AUTHOR INTERVIEW: Lex H. Jones

Meghan: Hey Lex! Welcome to Meghan’s House of Books. You haven’t been here yet, but were a regular over on The Gal in the Blue Mask. It’s a little different here, but definitely interesting. We appreciate you stopping by today. What is your favorite part of Halloween?

Lex: I love decorating the house for the big Halloween party I host every year. “Trick or Treating” isn’t really a huge thing in Britain in the way it is in America, so you don’t generally see a lot of houses that have really gone crazy with it. The ones that do tend to be having some sort of party, whether it’s for children of adults. Having grown up watching American films and shows, I always wanted to do big Halloween parties with everything from theme music, themed foods, games, costumes, and of course decorations inside and out. Now that I own my own house, I get to that every year.

Meghan: What is your favorite Halloween tradition?

Lex: Planning the decorating for the house. I like planning and organizing, it helps me enjoy things better as I don’t do well with outright spontaneity and chaos. So I’ll have a notebook with sections for each room (and the garden), and I’ll work out a different theme for each. After I’ve worked that out, I’ll see what I can get from the shops, how much of it I might need, and then as a rule, buy far more than that. I always end up needing more cobweb. However much cobweb you think you’ve bought, I promise you it’s not enough.

Meghan: If Halloween is your favorite holiday (or even second favorite holiday), why?

Lex: It’s my second, as my first is Christmas. I know a lot of people don’t like Christmas and have their own reasons for that, and that’s fine. But I love it and always have.

Halloween, though, comes a close second as it’s the time of year when everyone is suddenly ‘into’ the stuff that I’ve always liked. I particularly liked, as a child, that for one month of the year the shops would suddenly be full of skeletons and ghosts and such. Essentially all the kinds of toys and decorations that I coveted the year round.

Meghan: What are you superstitious about?

Lex: To be honest, I’m not. I’m an absolutely rational atheist (not the militant dickhead kind like Dawkins, don’t worry) so I don’t really do superstitions. The one thing I have which is kind of close to that, is we have a phrase you hear a lot in Britain is “don’t speak ill of the dead”. Now from a purely ‘absolute honesty’ point of view (which I’m often guilty of, given that I’m autistic) I admit that I find it odd when I hear folk describing a dead man as an absolute angel, when in life he’d been an unrepentant career criminal. But, it’s not about them. They’re dead, they can’t hear and don’t care. But their relatives, already grieving from their loss, don’t need to hear someone bad-mouthing them. So we tell little lies and say they were nicer than they were. Or, at the least, don’t point out the (still true) bad things about them. I always try to adhere to that. But it’s out of politeness to the living, rather than fearing the wrath of the dead.

Meghan: What/who is your favorite horror monster or villain?

Lex: I love ghosts. They’ve always been my favorite. Just the ethereal nature of them, the floatiness, the fact they’re sort of there and sort of not. I find anything purely physical less frightening as a ‘monster’, because ultimately it’s just another thing to shoot or stab or run away from. Yeah a werewolf is scary, but ultimately it’s a just a big dog isn’t it? A zombie is just a diseased human. These things still exist within the confines of the natural world and must operate within it. Shoot it in the head and it’s done. Get home and lock the doors and you’re safe. But a ghost? Well that’s a different matter entirely.

Meghan: Which unsolved murder fascinates you the most?

Lex: It’s probably an obvious one to say, but the Jack The Ripper murders. It’s not as though there’s no information about them, because actually there’s a fair bit. And many expert criminologists and investigators and outright historians have dug into it to try and figure out the case. And yet they never come up with the same answer. I do think we’ll never know the truth of that one.

Meghan: Which urban legend scares you the most?

Lex: There’s that one about a man waiting for a phone call that will tell him if he’s about to lose his business or not. The thing he’s worked all his life for. If he gets a call at 4pm then he’s fine. If he doesn’t, he’s lost everything. The story goes that 4pm comes, the phone fails to ring, so he goes up to the roof and jumps off. As he’s falling past his office window, he hears the phone ring. They were a couple of minutes late.

Now, like any urban legend, it’s absolute nonsense. How would we know any of this, for one thing? But what makes this one chilling to me is because, nonsense it may be, but it’s a cautionary tale about giving up too quickly. How many times do you nearly give up on that dream or ambition today, only for something amazing to happen next week which really pushes it along? As shitty as today may be, you have no idea how good tomorrow might be. So don’t ever give up.

Meghan: Who is your favorite serial killer and why?

Lex: Boring as it may sound, I don’t have one. I’m not really ‘into’ serial killers, they don’t interest me that much, so I’d struggle to pick any out of a lineup. Manson seems vaguely interesting to me, I guess, because he wasn’t the typical serial killer and was more of a cult leader. I’m fascinated by cults, because I never quite understand how people can fall into them. Seemingly intelligent people can fall down these rabbit holes of absolute nonsense and refuse to climb out of it, even when their own health is at stake.

Meghan: How old were you when you saw your first horror movie? How old were you when you read your first horror book?

Lex: As a child I had that classic ‘slightly older friend’ who was a gateway to more grown-up things that I’d otherwise not have access to. Through him I saw bits and pieces from Alien, A Nightmare On Elm Street, Fright Night and The Terminator, but the first horror film I saw all the way through was Predator. Now, I know there’ll be some debate about whether this is horror, sci-fi, action, or a mix of all three. But I think it’s fair to class it as horror. Predator was shown to me (probably far too young, aged about 8, I think) by my grandad. He loved horror movies and knew I was into monsters, so without my parents’ knowledge he showed it to me one day. And I loved it.

My first horror book was a book of ghost stories called Ghostly Tales, which I was bought when I was four or five, I think. It was a beautiful hard cover book with illustrations (I still have a copy, actually). The stories, whilst ostensibly for children, were actually legitimately quite chilling. I must have read that thing so many times, as I remember having to stick some of the pages back into the spine with sticky tape.

Meghan: Which horror novel unsettled you the most?

Lex: I remember reading Slugs by Shaun Hutson, again probably far too young, and finding it very off-putting. I’d never liked slugs as a creature in the real world. They just don’t look right. I think it was horror writer Arthur Machen who once described the eerie nature of slugs and snails and grubs in some of his writing, saying that they look like something from another world. Something that we, as denizens of the upper world, shouldn’t see, shouldn’t encounter. They’re things of darkness and slime, devoid of structure and organs and movements in the way the creatures above the ground are formed. It’s the same as when we see creatures that live deep under the ocean, and they lack any sort of cuteness, resembling instead some nightmare beings from a realm that we should avoid at all costs. Slugs were always like that to me, as a child. As an adult I’ve got a garden now so I regularly have to move them away from my plants, so I’ve gotten over my dislike of them somewhat through necessity. But Hutson’s book takes a creature that I already found disturbing, and made them into a carnivorous source of actual horror.

Meghan: Which horror movie scarred you for life?

Lex: I think the first time I saw The Fly (the 1980s version, not the B-Movie original) it stuck with me a long while. I always find body horror has that effect on me, because it’s the worst kind of thing imaginable. It’s not a foe to be fought, a monster to be hacked at or a demon to be exorcised. It’s the betrayal of your own body, twisted and broken into something it shouldn’t be. I’ve lost too many people close to me through dreadful illnesses, and body horror is always a little too close to that for me, so I tend to steer clear of it these days.

Meghan: What is your favorite Halloween costume?

Lex: A couple of years back, when it was the 20th Anniversary of Buffy starting, I think, we decided to have a Buffy/Angel themed Halloween party. Everyone dressed as different characters, and I went as Spike. He’d always been my favorite character on the show. My friend Zoe was coming as Drusilla, which I didn’t know, so that worked out perfectly for photos. I put a picture of me and her together on Twitter, and the actual Drusilla, Juliette Landau, commented to say how great we looked. I particularly enjoyed wearing that costume because, prosthetics aside, it wasn’t particularly uncomfortable. Often the costumes that look the best are the most uncomfortable to wear, so it’s nice when you find one that’s a good compromise.

Meghan: What is your favorite Halloween-themed song?

Lex: I don’t know if you’d call it strictly Halloween-themed, but ‘Killing Moon’ by Echo and The Bunnymen. I just feel like, from the 80s onwards, if you watch pretty much any film or show set at Halloween, you’d hear that song. It was ingrained in my psyche as the perfect Halloween Party song, so when I started hosting my own such events I whacked it straight on the playlist.

Meghan: What is your favorite Halloween candy or treat? What is your most disappointing?

Lex: Don’t be too horrified, but we don’t really get Halloween-specific sweets in the UK! What tends to happen is, stuff that’s available all year round, will have a slight Halloween makeover. So the chocolate mini rolls with jam in them now have green-colored jam instead. The gingerbread men will have little fangs added to their smiles. That’s about the best we get. Weep for us.

Meghan: Before you go, can you share with us your top 5 Halloween movies?

Lex:


Boo-graphy:
Lex H Jones is a British author, horror fan and rock music enthusiast who lives in Sheffield, North England.

He has written articles for premier horror websites the Gingernuts of Horror and the Horrifically Horrifying Horror Blog, and appeared on multiple podcasts covering various subjects such as books, films, video games and music.

Lex’s first novel, Nick and Abe, a religious fantasy about God and the Devil spending a year on earth as mortal men, was published in 2016. This was followed in 2019 by noir crime novel The Other Side of the Mirror and illustrated children’s weird fiction book The Old One and The Sea. His latest release is a collection of ghost stories, Whistling Past The Graveyard. Lex also has a growing number of short horror stories published in collections alongside some of the greats of the genre, and in 2020 he co-created the comic strip series The Anti-Climactic Adventures of Detective Vampire with Liam ‘Pais’ Hill.

When not working on his own writing, Lex also contributes to the proofing and editing process for other authors.

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Whistling Past the Graveyard
A hilltop cemetery where the dead just won’t stay sleeping. An ill-fated voyage to an uncharted region off the coast of Iceland. An English village reminded of its heritage through the discovery of ancient bones.These tales and more can be found within the first short story collection from author Lex H Jones. Light the fire, make yourself a comforting drink, make sure the doors and windows are lined with salt, and settle in to enjoy this gathering of haunts and horrors.

Halloween Extravaganza: Paul Flewitt: Clive Barker, Dark Dreamer Pt 2

Clive Barker, Dark Dreamer:
A Retrospective
Part 2

1988 proved to be another busy year for Clive Barker, as another Hellraiser movie was needed and more books needed to be written. He gave up the director’s seat for Hellraiser 2, offering his friend, Peter Atkins, the opportunity to write it. Clive acted as executive producer for Hellbound, whilst pursuing another movie project in Nightbreed. He was also working on a new novel, eager to capitalise on the UK success of Weaveworld.

1988 was a year of creation, but he still managed to release another seminal work, the book that became the unintended blueprint for the movie that would become Nightbreed.

Barker had actually intended to release Cabal as part of another collection of short stories; in fact, it has been released along with other stories from Books of Blood Volume 6 in the US. In the UK, it was released as a novella, the intention being to release a series of connected stories outlining the mythology of the lost breed. That has never, up to now, materialised, but has given rise to graphic novels, unauthorised anthologies, and the aforementioned movie. What it has become in the intervening years is a cult classic, giving rise to TV programmes like Buffy The Vampire Slayer and movies like Twilight, where the monster can be the sympathetic character and the humans the true monsters. Here, Clive Barker was truly ahead of his time.

Cabal (1988)

Aaron Boone is a man suffering with mental health issues which often lead to him having blackouts. In order to combat his illness, he has turned to psychiatrist, Phillip Decker. During a crisis Boone visits Decker, where the psychiatrist shows him a deck of photographs from crime scenes, crimes which Decker insists Boone committed. The good doctor promises to cover for Boone, just as long as he takes the medication that Decker prescribes. Confused, scared, feeling guilty, and high on the medication that Decker has given him, Boone attempts to commit suicide and throws himself under a truck… but he is not killed and wakes up in a hospital.

In his hospital room is a man named Narcisse, who mistakes Boone for an envoy of a place called Midian. Narcisse insists that he is worthy and begs Boone to take him there, and to prove his worth he is prepared to show Boone his true face. Narcisse sets to work slicing off his own face as an act of faith, and Boone flees in fear of being blamed for the man’s injuries. What Narcisse has given Boone is a destination: if he is a monster, then why not go where the monsters live?

Boone finds Midian, a huge graveyard and necropolis in the north of Canada. He approaches the gates and is met there by Peloquin, a half-man, half-reptile hybrid. Boone tells him of his crimes, and Peloquin laughs and tells him that he is innocent and natural… he is meat. Peloquin bites Boone, and the bite awakens something in Boone’s senses. He flees from Midian and hides in a ghost town, shunned by the monsters and fearful of humanity, he hunkers down. The police arrive, led by Decker, and corner Boone, shooting him at the order of the psychiatrist who has now blamed Boone for the murders in the photographs.

Lori is Boone’s girlfriend and soulmate, and she struggles to make sense of Boone’s crimes or his death. In an effort to find some closure, she sets out to Midian to lay her man to rest. She finds the necropolis in daylight and explores the place, wondering what could possibly have brought Boone to this place. On her exploration she finds a cat-like creature, burning in the sun. She picks up the creature and carries it to the shadows of a mausoleum, where the creature turns into a little girl. The girl’s mother, Rachel, appears and explains to Lori the nature of the Breed, and tells her that Boone is not dead. Lylesberg, the patriarch of Midian, appears and bids Lori to leave, “What is below must remain below,” he says, reciting the law of the Breed.

Devastated at her dismissal and the news that Boone still lives, Lori leaves and is found by Old Zipper Face, the alter ego of Decker. He tells her that it was him that committed the murders that Boone was accused of, that he liked it. He chases her through the necropolis, but is attacked by Boone. Decker escapes and Boone takes an unconscious Lori into the mausoleum, breaking the law of the Breed.

When Lori wakes, she finds Midian in controversy over Boone’s actions. Lylesberg insists that Boone must answer to Baphomet, the god of the Breed. Boone goes off to the god’s chamber to be judged for his crimes, and Lori follows. What she sees astounds her; a city underground peopled by every configuration of monster that her mind could conjure. She comes to Baphomet’s chamber and screams when she sees the divided god in its pillar of white fire.

Boone is banished from Midian by the god, and is about to leave when the city comes under attack from the cops and good old boys of the nearby town. In the tumult of the attack, Boone finds Decker and tears him to pieces as the battle rages around him. Lylesberg releases the Berserkers of the Breed, and the humans are defeated, but at the cost of Midian. Uncovered, the Breed must leave their haven and find new sanctuaries… and Boone must be their leader. He is Cabal.


With the success of Hellraiser, and the promise of more movies in that franchise, Barker realised that his distance from Hollywood would prove to be a stumbling block. In 1988, Barker decided that it was time to circulate in LA. His agents, CAA, introduced him to another of their clients, Mick Garris. The two men found a common ground with their love of horror and got along; Garris was fresh from success with Critters 2 and Barker has just released Hellraiser the year before, so it made sense that they might work together. Over the coming months and years, the pair would pitch a number of projects that would not see the light themselves, but would give rise to other projects that did. Spirit City USA, a series that Barker was developing for ABT, would become Lord of Illusion; there was early talk of adapting the Books of Blood Story, In The Flesh, into a movie as well as Cabal, but neither happened; and neither did their pitch for a movie entitled The Mummy, although that would surface in 1999 under a very different guise to the one that Barker and Garris intended.

Garris did work with Barker on screen, however, casting him in a cameo for Stephen King’s Sleepwalkers (one of the most iconic scenes for horror aficionados, involving Barker, King and Tobe Hooper). Garris also worked on the King/Barker collaboration, Quicksilver Highway, in 97.

With this meeting between Barker and Garris, and Clive’s attempts to work more often in LA, he was certainly signalling his intent and ambition in 1988. LA and the film industry would become influential for Barker in the coming years… but not quite yet.

1989 was dawning, and Barker still had business in England… and with the literary world.


1989 was the year that Barker stepped his literary craft up to another level, penning and releasing the book that would begin what I consider to be the triumvirate of masterpieces that he would create in the next few years: The Great and Secret Show. In fact, it was something of a risk, as Barker would eschew the horror genre completely and step into another realm entirely, and one not easily characterised at the time. With The Great and Secret Show, Barker would embrace his Tolkienesque quality and display his love of E.R. Eddison with great effect, re-writing the rulebook when it comes to fantasy writing and truly becoming the great imaginer of the dark fantastique.

The gamble would pay off, as The Great and Secret Show would earn him bestseller status in both the UK and US for the first time, and also a $2m advance for his next four books. It would place him in the pantheon of great authors of his time, offering him the freedom and cache to be the artist that he truly wanted to be.

The Great & Secret Show (1989)

The book begins with Randolph Jaffe, a true wastrel who struggles to hold down a job, feels no direction and is utterly hopeless. He is absolutely bitter about all of this, feeling that he is above the lot that the world had given him and being wasted in the dead-end world that he inhabits. He works in the post office in Omaha, the centre of America… and hates it. His mood isn’t made any better when he is sent to work in the dead letter office, opening envelopes that the service has failed to deliver. His job is to open up the letters and remove anything of value; consigning the worthless correspondence to the furnace. What he discovers in the dead mail will change his life. Not every letter, but one in every hundred or so envelopes, he sees whispers of a hidden world, a new theology which exists under the surface of humanity. Jaffe hears of the sea of Quiddity, which mankind swims in only three times in their life: the day they are born, the night they sleep beside their true love, and the day they die. He reads about the Ephemeris, the island which stands in Quiddity, and the power that might be derived from that strange place. He searches through the letters then in search of more information of this new religion. He finds it too, along with a strange medallion which piques his fascination even more. In these letters, Randolph Jaffe sees power and knowledge… he sees The Art.

Soon enough, his supervisor and colleagues become distrustful of Jaffe and suspect him of hoarding some of the banal treasures for himself. He hears that his superiors are about to remove him from the dead letter office, and so he kills his supervisor and burns down the dead letter office. He flees Omaha and goes on a quest across America in search of the Art, of the power that it might offer him.

His quest brings him to a strange place called The Loop, where he meets a man named Kissoon. Kissoon is a shaman, wielder of The Art, and member of a group of seventeen murdered adepts named The Shoal. Jaffe implores Kissoon to teach him, but he is refused and sent away.

Not to be denied, Jaffe soon finds another way to obtain power. He meets Richard Fletcher, a brilliant scientist who is addicted to mescaline. Fletcher is a dreamer, always asking “Will I be sky?” He has engineered a substance called the Nuncio, a force which speeds up evolution. With the Nuncio, Fletcher has already caused an ape to evolve into a boy and Jaffe sees the possibilities that the Nuncio presents. He imbibes it, feeling the power of the substance coursing through him. Unfortunately for Jaffe, Fletcher has also been exposed to the effects of the Nuncio, and pits himself against Jaffe. They battle each other for many years, all across America, until they are exhausted and come to rest, totally exhausted in a non-descript area of the States.

In Palomo Grove, four virgins go swimming in a lake which appears from nowhere during a summer storm. When they emerge, each one is filled with carnal urges which cover a basic need, that of fertility. Of the four, one is barren and kills herself. Three others conceive and deliver children, but one of them kills her child, which leaves three: Tommy-Ray and Jo-Beth Maguire, twins borne of Jaffe’s seed, and Harold Katz, borne of Fletcher’s. The scene has been set for an endgame, but it would take eighteen years for it to reach apotheosis.

Buddy Vance is a comedian who has made Palomo Grove his home. He falls down a fissure while out running, where he comes into contact with Jaffe and Fletcher. He is dying, and sees the pair, by turns, as wasted old men and spirits locked in grim combat. Through sly persuasion, Jaffe takes Vance’s worst fears and nightmares, turning them into creatures called terrata, which he uses to escape the chasm that has kept him trapped with Fletcher. On his part, Fletcher takes a dream from Vance, called hallucinogenia, gives chase, and both men go in search of their offspring.

Nathan Grillo arrives in Palomo Grove to investigate the disappearance of Buddy Vance. Grillo is a shamed journalist, feeding on the weird and horrific in American society for publications like National Enquirer. For Grillo, the disappearance of Vance is manna from heaven. Until Vance resurfaces and arranges a party at his house in the town, inviting the great and good from Hollywood to attend. His house is a shrine to carnival, a literal funhouse. Grillo sneaks into the party, and witnesses the strangeness that ensues.

Buddy Vance is not Buddy Vance at all, but is Jaffe disguised by a sway. Jaffe’s plan is to lure these people to the town and make them bear witness to his moment of glory, and make an army of their nightmares..

Meanwhile, Fletcher has realised that his hallucinogenia is no match for Jaffe’s terrata, and he has no time to raise more. He passes the secrets of the Nuncio to Tesla Bombeck, before he sets himself on fire in an act of self-sacrifice. There is a crowd of townspeople watching the scene unfold, and Fletcher’s spirit touches each of them, which in turn inspires their hallucinogenia.

Tesla sets out to find the remnants of Fletcher’s Nuncio to destroy it, but Tommy-Ray Maguire is inspired by his father by now and tries to take it from her. In the scuffle, Tommy-Ray is touched by the Nuncio and is transformed into the Death Boy and he flees back to Palomo Grove. Gravely wounded from the battle, Tesla also tastes the Nuncio, and is transported to New Mexico, to the town of Trinity, where she meets Kissoon and is utterly disgusted by him.

Meanwhile, Jaffe is slowly becoming drunk on his own power to deceive. In the rush, he goes beyond his intention to create terrata and decides to show his audience his true power, to rip away the screen of reality and show the gathered there what lies beneath the veneer of the world. He takes a handful of the wall in his hand and pulls, bending the substance of the house out of true and revealing the secret world that exists beyond the veil. He pulls, revealing more and more, and slowly becoming consumed by it. Harold Katz and Jo-Beth Maguire arrive with an army of hallucinogenia, intending to take on Jaffe and his terrata, and witness the downfall of Jo-Beth’s father… just as Tommy-Ray arrives, too late to save him.

The trio are sucked out of the real world and into Quiddity. They swim for a time, and the sea joins Jo-Beth and Harold together. They come onto the island of Ephemeris. Here, Tommy-Ray sees the Iad Uroboros, a seething mass of darkness which contains horrors beyond the imagining of man. The sight inspires him, and he takes that inspiration back into the real world.

Tesla and Grillo descend into the bowels of Palomo Grove, into the chasm that had claimed Buddy Vance, in search of whatever the experience in the house had left of Jaffe. They find him, bereft and bitter after his failure to wield the Art. What follows is a scene reminiscent of the game of riddles in The Hobbit, where Gollum and Bilbo Baggins trade riddles in return for Bilbo’s freedom. Jaffe leads Tesla as she tries to make sense of the things that she has seen, egging her on to the most profound discovery and explanation of the medallion that he first discovered all those years before Palomo Grove and the Nuncio.

Grillo and Tesla emerge from the chasm to the death of Palomo Grove, as the town destroys itself and sinks into the earth.

This is not the end though… not quite. Tesla returns to Trinity and The Loop, where she encounters Kissoon once again. This time, she knows the power that she wields and can control it. She uncovers the secret of the place, the pivotal moment of human history in the twentieth century, frozen in time and made a prison. She confronts Kissoon and discovers his crimes, and destroys the Loop… and a remnant of the Iad Uroboros. She has come into her power and revealed herself as a saving power in the human world.

1989 ended on a high and with triumph for Barker, as The Great and Secret Show gave him his first success, both critical and commercial. He moved forward with confidence into the New Year, with a new challenge before him… but 1990 would prove to be frustrating, and darken his view of the workings of Hollywood for the rest of his life.


Come back tomorrow for Part 3 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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