GUEST INTERVIEW: Jeff Parsons Interviews ME

It’s not often that I get sent a handful of questions, but each time, it is super exciting to take part. This year, along with an author interview and guest post (a true story), Jeff decided that he wanted to send over a set of questions for ME. And what a great set of questions it was. So, without further ado…

Jeff: What inspired you to create your blog?

Me: I wanted a place that was mine where I could talk books. At the beginning of The Gal in the Blue Mask, which was the blog before Meghan’s House of Books, Goodreads was a rather dramatic place to hang out. Authors and bloggers/reviewers were bickering and both sides were being rather unpleasant to the other, doing things I considered very wrong. I wanted a safe place, a happy place, where I made the rules and everyone was welcome.

In 2019, after a couple of years of just feeling lost when it came to blogging, I decided to rebrand myself as Meghan’s House of Books. It wasn’t that I didn’t love The Gal anymore – I do, and it still exists, for always – but I just felt like I had grown out of it. And so the front doors of “my house” were opened…

Jeff: How do you get your blog noticed? Marketing, blog-to-blog outreach, word of mouth?

Meghan: To be honest, it’s mostly word of mouth. I don’t really fit in with the other bloggers, or so it seems. I’ve tried to make friends with fellow book bloggers, even ones that like the same kinds of books I do, and I’ve done all the stuff they say to do – comment, like, follow – but I’ve never really clicked with most of them. Never really been given the chance. Not sure if that’s a good thing or a bad thing…

Jeff: What are some interesting things you’ve learned from talking with authors?


  • They’re all just normal people.
  • They don’t always know what they are doing.
  • The anxiety is real with them as well. (They don’t often see themselves as we do, and question whether they are any good at all.)

Jeff: How do you respond to people who say horror is for disturbed minds?

Meghan: I ask them if they’ve actually read a book in the genre and often suggest a few that they should read because, to me, horror is a way to handle the horrific of the world, a way for us to better understand the “disturbed minds” out there. Not all horror is gore for gore’s sake, which I know turns a lot of people off, or extreme. A lot of horror is psychological or things that can actually happen. Those things say with you long after you close the cover of the book or the credits finish rolling.

Jeff: Why do some people dislike Halloween? Are they afraid of something?

Meghan: There’s a reason that one of my questions in this year’s interview was why Halloween was their favorite (or second favorite) holiday. It’s one of my top two and I wanted to see if people felt the same way about it as I do. To me, Halloween is a lifestyle, and there are horror things up in my home office year round. I’m a spooky girl all year, until November 1st when I become all Christmas all day, and around January 10th I go right back to being a spooky girl. I think people dislike Halloween because they were brought up being told to not like it or that it is evil or they just don’t understand it. Halloween is a time when you get to be a little different, when you get to dress up and pretend you are not the same boring person you are every other day, when you get to enjoy being scared and the things that go bump in the night. “Are they afraid of something?” That’s a great question. Maybe they are afraid of the things that COULD be in the dark. Or maybe they’re just afraid of being judged for liking something that usually the “nerds” are the ones enjoying or because they think it’s kids’ stuff. Maybe they’re afraid to let go and enjoy themselves. And, as I said above, maybe they just don’t understand it.

Jeff: What if Halloween represented a dark side of life that we’ve repressed over the years? What do you think would be scary if we fell back into believing our older superstitions?

Meghan: I’ve never really found Halloween or superstitions scary. Old wives’ tales are often something that has worked over time and handed down through generations (i.e. chicken soup curing a cold). Some are based on religious beliefs (i.e. Friday the 13th and not walking under a ladder). Some were used to scare children into behaving themselves, and they had to have worked or they wouldn’t have stuck.

I grew up in a very religious household, and am still religious. Sometimes I think that we SHOULD fall back into believing our old superstitions. Let’s take Krampus for an example. Kids used to behave because they were truly afraid of being on that bad list. They believed (and maybe it was based on a true story at some point in time) that Santa would send Krampus to get them if they misbehaved. And there are lots of Christmas stories like that – Gryla, the mother of the Yule Lads, who kidnaps, cooks, and eats children; Pere Fouettard, who is St Nicholas’ servant, with the sole job of dispensing punishment to bad children on St Nicholas Day; Perchta, who rewards and punishes during the 12 days of Christmas, best known for ripping out the internal organs and replacing them with trash; and, of course, the Yule Cat, who can apparently smell laziness on a child, who are then sacrificed to him.

Jeff: What do you think Halloween will be like 100 years from now?

Meghan: Less fun? Everything is so politically charged these days, and people are so offended/triggered that the fun is being drained from things like Halloween. We’re told that we shouldn’t like things because of this or reason or this reason. Those of us who have heard this our whole lives are fighting back, but in 100 years, who will be around to defend the weird and wonderful that we love all year round?

Jeff: What can writers do to improve their stories?

Meghan: Since I am an editor, one with over 20 years experience that includes working for two of the big five, I’m going to say that the best way they can improve their stories is to hire a well-read editor and listen to what they have to say. Now I know there are some people that think they don’t need an editor, that say it is an expense they can ignore, especially if they are a self published author, but a good editor is really worth their weight in gold.

I’ve heard horror stories – trust me – which is why I say to talk to the person before you decide to hire them. Let them tell you what they can do for you, let them tell you about their education, their training, and what they have edited so far. (You can even ask to talk to one or two of the authors that they have worked with.) Get to know the person and decide if the two of you would make a good team or not – and I say team because that is basically what the two of you will be, especially if you are writing a trilogy or series, as you’ll want to have the same eyes looking at it each time to ensure consistency and continuity.

I will tell you that a good editor WILL discuss things with you, WILL explain why changes are necessary. YOU will learn from them and THEY will learn from you. It will be a true partnership, but the story will ALWAYS be yours. They will help to make your story better all while retaining your voice. They will never change things (other than misspellings and punctuation) without talking to you first. And they will be available to talk to you at least once during the project. You have to be able to trust them because, in essence, you are trusting them with your baby, so don’t ignore those little things that make you question.

If you simply cannot afford an editor, which is understandable, you should (at the very least) get a good BETA reader. (Note: Some editors do provide a BETA read for a cheaper price, where they will give you an honest opinion of the story in front of them and point out any major flaws with the story.) It doesn’t necessarily have to be an editor, but it should be a well-read person who you can trust to be completely honest with you and invested in your success. Honesty is the only way you are going to learn and your story is going to get better. (And I suggest that you sit down with their notes with an open mind because they really are just trying to help you.)

[Here’s my chance to plug me for a change: Any author that mentions this interview gets 20% off their first edit project with MeghanH Editing.]

Jeff: What are some of the best story hooks you’ve ever read?

Meghan: I am drawn to horror that is set during either Halloween or Christmas, and I absolutely love stories where the setting is a carnival/circus or something haunted (homes, asylums, hospitals). (There should be more carnival/circus horror, people!!) At the same time, I am often truly put off if there is a vampire, werewolf, or zombie involved, which saddens me, especially with vampires and werewolves, because those were the things I loved as a kid. They have just become so… boring… for me, but there are times I give those a try, hoping for something different, hoping for something to grab my attention and pull me in like they did when I was younger.

You’re looking for specifics here, though, so let me pull out a few that have stayed on my favorites list over time.

I love when a stranger comes back to get revenge years later, causing the main character to suffer in the same way that they once tormented the stranger. Even better if there’s been enough time between the two events for the main character to have forgotten or almost forgotten what had happened. A good example of this would be Desolation by Kristopher Rufty. Even better because his story is told from both sides.

I also love watching the main character slowly go insane. That’s a fear I think a lot of people have in life, that they will slowly lose their mind, and it’s interesting to see when done well – and it sicks with you. A good example of this is Six Dead Spots by Gregor Xane.

I know I said that I am bored with werewolves, but maybe it’s because I’m looking for something different. A few years ago I read one by Jonathan Janz (Wolf Land) where the victims became werewolves themselves.

I find stalker stories interesting. I read one not too long ago where a man puts a spell on the woman he loves, and after she loses her memory, pretends to be her lover. As the story goes on, she slowly starts finding out more and more about the man and what he would do to keep the woman of his dreams while she also starts… changing. I was hooked. (The book in question was Rose by Rami Ungar.)

I’ll tell you right now – if you put Krampus or any of his ilk in a story, you’ll have me from page one. I was just “surprised” by a short story in The Best of Indie Horror: Christmas Edition (published by KJK Publishing, edited by Kevin J Kennedy) – I can’t tell you which one because I don’t want to spoil the surprise for you, but I would definitely suggest picking that anthology up (I’ll be reviewing it shortly).

Along the same path, and even though it’s not necessarily horror – well… maybe… possibly… – if you put any holiday character into a book and give them a backstory not expected (for example, the Claus series by Tony Bertauski), you’ll have a hard time not catching my attention.

I guess, you could say, that it’s the psychological horror that really gets me – the things that could actually happen to someone, taken to that next level, the things that stay with you long after you have finished reading the story, that are the hooks I like best.

Jeff: What’s more important to you – characters or plot?

Meghan: Both? You sort of need both to make a gripping story, but I guess if I HAVE to chose one or the other, I’ll say that characters are the most important. Without characters, the plot won’t matter at all. And if the characters we are supposed to love are dreadful, then we really won’t care what happens to them, no matter how good the plot is.

Jeff: What got you interested in horror?

Meghan: My father. He was always reading or watching something interesting. Usually something I wasn’t supposed to be reading or watching. He told me one time that horror was a good scary because I can be scared but not hurt by the things that happen in books and movies.

My first “horror” movie was Jaws. I’ve told this story a billion times, but what’s one more time? We were at my mom and dad’s best friend’s house. The husband and the oldest son (who I had a crush on at a very young age) were watching the movie, and though my mother told me that I would probably not like it, I decided to watch it with them anyway. I honestly can’t tell you much about the movie, nothing beyond the shark and how scared I was, and I have never attempted the movie again. It didn’t help that the same oldest son told me that the light in the deep end of the pool was Jaw’s eyeball. Seriously. His EYEBALL. It took me a good year before I would set foot inot that pool again. One day, there was some work being done on the pool and my dad pointed at the hole and said, “See? It can’t be Jaw’s eyeball. There’s no body.” Now, up until that point, and quite a few more points over the years, I thought my dad was the smartest man on the planet. At that moment, though, I seriously questioned how smart he was. It could still be Jaw’s eyeball without his body there. And sometimes, in the dark, out of the corner of my eye, I swear I see that big eyeball winking at me…

Jeff: What stories can be written in horror that can’t be expressed in other genres?

Meghan: That’s a very good question. I honestly believe that only horror can really go into the depth of someone’s soul, only horror can really explore our true fears. Horror is that one step further, that one step that other genres are afraid to take, with characters that are not afraid to take themselves to that next level, that aren’t afraid to let themselves be depraved or evil, and on the other side, aren’t afraid to feel that depravity and that evil to cone out fine, but often changed, on the other side. I think that all stories in other genres have the potential of being horror, but only horror allows that exploration, only horror creates the opportunity feel that fear (in safety), and really, it’s only horror that gets away with all of the above because it is expected and accepted.

If you think about it, a good romance can lead to a horrific murder spree if we find out that the beautiful woman he fell in love with doesn’t even know he exists. A good science fiction can become horrific if, rather than the people on the spaceship becoming friends with the new alien life they have just encountered, they choose to repeat atrocities from the past and wipe those beings and their planet from space. The cozy mystery can lead to a horrific story if the witty chef who solves crimes in her spare time ends up being the murderer and takes her killing fetish to the extreme, all while setting innocent people up for the murders that she is committing. A fantasy needs to just up it’s Brothers Grimm-anti to cross the line into horror.

Jeff: The lines between horror and other genres often become blurred. What do you think real horror is?

Meghan: This is the one question that I truly struggled to answer, but knowing how annoyed I get when someone doesn’t answer all of the questions in an interview I worked hard to put together, there was no way I was going to do that to you.

Horror is very hard to define because of those blurred lines and each person you ask is going to have a different answer as horror means something different to each individual. Why? Because we all fear different things.

I personally think real horror challenges our belief of what is good and what is evil. Therefore, I think the horror genre is the epitome of that uncertainty. And many of its themes are things that are considered socially unacceptable. As I’ve said elsewhere in this interview, horror gives us a chance to figure things out, to analyze, to really look in-depth at the things that scare us and see it in a different light, to see the wizard behind the curtain.

Jeff: Considering the awful truth of what can happen in this world, how far do you think a horror writer can go to describe the truth before it’s considered unacceptable?

Meghan: I think that as long as it is in some way believable, that if some part of it *could* happen, there will always be someone (or a group of someones) who will accept it no matter how far the author takes it. I think there should be horror that fits in with the horrors of the world because those stories will help us to better understand it. Authors just need to keep in mind that not everyone sees the same horror in things, not everyone has the same story. Current things, full of all kinds of emotion, where the true facts are not always known, are harder for people to stomach than, say, something that happened in the past. Your “horror” may not be my “horror.” We saw that when we look back at WWII. People who went through the events, who were in countries where the events took place, understood the atrocities on a completely different level than those who did not. The war itself was hard on everyone, and a lot of people lost their lives, but it wasn’t until after the war ended – years after the war ended – that the true evil and depravity was shown to life. It wasn’t something that you saw on the news, it wasn’t something that was happening to your neighbor or your family (at least for a lot of people), and even when it was, people did know know what was *really* happening at the other end of a train. People were conditioned to believe that what they were doing was right, and some truly believed that one people were lower than another. Some people did things because they had no choice, or they had to make the decision to do what they had in order to save their lives and the lives of their loved ones. Other people believe it could not have possibly happened because how could we do something like that to our fellow man?

Jeff: What do you think most future horror stories will evolve into? More towards “I’m all alone” or a cosmic-level dread?

Meghan: We’ve found out, most of us, during this global pandemic, that being “all alone” is actually quite nice and easily sustainable. We’ve found out, most of us, that we don’t need other people physically in our lives, and with the options to have things, including groceries and food, delivered to your home, there’s a good few of us that would love living like that the rest of our lives, only having to venture out if we need to. We all have friends that live all over the world, friends we can talk to every day, friends we can see every day. Hell, we’ve even had holidays across the world while sitting in each other’s living rooms. Being “all alone” just isn’t scary anymore.

I think the “new scary” is definitely cosmic horror. Now we’re venturing into things that before we THOUGHT could NEVER happen. (But then we also thought that a global pandemic could never happen. Also: locusts in Africa, devastating fires in both Australia and California, murder hornets, ebola. So maybe a giant octopus creature *could* come from the ocean depths. I mean, it *could*… right?) Cosmic horror makes readers uncomfortable (in a good way), plunges common fears and anxieties into the minds o readers, and focuses on the mysterious and the unfathomable, rather than violence and bloodshed. It makes us realize that, in the great scheme of things, we’re really not very important after all. Maybe that’s the scariest thing of all.

In addition to his two short story books, The Captivating Flames of Madness and Algorithm of Nightmares, Jeff Parsons is published in The Horror Zine, The Horror Zine’s Book of Ghost Stories, Aphelion Webzine, Year’s Best Hardcore Horror Volume 4, Dark Gothic Resurrected Magazine, Chilling Ghost Short Stories, Dystopia Utopia Short Stories, Wax & Wane: A Coven of Witch Tales, Thinking Through Our Fingers, The Moving Finger Writes, Golden Prose & Poetry, Our Dance With Words, The Voices Within, Fireburst: The Inner Circle Writers’ Group, Second Flash Fiction Anthology 2018, SNM Horror Magazine, and Bonded by Blood IV/ V.

The Captivating Flames of Madness
This book’s title comes from the reality that – like a moth to the flame – we’re all just one event, mishap, or decision away from things that could change our lives forever.

What would you do if fate led you astray into a grim world where you encountered vengeful ghosts, homicidal maniacs, ancient gods, apocalyptic nightmares, dark magic, deadly space aliens, and more?

If you dare, why not find out?

Read for yourself the twenty-two gloriously provocative tales that dwell within this book – but be warned, some of my dear readers have experienced lasting nightmares…

Halloween Extravaganza: INTERVIEW: Mark Cassell

Meghan: Hi, Mark! Welcome to Meghan’s House of Books. Thank you for stopping by. Let’s start with something easy: Tell us a little bit about yourself.

Mark Cassell: It’s an honour to be here, thank you.

I’m a UK author who leans towards cosmic horror and the supernatural. My sci-fi, fantasy and steampunk work contains a splash of horror somewhere, though I am not one for a gore-fest. My dreams are often apocalyptic, and at 5 o’clock most mornings you’ll find me cradling coffee at my writing desk. I live near the sea with my wife and many pets, keep fit doing gym stuff but love pizza and chocolate (not on the same plate).

Meghan: What are five things most people don’t know about you?

Mark Cassell:

No. 1 : I suffer from tinnitus possibly due to the dozens of metal gigs I attended in the 1990s.
No. 2 : I breed mealworms.
No. 3 : I have only one dental filling, and swear it’s because I drink a lot of milk.
No. 4 : I once came second place in a Fancy Dress competition dressed as a toffee.
No. 5 : In my early 20s I occasionally worked as a spotlight operator for an Elvis impersonator.

Meghan: What is the first book you remember reading?

Mark Cassell: Unfortunately I can’t remember either title or author, let alone how old I was when I read it, but the visuals have stuck with me ever since. The story featured a little girl whose strange friend, a gangly and mischievous creature, lurked in the shadows at the bottom of her garden. This peculiar companion would call her name “Eniiiiid, Eniiiiid…” and encourage the girl to misbehave. I’d love to know what book that was.

Meghan: What are you reading now?

Mark Cassell: Simon R. Green’s fantasy novel Down Among the Dead Men. It’s a swords and sorcery tale, a simple read, and a nice break from my usual genre.

Meghan: What’s a book you really enjoyed that others wouldn’t expect you to have liked?

Mark Cassell: Yann Martel’s Life of Pi. A truly stunning novel that some may recognise as the 2012 movie directed by Ang Lee. It features an Indian boy on a lifeboat with a Bengal tiger named Richard Parker.

Meghan: What made you decide you want to write? When did you begin writing?

Mark Cassell: At school when I was ten years old, I wrote something which later I’ve wondered what my teacher thought after reading it. The story followed a boy who discovers a treehouse in the woodland beyond his garden. He climbs up to find boxes filled with dead animals, and shelves stacked with jars containing human brains. When he goes back the next day, all that remains of the treehouse is a charred trunk from where a fire had ravaged it.

As for when I decided to “properly” write, I guess that was when I hit my mid-thirties. The weirdness hasn’t changed much during that gap of a couple of decades.

Meghan: Do you have a special place you like to write?

Mark Cassell: There’s a room in our house that’s dedicated to books. My desk is wedged in the corner next to a vivarium, the home of my little buddy, Arnie the bearded dragon. I’m not a writer who can sit in a noisy coffee shop, nor on a park bench. For me, I need to plug in to my tunes to crack on with the project at hand.

Meghan: Do you have any quirks or processes that you go through when you write?

Mark Cassell: There’s a process I go through which probably isn’t anything special. I print out a hard copy and attack it with the Red Pen of Doom. No matter the length, I cannot let a story out of my sight until it’s gone through at least one round with the Red Pen.

Meghan: Is there anything about writing you find most challenging?

Mark Cassell: Fighting the Procrastination Demon. He’s a frequent problem.

Meghan: What’s the most satisfying thing you’ve written so far?

Mark Cassell: My Lovecraftian steampunk horror book titled In the Company of False Gods. It follows wheelchair-bound Attacus who’s commissioned to build a clockwork construct, though he doubts his abilities. Once powered up, his creation escapes and runs amok, destroying more than just the town he calls home. Hunting his deadly automaton forces him to confront his past. He had no idea his creation would take him to the threshold between worlds.

And I had no idea this book would remain one of my favourites. I really need to revisit that genre again. Yeah, there’s certainly a splash of horror in that one.

Meghan: What books have most inspired you? Who are some authors that have inspired your writing style?

Mark Cassell: Back when I was a teenager, James Herbert kicked my love for horror into overdrive with his novel Magic Cottage. Also, Clive Barker‘s early work like Weaveworld and The Damnation Game, and later Imajica truly inspired me. Alongside Brian Lumley‘s incredible Necroscope series, I’d say these three British authors led me down the dark path I now tread.

Meghan: What do you think makes a good story?

Mark Cassell: For a novel there must be a spark within the first three pages, along with characters who carry that spark to the last page. As for a short story, the first paragraph needs to slap you in the face either with a genius hook or a character the reader will undoubtedly care about. I’m a tough nut to crack, and life is short, so when I read something it must grip me pretty damn quickly.

Meghan: What does it take for you to love a character? How do you utilize that when creating your characters?

Mark Cassell: Characters need to be human and I love it when I can immediately relate. There must be a connection between character and reader. When I create my own characters, I try to emulate that. I want to make my readers immediately tune in. It helps using all the senses, so as to make the reader land on the page and see through the character’s eyes.

Meghan: Which, of all your characters, do you think is the most like you?

Mark Cassell: Undoubtedly it’s Leo from my novel The Shadow Fabric. As a debut, it was inevitable the main character would somehow reflect me. Not the tormented mysteries that unravel throughout the story. That’s all fiction, honest! I’m talking about his travels round the world, his knee injury, and his penchant for wearing combat trousers. Also, I know damn well he acts like me.

Meghan: Are you turned off by a bad cover? To what degree were you involved in creating your book covers?

Mark Cassell: I’ve been lucky enough to work with three book cover guys, and they deserve a mention: Christopher Shoebridge, Redski Redd, and Paul Ashby. When it comes to reading I can be incredibly picky, as already mentioned, so there are many factors that could put me off. But I may let off a dodgy book cover – as long as it’s not too bad – however if a blurb begins with Inspector/Detective blah-blah-blah, I’ll drop it and look for something else. Call me unfair, I know, but that honestly puts me off. And I have no idea why.

Meghan: What have you learned creating your books?

Mark Cassell: It’s not an easy process. This writing thing is a hard game to play and I admit in getting bogged down in striving for perfection. To top that off, I find myself swinging between an existence as an introvert and an extrovert. There are days I simply wish to hide in a cave and write, while on others I’m happy to attend book signings at conventions. Marketing needs to be full on for much of the time, so yeah, it’s hard work. But equally rewarding.

Meghan: What has been the hardest scene for you to write so far?

Mark Cassell: In my book Hell Cat of the Holt, there’s a sad scene where the main character is utterly stricken with grief. At the time of writing, I was not in a good place and my life had turned upside down, so that particular scene was a tough one.

Meghan: What makes your books different from others out there in this genre?

Mark Cassell: When I first came into the writing game, I was bored to death of detectives with drinking problems, each hunting vampires and werewolves and Hollywood-type evils, and I was incredibly tired of zombies and the like, all causing predictable havoc. With that in mind, I listed every cliché that made me yawn.

That list was long.

So when plotting my debut novel I stripped naked the old tropes of witchcraft and demonology. I recognised that I needed to be different and so had to lay my own foundations, to devise a new kind of evil, a fresh menace. Essentially a novel of demons and deceit, The Shadow Fabric became a tale of a sentient darkness and a 17th-century device. Based in modern day, it’s the story of one man’s struggle to unravel his past. As he learns more, he begins to mistrust all those around him. Including himself.

My short stories and subsequent books have followed that marker, and I’m proud to say that the reviews have often mentioned the fresh angle the story delivers.

Though there is one problem with this: it makes me far from prolific.

Meghan: How important is the book title, how hard is it to choose the best one, and how did you choose yours (of course, with no spoilers)?

Mark Cassell: Sometimes a title comes first and other times last. For instance, I was once invited to write for a Christmas anthology and immediately came up with “Away in a Mangler.” After that, the story flowed. However, the title of my debut novel The Shadow Fabric came along in 1993 during my college years, though I didn’t begin writing it until 20 years later.

Meghan: What makes you feel more fulfilled: Writing a novel or writing a short story?

Mark Cassell: Novels are a long slog. Short stories are precisely that: short, quick and to the point. My brain is all over the place at the best of times, and so I’ve found I attack short stories considerably easier.

Meghan: Tell us a little bit about your books, your target audience, and what you would like readers to take away from your stories.

Mark Cassell: I’ve been lucky enough to meet readers at book signings and conventions, and so I’ve learnt what it is they enjoy about my books. It seems to boil down to two things: firstly, the subtly in which I explore the evil within us as a species, and also the evils beyond the walls of our reality (whichever genre I step into). Secondly, the extensive research I go into hasn’t gone unnoticed. I believe in order to create a solid story, no matter the length, it’s important to establish something that which is already grounded. It’s that what connects the reader.

Meghan: Can you tell us about some of the deleted scenes/stuff that got left out of your work?

Mark Cassell: Many deleted scenes have become short stories I’ve later sold to anthologies, and now feature in my collections, Sinister Stitches and my most recent release, Terror Threads. There’s always something left over, lurking in a folder somewhere. Or if not, they remain as scribbles in my notebook, awaiting just the right story.

Meghan: What is in your “trunk”?

Mark Cassell: A prequel to The Shadow Fabric, revealing the troubled history of a couple of key characters from the novel.

Meghan: What can we expect from you in the future?

Mark Cassell: I’m neck deep in a novel titled PARASITE CROP, so I’m cracking on with that. Although at the moment I’ve set aside writing short stories, I do have a couple soon released by both KJK Publishing and Crystal Lake Publishing.

Meghan: Where can we find you?

Mark Cassell: Website (and a free book) ** Twitter ** Facebook

Meghan: Do you have any closing words for your fans or anything you’d like to say that we didn’t get to cover in this interview?

Mark Cassell: Often readers ask where I find inspiration, so I’ll answer that here.

Usually it’s desolation and ruins. Barren ground, an expanse of nothingness, empty places, void of anyone else, that kind of thing. I think what intrigues me is that there can be beauty and serenity in the way nature takes over, the way the elements tear down anything manmade. Think of the pattern of rust, the pockmarked sandstone from an assault by the wind, and the tangle of determined weeds. Relentless, often silent deterioration or even growth, and it will always be there long after we die.

I see through it and use it, injecting new life into that which is otherwise derelict. My stories have featured castle ruins and ancient rock, rusty machines and collapsed outhouses. Even a part of my novel was set in … um … if I told you, I’d spoil the twist … Incidentally, most of my dreams are apocalyptic and I think that’s why I’ve turned my hand to dystopian cyberpunk; a scorched landscape where my characters roam free.

Mark Cassell can label himself as author, artist, and actor, but his passion is clearly stamped in the written word. As the author of the best-selling Shadow Fabric Mythos, as series of books about demons, devices and deceit, he has a penchant for ignoring typical horror tropes, casting them into the void. Although best known for cosmic horror, he also writes steampunk, sci-fi, and dark fantasy, with work published in numerous reputable anthologies. More about Mark can be found at his website.

The Shadow Fabric

Leo remembers little of his past. Desperate for a new life, he snatches up the first job to come along. On his second day he witnesses a murder, and the Shadow Fabric – a malevolent force that controls the darkness – takes the body and vanishes with it. Uncovering secrets long hidden from humankind, Leo’s memory unravels. Not only haunted by the past, a sinister presence within the darkness threatens his existence and he soon doubts everything and everyone… including himself. 

Now Leo must confront the truth about his past before he can embrace his future. But the future may not exist. 

THE SHADOW FABRIC is a story revealing the unknown history of witchcraft and the true cause of the Great Fire of London. A supernatural novel of sins, shadows, and the reanimated dead.

In the Company of False Gods

When commissioned to build a clockwork construct, wheelchair-bound Attacus doubts his abilities. Once powered up, his creation escapes and runs amok, destroying more than just the town he calls home. Hunting his deadly automaton forces him to confront his past. 

He had no idea his creation would take him to the threshold between worlds. 

And soon he finds himself… 

In the Company of False Gods.

Terror Threads

Pull a thread… and you’ll be dead. 

Ten standalone tales in the best-selling Shadow Fabric Mythos. Each story of ghosts, of demons, of the occult, weaves the mythos tighter and proves we all have the power to see in the dark. Both an introduction to the Shadow Fabric and a companion book, this collection of horror stories contains the following: 

  • Dust Devils: When a driving instructor’s pupil fails to turn up for a lesson, he doesn’t just drive off. He investigates… things.
  • A Story of Amber: Two brothers and a grandfather’s secret. This is a story that begins in childhood and ends in adulthood.
  • Claimed: In Yellowstone Country Park things are black.
  • The Rebirth: A primary school teacher’s lesson fails to go to plan when a peculiar Easter egg lands in her possession.
  • Dead Lines: An artist learns she is not the only one holding the brush.
  • Pile of Dirt: After a serious accident, all you want to do is relax in your garden. But the mysterious pile of dirt that has appeared on your lawn bugs the hell out of you.
  • The Commission: A photographer’s commission proves to be a pain in the neck.
  • Diagonal Dead: It’s a shame that dead can’t stay dead, especially those who are discovered in a wall cavity.
  • Demon Alcohol: Staying at a bed and breakfast in a quaint harbour town, Tammy is not in the mood for uninvited guests. Especially when she’s hungover and the guests are demons.
  • A Sunset Companion: The low October sun can cause road accidents by blinding drivers… but perhaps there are other causes in the surrounding woodland.

Most of the stories featured in this collection have been previously published in anthologies.