never could have expected the guest post that he sent me. We discussed it several times over the past few weeks, and every time he would tell me that it was almost done, send me over a small portion of it, and ask me what I thought. When I received the final copy, I immediately sat down to read it – a retrospective on one of my all-time favorite authors? – and could not believe just how good it was. Weighing in at 69 pages, 40,227 words… it’s definitely the largest, most researched blog post I have received in my seven plus years of being a blogger. I have broken it up into six days, so sit back and enjoy.


Clive Barker, Dark Dreamer:
A Retrospective
Part 1

Hi everyone, and happy belated Halloween. Thanks to Meghan for inviting me to write this, admittedly rather lengthy article.

It should come as no surprise to anyone that, given the opportunity to do so, I would write an article about Clive Barker. I have never made a secret of the fact that I love his work, and that I hold Barker in high esteem as a writer, artist, director and human being. I think every interview I have ever given has included Barker in some way or another – how could it not? He is a huge influence on my writing, as is reflected in many reviews of my books and stories. It would be utterly remiss of me to refuse to celebrate him in any way that I can. So when I discussed with Meghan the kinds of spots she wanted for her Halloween Extravaganza, and a Barker retrospective came up in the conversation, I leapt at the chance to be the one to write it. I do hope that you take as much pleasure in reading it as I have in researching and writing it.

I have tried to be concise, to keep this from becoming an unauthorised biography running into many thousands of words, but there is a lot of ground to cover. Clive has been an insanely prolific artist over the last 40 years, and to fit absolutely everything into a blog article in the detail that each project deserves would be inadvisable. I have written here a potted history of his books, some selected movies, and mentions for plays he has written. You might see this post as a jumping off point for further research. I recommend Douglas E. Winter’s authorised biography The Dark Fantastic, Clive Barker’s own The Essential Clive Barker, and also the Barkercast and Revelations websites for further examination of his wider work.

So, all of this said… shall we begin?


Liverpool, UK in the 1950’s and 60’s was a city in transformation. The year of Clive Barker’s birth, 1952, came seven years after World War 2 ended; Liverpool was still rebuilding and regenerating after being gutted by bombing and the docks, which once provided the lion’s share of the city’s economy, were slowly dying. It was a city catching up with the modern world, and was a hotbed of artistic creativity. From this soup would be fermented bands like The Beatles, The Merseybeats, Gerry & the Pacemakers, and writers like Phil Redmond and, of course, Clive Barker.

The young Barker was a creative, artistic boy. His bedroom was filled with scribblings, doodles, and models half-built. He created for himself different worlds to inhabit and take him away from one that made very little sense to him, which probably gave a clue to the man that he would become. He was an intelligent child; was one of only ten children in his primary school to pass his eleven-plus exam and be admitted to Quarry Bank Grammar School. The headteacher of Quarry Bank was William Pobjoy, a man forever remembered in history as the guy who allowed a young lad named John Lennon to form a little sciffle band while at school and play during lunch periods; The Quarrymen would pretty soon become The Beatles. Pobjoy was described as a “pompous prick” by Barker, so he clearly didn’t enjoy the same rapport with the man as Lennon did. Of course, Clive also described himself as a “snidey little bastard,” so his criticism is not only reserved for his headteacher, but turned upon himself too.

In his first years, Clive was absent from lessons more than he attended them, a fact that was mourned by one teacher who remarked that the class was “lesser for Clive’s absence.” He hated sports, and the class system which pitted child against child. The enigma to teachers was that Barker was a talented pupil, far from a dunce. He performed well in exams and in class… when he deigned to show up. Put simply, academic pursuits held little relevance to the young Clive Barker; the arts and words were where the world made sense to him. In time, he came to a compromise with his parents that he would knuckle down at school, if he could also pursue his art. As long as his mess was confined to his room, a deal was struck.

Clive’s English teacher, Norman Russell, immediately saw something very different in the young Barker, famously refusing to mark Clive’s assignments because “he had moved beyond the curriculum and could not be marked.” Russell was the man who encouraged Barker’s exploration of his imagination, supporting his endeavours on stage. Clive was cast in school plays throughout his time at Quarry Bank and was permitted to put on his own fringe plays, many of them written by him and his friend Phil Rimmer. This was also where Barker first met a boy two years his junior, but would become a lifelong friend, Doug Bradley. Most memorable of these self-produced plays was Neongonebony, a play entirely improvised by the students.

In these plays Barker and his fellow actors showed a forward-thinking and almost revolutionary philosophy toward the arts, seating the audience on stage while the play was enacted on the floor, lit by candles held by the actors and with horrific special effects designed by Clive and Phil.

Clive left Quarry Bank with the intention of attending Liverpool College of Arts, but at the insistence of his father who wanted him to get a proper education and some possibility of gainful employment, he went to the University of Liverpool instead. This dismayed his English teacher, Norman Russell, who had hoped to see Clive accepted into Oxford or Cambridge, but as Barker himself concedes “I lacked the application… I didn’t want to be an MP or justice of the peace…” University did not stop the young Barker from creating; writing plays and even a short novel, originally entitled “The Company of Dreamers;” later released as “The Candle in the Cloud” and dedicated to his friends: Julie, Sue, Anne, Lynne, Doug, and Graham; his fellow actors from school.

Throughout his years at university he continued to act, forming his own theatre company with Doug Bradley, Peter Atkins, Phil Rimmer, and others. The company started out as The Hydra Theatre Company after Clive and Phil Rimmer made a series of experimental short films, which included Salome and The Forbidden. The company occupied much of Clive’s spare time throughout the 70’s, mutating into The Theatre of the Imagination. Under both guises, Barker put on a number of plays. At this time he also wrote The Adventures of Maximillian Bacchus and His Travelling Circus, a short novel for young adults which was eventually released in 2009 and loosely based on his theatre company and friends. The theatre became more of a full time focus when he graduated from university in 1974, and they built a solid reputation for themselves.

Liverpool could not contain Clive Barker for much longer, however, as travel to cities like Paris and London showed him the wider world. It took some persuasion – Barker believed that living in Liverpool offered a unique mystique that being in the London scene would not afford them – but he was persuaded and was first of his friends to move, with his partner, John Gregson, to London in 76. Doug Bradley moved in 78, as did Phil Rimmer and the rest of the company. The troupe morphed as new members joined, becoming The Dog Company and performing several Barker-penned plays including “History of the Devil,” applying for funding from The Arts Council and touring to places like Edinburgh and Holland to perform. Barker and John were never particularly well off, but got by on John’s salary, Clive’s welfare checks, and whatever small income he received from performing. He also supplemented his income writing for a small S&M magazine, copies of which were seized and burned, much to Clive’s delight. It was these stories and articles that would later inspire, in part, Clive’s most famous creation, Pinhead.

More plays followed in the early years of the 80’s, with “Paradise Street,” “Frankenstein in Love,” “The Secret Life of Cartoons,” “Crazyface,” “Subtle Bodies,” and “Colossus” being written and performed in 81, 82 and 83. By now Clive had withdrawn from acting, taking on the role of stage director and principle writer in pursuit of more singular recognition for his writing.


1983 and 84 proved pivotal years for Barker as he began working at night on short stories. His days were still spent on plays and the theatre, the stories being more a distraction and something to share with his friends from the company. He explored his imagination in a much deeper, unreserved way in these stories, giving no thought to publishing any of them. That was, until he saw the Dark Forces anthology in a bookstore, containing short stories by Stephen King, Joyce Carol Oates, and Ramsey Campbell. This anthology set off a lightbulb for Barker and he immediately set about, with his theatrical agent, to find a publisher for his stories. It was a tough sell; the industry opinion was, and still is, that anthologies don’t sell. Sphere Books took a chance on them however, and Clive Barker’s Books of Blood were published. A new Imaginer had arrived, and took the world of horror and dark fantasy by storm. Ramsey Campbell wrote; “I think Clive Barker is the most important writer of horror fiction since Peter Straub,” and Stephen King wrote; “I have seen the future of horror, and his name is Clive Barker.” It was a phrase that Barker says “changed my life forever…” but also proved to be something of a curse.

Books of Blood (1984)

Of all Clive Barker’s works, Books of Blood is the one I see most frequently recommended in online groups to initiates into the world of Barker (or The Barkerverse, as I term it) these days. I can see why too; Books of Blood gives an overview of everything that might be expected from Clive’s work. There are claustrophobic horrors and epic fantasies, peopled by monsters of both the human and distinctly non-human variety. If you’re going to like any Barker at all, you will like a lot of what’s contained in these volumes.

There are a number of releases of Books of Blood: individual volumes and omnibus editions which collect volumes 1-3 and 3-6, all with differing cover art. Really, Barker is a collectors’ dream when it comes to interesting cover art. Like Pokemon; you’ve gotta catch em all.

Stand out stories for me here would be: Pig Blood Blues, Rawhead Rex, Dread, The Forbidden, Book of Blood, The Body Politic, Jacqueline Ess: Her Will and Testament, Son of Celluloid, and In The Hills, The Cities. Honestly though, there isn’t a bad story in the whole bunch. As an introduction to Barker’s work, you really can’t go wrong here.


The release of Books of Blood proved something of an anomaly in publishing circles; for a writer to debut with a short story collection was unheard of in the modern era, for them to be a critical success unprecedented. It wasn’t an astounding commercial success, but sold enough for Sphere to want more from Barker: a novel. It was a daunting prospect for Clive to write a full length piece, but he set to work and produced a synopsis entitled “Out of the Empty Quarter.” This was proposed to begin in the Arabian desert; an explorer discovers the ruins of Eden inhabited by a lonely angel. The explorer returns to England and unleashes a horrifying force, which turns out to be more angelic than demonic. Sphere rejected this idea, finding it more akin to fantasy than horror. Unperturbed, Barker came up with something else: “Mamoulian’s Game,” but we would come to know it as “The Damnation Game.”

The Damnation Game (1985)

The story begins with a thief wandering through the ashes of the Warsaw Ghetto, searching for a legendary card player. Stories have been told of the European, the greatest card player they have ever heard of who never loses, and the thief is skeptical. Of course, he wants to meet this man himself and disprove the fable… and play him himself. He has tracked the European to Warsaw, and here he will find him… and win. The prize for winning against the European is wealth, fame, and long life, a prize that the thief accepts eagerly.

Years later, Marty Strauss is in prison for armed robbery, closing in on parole and determined to see out his sentence in peace. He is summoned to a meeting with the governor of the prison and is greeted by William Toy. Strauss is soon made an offer he could scarcely refuse: early release, in return for his services as bodyguard to the hermetic millionaire, Joseph Whitehead.

Strauss is taken to Whitehead’s Sanctuary by Toy, where he will live as Whitehead’s right hand man. He meets Whitehead and, quite frankly, cannot believe his luck. He is paid well for his services, lives in a grand mansion, and can live his life again. All is going better than Strauss could have possibly dreamed… until Mamoulian comes to call.

The Damnation Game is a Faustian tale of redemption and… well, damnation obviously. Marty Strauss is portrayed as a normal guy, thrown into some very unusual and terrifying circumstances, used by a man who considers himself above the common. Mamoulian, the Last European, is characterised as an eloquent, melancholy, and ill-used antagonist in the piece. There is a lot to like in this story, as bleak and morbid as it turns out to be. It is certainly a great debut novel from a writer finding his feet and discovering his style.

Once again, Barker’s work was praised by the genre critics, but wasn’t so much a commercial success. Sphere marketed it as a middle-ranked book, giving it a little marketing and hoping that Clive could sell it in personal appearances. They were hoping to sell movie rights, but they never materialised. It certainly engendered a response, with one critic calling it “spiritually bankrupt,” while another said it was “Zombie Flesh Eaters written by Graham Greene.” Characteristically, Barker revelled in these critiques. “What you can’t do to most of the images in my books is ignore them…”

If nothing else, Barker had announced himself on the scene as a major writer of dark fiction, and his contribution was recognised in 1985 by the British Fantasy Society and World Fantasy Society, awarding him Best Collection award for 84’s Books of Blood.

Now it was time for Barker to cement his place in the pantheon of British horror writers… but not before a little distraction in the form of movie-making.


1985 also brought Barker’s first feature film through Green Man Productions: Underworld. A futuristic horror, it was doomed from the beginning by interfering producers which led to a disjointed affair. Barker wrote the script and friend, George Pavlou, directed with a shoestring budget; neither was in control of the money and Pavlou was even barred entirely from the editing suite during post-production. A second writer was brought in to rewrite Barker’s scripts (which began as unfilmable since Clive had previously written for stage and had no experience of writing for the screen), but the new writer turned it into a more 80’s themed, low budget action romp. Pavlou tried to sew the two scripts together in an effort to create a coherent script… and ultimately failed. Barker saw the movie in the theatre and couldn’t watch, seeing the butchery that had been committed on his vision, which gave a preview of themes that he would revisit in Nightbreed.

Barker had sold the rights of first refusal to Green Man Productions for five of the stories from Books of Blood: Rawhead Rex; Jacqueline Ess: Her Will and Testament; Confessions (From a Pornographer’s Shroud); Sex, Death and Starshine; and Human Remains.

Pre-production on Rawhead Rex would begin in January 1986.

If Clive thought that Rawhead Rex would be a happier, more successful experience and that Green Man Productions would have learned from the errors made with Underworld, he was mistaken. From the outset it became apparent that this would be another difficult production. First, the producers re-set the movie in Ireland instead of the south of England, then announced a budget of £3m, but the reality was rather less. Barker wrote the screenplay, which director George Pavlou loved… and that was essentially the end of Barker’s involvement in the project. He was never invited to the set, nor was he even called for advice. Clive presented the artists with sketches for the Rawhead character, but the producers had other ideas. The make-up artists designed an elaborate twenty-piece suit for Rawhead which would take seven hours to dress, but these were also rejected for being too expensive by producers. Instead, they went with a single piece suit which took fifteen minutes to dress… and it showed. Shooting took place during the worst storms Ireland had seen for years, meaning filming was a torturous experience. The movie took seven weeks of eighteen hour days to make in terrible conditions.

Needless to say, Rawhead Rex was far from the movie that it could have been, and once again Clive was disappointed with the result. What could have been a fine inclusion into the pantheon of monster horror was resigned to the B-movie comedy bin. Barker was not bitter about the experience, however; he had been taught an important lesson: if you want something done right, do it yourself.

1986 also saw Barker’s work return to the stage, and this time in the West End. The Secret Life of Cartoons had been received well at the Edinburgh Fringe in 1982, and now there were producers who wanted to put it onto the bigger stages in London. So it was that Tudor Davis directed the play at the Aldwych Theatre in October of 86. Barker expanded the play to two hours from its original one, and the play starred Una Stubbs (Worzel Gummidge), Derek Griffiths (Play School), and Geoffrey Hughes (Coronation Street). Unfortunately, the critics were not kind to Clive’s venturing into farce and the run was a short one.

1986 was a year of learning harsh lessons indeed… but 1987 was a year where everything would change and Clive Barker would put the lessons he had learned into action.

The first seeds of Barker’s rise to prominence on the world stage were sown in 1986, when he began writing the novelette that would kick his career into the stratosphere. So far, while his written work and stageplays had been moderately successful, his movies could only be viewed as interesting failures. 1987 would be the year that all of that changed… but Clive had to raise some hell first…


The Hellbound Heart (1987)

Clive Barker’s next release came with little fanfare: a novelette published in the Night Visions 3 anthology. This was a small press release, and very limited, so Barker could not have known the impact that this small (only covering around 100 pages) Faustian tale could have on his future. Night Visions was re-released in 1988 as The Hellbound Heart; the story itself not released individually until 1991, at the height of the movie’s success.

The Hellbound Heart begins with Frank Cotton, a man fuelled by excesses which are no longer sated by normal human pursuits. He travels in search of the next experience, the next excess with which his desires might be relieved. He is given a small, plain black box in Dusseldorf by a man named Kircher, who promises that to open the box is to travel… or something very like it. Of course, Frank wastes no time in finding the solution to opening the box and summoning the Cenobites of The Order of the Gash, explorers of the outer reaches of pleasure and sensation. They take him to their realm, to discover the limits of his own desires.

Barker takes inspiration for the Cenobites appearance from the homoerotic S&M magazines that he had written stories for previously; their scarred and disfigured appearance, bound in leather recalling the most extreme body modifications. He is here calling to outsider culture in the most direct terms possible, and perverting their activities as only Barker can.

Rory and Julia Cotton move into a house left to Rory by his missing brother following his disappearance, helped by their old schoolmate, Kirsty. Julia has grown to dislike Kirsty, her dour demeanour and endless fawning over Rory, and isn’t exactly happy in her marriage either: her thoughts are often drawn back to the day that she had succumbed to the advances of his brother, the irrepressible and missing Frank.

Rory cuts himself on a nail during the move and blood drips onto the floor of the house, unwittingly inviting a visitor into their new home. That night Julia is drawn to a room at the top of the house, the wall peels back to the sound of tinkling bells and a strange, flayed form is revealed; Frank is back.

What follows is a tale of love and lust. Julia agrees, reluctantly at first, to bring men back to the house so that Frank can feed. This she does and, over the course of the next few days, Frank grows stronger and ever more persuasive… what he needs next is flesh, and there is a donor living in the house with them.

Rory has asked Kirsty to look in on Julia, concerned by her suddenly erratic demeanour and distracted mood. When Kirsty does, her curiosity overcoming her. She explores the house and finds the puzzlebox that had undone Frank and the husks of Julia’s victims. She comes face to face with the skinless Frank, who lusts after her and sees her ripe for corruption. Kirsty escapes the house with the puzzlebox, fully intending to warn Rory before it’s too late, but she faints on the street outside the house.

She awakes in a hospital and notices the puzzlebox on the table beside her. She studies it to pass the time, her fingers moving across its lacquered surfaces. Unwittingly, she solves the puzzle, the box begins to open, and the Cenobites arrive. Of course, Hell’s servants must take Kirsty back to their domain, but Kirsty manages to persuade them to take another in her place.

Kirsty returns to Julia’s house, hoping to save Rory from a fate similar to the men whose remains she had seen. When she gets there, she finds Julia and Rory, with blood on his face, drinking brandy. Rory tells her that he has killed Frank, and knows all about Julia’s actions of the last few days. He then utters a phrase which betrays him – “Come to Daddy…” he says, belying the man who really lived beneath the borrowed flesh. Kirsty argues against him, and Frank gives chase through the house until they reach the upper room. There, Frank unwittingly names himself and bells begin to toll as the Cenobites arrive to take their errant pupil.

While Barker didn’t write the story with any thought toward making a film of it (it was written to exorcise the ghost of his ended relationship with John Gregson after ten years), he soon realised that it would translate very well to a low-budget film. Clive first approached George Pavlou, but was also introduced to Chris Figg, who was interested in making a horror movie and had ambitions toward production. Learning from past mistakes, Clive insisted on directing the movie. Figg knew that insistence meant that the project would be small scale, low budget – no one would offer cash to a first time director. So, they set about trying to convince financiers to invest. Barker set about writing The Hellbound Heart as a screenplay and, via a circuitous route they came to Hollywood. After a deal with Virgin Films fell apart, New Line Cinema stepped into the breach and committed $4.2m to the project. Filming began in 1987, less than a year after Clive had conceived the story.

The movie version of Hellraiser was approached in much the same way as Barker approached his work with The Dog Company: it was a family affair. He drafted in Doug Bradley to play Pinhead and his cousin, Grace Kirby, played the female Cenobite with Nick Vince and Simon Bamford as Chatterer and Butterball. Clare Higgins was enlisted to play Julia, with Andrew Robinson as Larry and Ashley Laurence as Kirsty.

The movie is fairly faithful to the book, aside from the relationship of the principle characters being changed: Kirsty is now a teenage firebrand daughter of Larry (Rory) and Julia Cotton, not the dowdy old school-friend. The roles are perfectly played, particularly Kirsty, Julia, and Pinhead. Doug Bradley particularly understands the understated quality of Barker’s invention; equal parts Karloff’s Frankestein’s monster and Christopher Lee’s Dracula, he presents Pinhead as an aloof figure, intensely eloquent and with a quiet aura of threat and promised violence. Andrew Robinson, too, provided two improvisations which have proved to be iconic moments in the films; as he chases Kirsty through the house, he growls “Enough of this cat and mouse shit,” and as the Cenobites deliver their coup de gras, the tortured Frank utters the famous line “Jesus wept” moments before he is ripped apart by the hooks and chains which bear him up. It is these improvisations which show the spirit of collaboration that Barker brought to the project and work to make Hellraiser one of the most faithful and best adaptations of a horror story ever produced.

Much to Barker’s surprise it was not the character of Julia or Frank which captured the imagination of the audience, but the monster, Pinhead. The striking appearance of the Hell Priest gave rise to tee-shirts, jigsaws, comic books, a short story anthology and several more movies (declining in quality as they move further away from Clive’s initial intention,) models and trading cars. What Hellraiser ensured was Clive Barker’s equity as not only a writer, but a director and imaginer.


Hellraiser was not the only creation that worked to cement Barker’s reputation in 1987; the year also saw the release of Barker’s second novel. Amidst the praise and furore which surrounded Hellraiser, Clive released Weaveworld.

Back in 1986, Clive had signed a lucrative new publishing deal with HarperCollins, and they were keen to capitalise on the exposure that Clive had received with the movie. The PR department went into overdrive, putting everything they had behind the UK release and were rewarded with a number one bestselling book. They eschewed the “horror” tag and marketed the book for what it was, not for what Barker had become known for. There was a nationwide tour, television appearances, and the commissioning of a carpet from the Royal College of Art.

In the US, Simon & Schuster were more reserved, preferring to cling to the horror angle. This led to critical confusion and a more lukewarm reception from critics and readers alike. The Stephen King quote, “I have seen the future of horror…,” became a millstone around Clive’s neck, rather than the lifechanging gift that it once was. It is an issue that has plagued Barker ever since, as new readers on discussion boards the world over mistake Clive for a linear horror writer, not the fantasist that he really is.

Weaveworld certainly sold in the States upon its release, but was not the phenomenon that it was in the UK.

In the UK, it made Clive Barker a household name.

Weaveworld (1987)

Cal Mooney is an accountant yearning to dream, and for his dreams to come true. He has returned to Liverpool following the death of his mother, to care for a father who isn’t dealing well with his sudden widowhood, and his beloved racing pigeons. It is a setting familiar to anyone who, like me, grew up in the north of England.

When one of the pigeons flies off for adventures of its own, Cal chases the bird and tracks it to a house being emptied to pay for its occupants’ nursing costs. In the backyard is laid a rug from the house, its design facing upwards toward the sky. Cal corners the bird on a window ledge, climbing up on a wall to catch the errant creature. Cal falls while reaching to retrieve the pigeon, falling onto the carpet and catching sight of another world in the warp and weft of the rug. It is a sight that changes Cal’s life, and colours the future events of the story. He meets the grand-daughter of the occupant of the house, Suzanna, a potter with a free-spirit and memories of her grandmother’s tales of other places and magic. She has a book of fairytales, passed down to her from her grandmother, and strangely evocative of the world Cal has seen in the carpet.

Shadwell is a salesman, the emissary of dark witch Immacolata the Incantatrix, and her horrific sisters. He wears a dazzling jacket which has the power to produce the wildest wish of whomever views its lining; all you need do is look and your dearest wish can be yours. Shadwell’s greatest wish is to find the Weave and to sell it. This puts him at odds with his mistress, whose undying ambition is to exact revenge on the people inhabiting the carpet, the Seerkind, for rejecting and fighting against her ambitions to rule them and exiling her from their world, The Fugue. Together, Shadwell and Immacolata steal the carpet, tearing it in the process.

Cal and Suzanna find a deep attraction to one another, and make love. While they sleep, the fragment of the carpet unravels, releasing three inhabitants from The Fugue… and so the story proper begins.

Weaveworld is an ambitious work of fantasy, epic in its conception and execution. Barker introduces us to a Liverpool instantly recognisable and relatable, before taking us on a flight into his own imagination. Weaveworld involves themes that will become familiar in Clive’s subsequent work: magic being shunned by a world grown banal and ordinary, the fantastic hoping to live side by side with the ordinary, the struggle for the acceptance of difference, and the wonder of the weird. Like Books of Blood, Weaveworld is a book that I see recommended frequently to readers new to Barker’s work, and one that most Barker fans have taken to their hearts as a true modern classic.

1987 was a pivotal year in Barker’s progression as a writer, seeing the success of Hellraiser and the release of his first bestselling novel. As we know, Barker is not one for resting on his laurels and the need to move forward was as strong as ever.


Come back tomorrow for Part 2 of this fantastic retrospective on Clive Barker.

Paul Flewitt is a horror/dark fantasy author. He was born on the 24th April 1982 in the Yorkshire city of Sheffield.

Always an avid reader, Paul put pen to paper for the first time in 1999 and came very close to inking a deal with a small press. Due to circumstances unforeseen, this work has never been released, but it did give Paul a drive to achieve within the arts.

In the early 2000’s, Paul concentrated on music; writing song lyrics for his brother and his own bands. Paul was lead singer in a few rock bands during this time and still garners inspiration from music to this day. Paul gave up his musical aspirations in 2009.

In late 2012, Paul became unemployed and decided to make a serious attempt to make a name for himself as a writer. He went to work, penning several short stories and even dusting off the manuscript that had almost been published over a decade earlier. His efforts culminated in his first work being published in mid-2013, the flash fiction piece “Smoke” can be found in OzHorrorCon’s Book of the Tribes: A Tribute To Clive Barker’s Nightbreed.

2013 was a productive year as he released his short story “Paradise Park” in both J. Ellington Ashton’s All That Remains anthology and separate anthology, Thirteen Vol 3. He also completed his debut novella in this time. Poor Jeffrey was first released to much praise in February 2014. In July 2014 his short story “Always Beneath” was released as part of CHBB’s Dark Light Four anthology.

In 2015 Paul contributed to two further anthologies: Demonology (Climbing Out) from Lycopolis Press and Behind Closed Doors (Apartment 16c) with fellow authors Matt Shaw, Michael Bray, Stuart Keane, and more.In 2016, Paul wrote the monologue, The Silent Invader, for a pitch TV series entitled Fragments of Fear. The resulting episode can be viewed now on YouTube, but the show was never aired. The text for the monologue was published in Matt Shaw’s Masters Of Horror anthology in 2017.

Paul continues to work on further material.

He remains in Sheffield, where he lives with his partner and two children. He consorts with his beta reading demons on a daily basis.

You can find more information on Paul Flewitt and his works here…

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