Halloween Extravaganza: David A. Riley: STORY: Their Cramped Dark World

Their Cramped Dark World

It was obvious that something was wrong the moment they entered the empty house.

For a start off, it felt far from empty.

There were sounds everywhere.

“If those’re rats, I’m out of here,” Lenny muttered, his enthusiasm dampened suddenly by the scutterings that seemed to cascade all around them as they walked across the bare floorboards in their trainers. Lenny, the younger of the two boys by barely a month, was tall and gangly, with a livid rash of acne across both cheeks. His dark eyes glanced suspiciously about the ballroom-sized entrance hall as they paused inside it, listening.

Pete grinned. It was a broad, unmistakably roguish grin that somehow made him look older than his fifteen years, as if he’d been born before and could still remember far too much of a disreputably colourful past life.

“Rats are the last things you should be worried about here, Lenny.” He made a long, haunting moan that echoed eerily through the house.

“Bollocks,” Lenny retorted, anger mixed with the stirrings of doubt he had begun to feel as soon as they approached the old, abandoned house. Making plans was one thing. Carrying them out was something else, especially after dusk had darkened the two acres of woodland around the house into a motion-filled blackness of half-seen, menacing shapes. “We should have set out earlier,” he grumbled as he switched on his torch. “Besides, I bet none of the others turn up.”

“They’d better,” Pete said. “This lot cost me a fortune. Especially since I had to pay that old wino, Karl Ott, to buy them for me.” He lugged the rucksack he’d been carrying off his shoulders and lowered it to the floorboards. There was a clink of glass: two half bottles of vodka and a bottle of rum, with a mixture of cokes, Sprite and orangeade. On top was a box of candles in case the electricity in the house wasn’t working.

Lenny tried the light switch and the two boys were surprised when the electric chandelier above their heads came on, though half its bulbs were dead or missing.

“The rest of the gang should be here in another half hour,” Pete said. “I told them half five.”

In late October, though, it was dark not long after four. Now, with heavy clouds covering what little there was of the moon, it was all but black outside.

“It would have been better if we’d all come together,” Lenny grumbled.

“What, and miss out on getting into the party mood beforehand?” Pete brought out one of the bottles of vodka and a couple of glasses. “Coke or Sprite?”

Lenny grinned. “Coke.”

He accepted the brimming glass and sipped the dark, fizzy liquid inside it. “I can’t taste anything but coke,” he complained. “Did you pour in some vodka?”

“You saw me, dummy. Fifty-fifty. My dad says you can’t taste vodka anyway. Only what you mix with it.”

“Then what’s the point?”

“You’ll see the point when you’ve drunk it. When was the last time you got a buzz off cola?”

Dubious, Lenny drank some more. “I think I see what you mean,” he said a moment later.

“Here’s to Halloween,” Pete announced, raising his glass.

“Shouldn’t we wait for the others?”

“What for? We can have another toast then. There’s no law to say you can only toast something once. Come on, hurry up. We’ve time for a few more drinks before they get here.”

Draining his glass, Lenny handed it back to Pete for a refill. Somehow the creaks and scratchings inside the walls and in the ceiling didn’t quite seem so menacing anymore. He felt a mild glow start to grow inside him.

“It’s not hard to believe what happened here, is it?” Lenny said a few minutes and a third glass of vodka and coke later. The warm glow had now spread throughout most of his diaphragm.

“Did you ever doubt it?”

“Naw. But sometimes you wonder whether your parents enjoy embroidering it all a bit just to get you frightened. It’s kind of sick, isn’t it? A whole family slaughtered, one by one.”

“It was worse than that, Lenny.” The two boys were sat on the floor in the hallway, the surrounding doors into the other rooms still closed, sealed with festoons of dark grey cobwebs. Most of Pete’s face was in shadow as he leaned forward over his glass of coke.

“What d’you mean, worse? What could be worse than that?”

“Worse, ‘cause they weren’t just slaughtered. They were sacrificed, Lenny, one by one. Whoever killed them, tied them up first so they couldn’t move, then taped their mouths so none of them could cry for help. Or hear their screams as he worked on them.”

“Worked on them?”

“They were tortured to death, Lenny. It took hours. All night long it went on. There was blood everywhere. That’s why there are no carpets. They were drenched in it. Ruined. Even the floors were awash. If you look hard enough they say you can still see some of the stains.”

Lenny squirmed uncomfortably on the wooden floor, as if he could feel the old dried blood beneath his buttocks on the dark floorboards.

“You’re joshing me, aren’t you?”

“Why should I do that? It’s all for real. You could check it yourself if you wanted to. It’s there in the papers. Every last word. Twenty-five years ago to this night. On Halloween. And no one has ever been arrested for it.”

Lenny reached for another drink from his glass.

“Whoever did it must be getting on now. If he was only in his twenties then, he’d fifty now. Sheesh!”

“Fifty’s not old,” Pete said.

“My grandparents are fifty – and they’re old.”

Pete laughed. “Bet they’d be pleased if you told them that.”

“But it’s true,” Lenny insisted. “It’s too old for a murderer. Isn’t it?”

“You’re a scream, Lenny. A real scream. Did you know that?”

Lenny grunted.

“Anyway, it’s a long time ago.”

“And this house is still empty.”

“Not always,” Lenny said. “I remember people living here.”

“Maybe, but none of them ever stayed for long. That’s what I mean. None of them,” Pete added with an air of significance.

“Are you telling me this place is haunted?”

“Don’t you think so? Isn’t that why we’re here?”

Lenny shivered; his hand reached out instinctively for the vodka and coke. “Where are the others? They should be here by now.”

“They’ll be here. There’s plenty of time yet.”

“But it’s nearly six.”

“And so?”

Lenny shrugged. “It’s nearly six. That’s all I said. I thought at least one of them would’ve been here by now.”

“Perhaps they’ve chickened out? Perhaps they know too much about what happened all those years ago and are frightened to come here tonight.”

Lenny stared at him. “You’re joking, aren’t you?”

“Maybe.” Pete grinned, that same roguish, all-knowing grin he always used.

Lenny drank some more vodka and coke. He felt a little light-headed now.

“What’ll we do if they don’t come?” he asked.

“We’ll have a party of our own.”

“That’d be fun,” Lenny said, sarcastically.

Pete merely grinned.

“You did tell them all, didn’t you?” Lenny asked a few minutes later. The noises within the walls were still rustling disconcertingly all about them and he was beginning to feel nervous again despite the effects of the vodka.

“Of course I did.”

Lenny peered at his Timex. “It’s ten past now. Why aren’t they here?”

“Perhaps they’ve chickened out, like I said. Perhaps there’s only you and me with the balls to come here.”

Lenny reached for his glass. He wished he felt as tough about being in this place as Pete. But the non-stop sounds of hidden movement made him think too vividly of nasty, vicious swarms of rats inside the walls, of scores, perhaps hundreds of the verminous creatures hidden behind the dark wallpaper and wafer-thin, damp-riddled plaster, only feet away from them. With sharp teeth and sharper claws.

“You feeling a bit jittery?” Pete asked.

“Naw…” Even to his own ears, though, Lenny’s reply sounded weak. Unsure.

Pete laughed, quietly.

His laughter was beginning to get on Lenny’s nerves. He wondered if Pete had really invited the rest of them here. But why would he have lied about this? It didn’t make sense.

Unless, Lenny wondered, Pete had some secret reason for wanting to be alone with him here tonight which Lenny would never have agreed to if he had known about it. Unless, Lenny thought, with a sudden shock of insight that left him feeling nauseated, Pete fancied him in some way.

Lenny looked at his friend. Was it possible that Pete was secretly queer?

He didn’t look that way. But could he be sure? He knew so little about that kind of thing, and what he did know was probably a load of nonsense. He was only too aware how talk about stuff like that got distorted, with all sorts of myths and rumours and misinformation. Perhaps Pete was gay. He’d a bloody strange grin, that was for sure. And he didn’t seem at all concerned that none of the others had turned up tonight– as if he had known all along there would only be the two of them here.

Lenny reached again for his vodka and coke, though he wasn’t sure if drinking any more of the stuff was a good idea.

“Are you worried?” Pete asked.

“About what?”

“About this place. About its history. About what went on here twenty-five years ago. What else did you think I meant?” Pete narrowed his eyes.

“Nothing,” Lenny said. “Just what you said. What happened here. The murders.”

“Bloody gruesome, eh?” Pete laughed. The sound echoed through the empty house and for the briefest of instants Lenny was sure the rustling ceased, as if whatever was making the sounds had heard him and paused – to listen.

“I think I’ve had enough of it here,” Lenny said suddenly. “If the rest aren’t coming, it’s going to be a bloody bore. We might as well go home and watch TV.”

“You chickening out too?”

“I’m here, aren’t I? I wasn’t scared to come here. I’d have stayed here too if there was any point. But two of us doesn’t make a party, whatever you say. And now it’s getting cold and there’s nowhere to sit except on the floor. And I don’t care much for those rats.”

“What rats?”

“Those fucking rats scuttering inside the walls, for God’s sake. Can’t you hear them too?”

Pete shrugged. “To be honest, Lenny, I’d forgotten about them. Got used to the sounds, I suppose. Just background noise. White noise, don’t they call it? Anyway, they’re harmless. Have you ever heard of anyone you know being attacked by rats? They’re only aggressive if they’re cornered. Everyone knows that. Leave them alone and they’ll leave you alone. It’s as simple as that.”

“So you’re an expert on rats now?”

Pete frowned; his grin gone. “Have I upset you, Lenny? Have I said something to annoy you? To piss you off?”

“No.”

“Sounds to me like I have. Sounds to me like that’s why you want to leave. We’ve not even been here an hour yet. There’s still plenty of time for the others to arrive.”

“Bollocks. None of them are coming. They’d have been here by now if they were. At least one of them would have turned up.”

“You trying to imply something?”

Lenny shrugged. “Maybe.”

“Like what?”

“Just leave it. I’m fed up with this place. And that vodka’s making me feel sick.”

“Like what, I said, Lenny?”

“Fuck it.” Lenny got to his feet. “I’m off.”

“Like fuck you are.” Pete stood up too, his aggression obvious to Lenny. What good humour he’d had before had gone. There was a dangerous tautness about his face, which disconcerted Lenny. He had never seen anything like this about his friend before. It was almost as if he had found himself alone with a stranger.

“What’s up with you, Pete?”

“Up with me?” The teenager smiled. It was a tense smile, as unlike anything he would have normally given as a grimace. There was no humour in the expression. There was no humour in it at all.

Feeling suddenly afraid, Lenny abruptly made for the outside door, but Pete moved even more quickly, cutting him off, as if he had half expected him to do what he did.

“Not so fucking quick,” Pete snarled. He swung a fist at Lenny’s face. It was so unexpected that Lenny could barely react before he felt Pete’s knuckles crack like a heavy mallet against his jaw. The next thing he knew he was falling, dizzy with shock, nausea and a sudden sense of unreality, as the floorboards loomed against the side of his face. Almost at once Pete was astride him. The weight of his body forced Lenny down onto the hard floorboards, winding him. Still dazed, Lenny felt his hands being pulled in front of him. Something thin was tugged tight around his wrists, forcing them together. He struggled to sit up when he saw that a narrow strip of plastic, like the kind his father used for tying up plants in their yard, was being pulled around his wrists, then locked into place. He tried to push it apart, but the plastic tie was far too strong and cut his skin.

“Pete! What are you doing?”

His friend reached into one of the pockets of his jacket and pulled out a roll of gaffer tape. He tore off a six-inch strip of it, held it for a second above Lenny’s face, as if gauging his target, then tugged it tight across his mouth. Lenny tried to scream, but his lips couldn’t move beneath the vile-smelling tape.

“That’s better,” Pete said, finally. He eased himself up, then stepped back, grabbed a hold of Lenny’s feet and forced them together. Before Lenny could do anything to resist him, another, heavier plastic tie had been secured around his ankles. It was so tight it hurt as it bit into him.

“Had enough?” Pete asked.

Lenny tried to say something, but his lips were squashed beneath the unyielding tape gummed across them. The skin around them felt as if it would tear if he tried to force them open.

“Resistance is futile,” Pete said, grinning once more, his voice familiar to both of them as a Borg from Star Trek. The sudden humour sounded misplaced and false to Lenny as he uselessly struggled against the plastic ties around his wrists and ankles and realised just how painful it was to try to snap them.

“Do you think our unknown, unscrupulous friend, all those years ago, used plastic ties and gaffer tape to immobilise his victims?” Pete asked. “He might have had gaffer tape, I suppose. It could have been around then. I don’t know. I don’t suppose plastic ties were, though. Do you?”

Pete turned, retraced his steps to the pack he’d brought their drinks in and squatted down to search inside it till he found what he wanted, then slowly rose to his feet once more, a look of triumph on his face. Lenny squirmed on the floor to watch him, his heart thumping so loud in his ears it almost blotted out the rat-like scratchings inside the walls. Deep grunts of panic came from inside his throat when he saw the knife Pete held in his hands. He fondled it almost like he would a pet as he stared at Lenny over it. It gleamed like very expensive steel. And its edge looked sharp.

“Bet he’d have given his high teeth for something like this,” Pete said. “Cost an arm and a leg. Paid for it with my dad’s credit card on the internet. But he buys so much expensive crud using it he’ll never notice one more item he never bought himself.”

Pete pointed the knife at Lenny’s face, clearly enjoying the sight as his friend’s eyes opened wide in abject terror, staring back at it, unable to look away.

“You know, Lenny, I often think I’ve been here before. Somehow I’ve always felt like that. My mother told me that when my gran first saw me as a newborn baby, she said, “He’s been here before, this one. He’s been here before.” D’you know that, Lenny? Even my gran recognised this wasn’t my first life. It’s not my second, either. I’ve been here lots of times before. Lots and lots of times.” He took a step nearer. “And every time I’ve been here, I’ve had this task, this very important task to do, to ensure I’ll be able to come back again. I’ve done it so often over the years it comes to me in my dreams, time and time again, as clear as I can see you now, to make sure I can’t ignore it.” He hunkered down beside Lenny’s head. “But I’d never ignore it. That’s why there’s only you and me, why no one else was told about us coming to this place tonight. No one knows we’re here, Lenny. It’s a secret. A secret between you and me. And you’ll never tell, will you, Lenny?” Pete snickered. “That’s a bit of a no brainer, if ever there was one, I know, but I couldn’t resist it.” His hand flicked out and the point of the hunting knife sliced a line across Lenny’s forehead. Lenny would have screamed at the sudden, intense pain, as a trickle of blood pulsed out of the cut and dripped into one eye, but the gaffer tape kept his straining lips gummed together.

“Shush, shush,” Pete whispered. “I’ve not begun yet. There’s someone here you’ve yet to meet before the real thing starts.” He cocked his head to one side. “You’ve heard it, though. That scuttering.” Pete stood up. Behind him, from the wall, Lenny saw something move where the old wallpaper seemed to hang open now like a dislodged curtain. From beyond it, something large and grey, like a huge, misshapen rat moved out into the light of the room. There were others, smaller, huddled behind it. Their dark eyes, gleaming like soiled rubies, stared at Lenny.

“They like the blood,” Pete said as he crouched beside him again. “Especially Him. He’s old. So old you couldn’t imagine it. He was brought to this place so long ago, too, when I was in a different body, with a different name. So long ago even I can’t remember what name I had, there’ve been so many in between. But it doesn’t matter. What does is His power. That’s old as well. As old as the world. Perhaps older. When others like Him were plentiful. When they ruled. As one day, if Mankind has its suicidal way and we destroy what we have of this world, He’ll rule again.”

Lenny struggled to scream as he watched the creature move across the floorboards, as large as a pig, its ugly, scaly rat-like face etched with countless sores and wrinkles. Most of the thick grey hair had fallen away from its corpulent body, baring the glistening skin beneath. If he had not been gagged, he would have shouted at Pete that he was mad, that this ugly creature wasn’t what he seemed to think it was, but some insane monster that had fooled him. It wasn’t godlike. It wasn’t godlike at all. Just some pathetic old demon. How he sensed or knew this, he wasn’t sure. Instinct, perhaps. Some old race memory from a time when things like this had flourished. He didn’t know. All he knew with certainty was that Pete had been taken in by it. That it needed him to provide it with the worship it craved – it and its hideous, ugly children.

Though rat-like in shape, as it moved out into the light, Lenny realised the thing had no mouth as such, just tubular, fleshy tendrils. Each, though, ended in what looked like a mouth – mouths that opened and closed as it slowly, furtively moved towards him.

Again, Pete sliced at Lenny with his knife, cutting deep into one of his hands. Blood pulsed from the wound. And the rat-like creature moved in, its tendrils dipping into the blood as it spread across the floorboards. Lenny’s body tensed with horror and disgust as he heard the hideous slurping sounds from the tendrils as they sucked at the pool of blood. And the other, smaller, rat-like creatures scuttled forwards, drawn by it.

In sheer desperation Lenny struggled to free his lips from the gaffer tape, chewing at what snippets he could draw between his teeth. He fought against the pain as Pete sliced away his jacket and t-shirt so he could make further gashes in his body.

“Part of it is your pain,” Pete told him, as if this expiated him. “He needs to feel that – that and your fear. He feeds off them both.”

Several times during the next few hours Lenny blacked out, either from nausea or pain or both. Each time Pete waited till he was conscious again, then started once more, cut after cut, till the floor surrounding them was thick with blood. The other creatures had moved in on the pool as it spread across the room and had begun to feed from it.

Almost too weak from blood loss to feel much pain anymore, it was only then that Lenny was able to force his mouth open. The gaffer tape was sodden with spit and weakened where he had gnawed at it.

But by then he could barely talk, let alone scream for help, and Pete merely glanced at him as he carved more cuts in his chest.

“Pete…” Lenny’s voice was a ragged croak, barely intelligible. “Pete…”

“Too late to plead for your life, Lenny. Far too late for that, I’m afraid. He must feed. And so must they. I’m held to do it. I always have been. And always will.”

“Twenty five years ago,” Lenny whispered. “You did it twenty-five years ago.”

Pete glanced down at him, smiled, then moved the knife speculatively across his friend’s abdomen.

“You’re fifteen now. How long did your old self live after what he did here?”

Pete shrugged. “How long is a piece of string, Lenny?”

Midnight had come and gone, and still Pete worked, his face lost in the intensity of it. Lenny died not long afterwards. And as he died, so the blood flowed slowly, then stopped.

Pete looked around at the creatures. His creatures. His Gods.

The large one stared up at him from the blood it had been drinking.

“I’ve served you well,” Pete said. “Again.” He smiled, roguishly.

Something heavy moved across his foot. He looked down and saw one of the smaller creatures climb across it. Others milled around his ankles. And for a moment he felt uneasy. But it was always like this. They were thanking him for what he had done for them.

The large one, his God, stared up at him, though, its dark red eyes unwavering as it moved towards him. There was more to be done. Just what, he was unsure. But there was more, he was certain. He felt himself being pushed by the others; their bodies as big as well fed cats. Then he remembered. This was his moment of rebirth – the moment he would enter the darkness of the void. The moment he would leave this shallow husk till the time was right to return. Ten years he had hung in the void before till he entered this body. His time to let go of this body was now.

Was now.

Pete screamed as his God lunged at him. It claws dug deep into his chest, as it dragged him back towards the gap within the wall. The others scrabbled about his feet, biting and nipping and scratching him.

“No!” Pete screamed as he remembered it all, all those times in the past. He had to go with them now, into their cramped dark world. But he didn’t want to go into that void again where they would feed off his flesh and blood, revived and hungry.

His final act of sacrifice.

“Till next time,” he heard himself scream in despair.

As his eyes stared in horror at the grim darkness between the walls where they were dragging him.

Where he would feed and sustain them and make them fat for years to come.

David A. Riley writes horror, fantasy and SF stories. In 1995, along with his wife, Linden, he edited and published a fantasy/SF magazine, Beyond. His first professionally published story was in The 11th Pan Book of Horror in 1970. This was reprinted in 2012 in The Century’s Best Horror Fiction edited by John Pelan for Cemetery Dance. He has had numerous stories published by Doubleday, DAW, Corgi, Sphere, Roc, Playboy Paperbacks, Robinsons, etc., and in magazines such as Aboriginal Science Fiction, Dark Discoveries, Fear, Fantasy Tales. His first collection of stories (4 long stories and a novelette) was published by Hazardous Press in 2012, His Own Mad Demons. A Lovecraftian novel, The Return, was published by Blood Bound Books in the States in 2013. A second collection of his stories, all of which were professionally published prior to 2000, The Lurkers in the Abyss & Other Tales of Terror, was launched at the World Fantasy Convention in 2013. His fantasy novel, Goblin Mire, was published by Parallel Universe Publications in 2015. Their Cramped Dark World is his third collection of short stories. With his wife, Linden, he runs a small press called Parallel Universe Publications, which has so far published ten books. His stories have been translated into Italian, German, Spanish and Russian.

The Return

It was never going to be easy to return for one last look at the streets where he spent his childhood years. Even knowing this, Gary still felt he had to make the effort, just this once, to see if they were really as bad as he remembered. In a few months demolition was due to start on Grudge End… When Gary Morgan travels north to lie low after a gangland shooting in London, a childhood friend is violently maimed within hours of his arrival. Decades after escaping the blight of his hometown, he finds himself ensnared in a place he hates more than any other.Feuding families, bloodthirsty syndicates, and hostile forces older than mankind all play a role in the escalating chaos surrounding Gary Morgan. Now he must unravel the mysteries of Grudge End and his own past or meet his doom in the grip of an ancient, unimaginable evil.

Moloch’s Children

Elm Tree House had a sinister history but few realised the true demonic power that lurked within its forbidding depths till it was taken over by a cult determined to make use of its horrendous secret.

Goblin Mire

Many years have passed since Elves defeated and killed the last Goblin king. Now the Goblins are growing stronger in their mire, and Mickle Gorestab, one of the few remaining veterans of that war, is determined they will fight once more, this time aided by a renegade Elf who has delved into forbidden sorcery and hates his kind even more than his Goblin allies. Murder, treachery and the darkest of all magics follow in a maelstrom of blood, violence and unexpected alliances. Facing up to the cold cruelty of the Elves, Mickle Gorestab stands out as the epitome of grim, barbaric heroism, determined to see the wrongs of his race avenged and a restoration of the Goblin King.

Into the Dark

There’s a serial killer at loose in London. Janice, who has a chronic fear of the dark, stumbles into a relationship with the man who may secretly be the murderer. Neither know that in the North of England, in a place previously owned by his dead mother, activities are taking place that may unleash a horror that could spell the end of civilisation in Britain – an ancient evil that would make the activities of any serial killer look like child’s play by comparison. Could a psychotic killer be the only man capable of ending this? Andrew Jennings is also known as David A. Riley.

The Lurkers in the Abyss & Other Tales of Terror

David A. Riley began writing horror stories while still at school and had his first professional sale to Pan Books in 1969, which was The Lurkers in the Abyss, published in The Eleventh Pan Book of Horror Stories. This story was chosen for inclusion in The Century’s Best Horror Fiction in 2012. Over the years he has had numerous stories published in Britain and the United States plus translations into German, Spanish, Italian and Russian. His fiction has appeared in World of Horror, Fear, Whispers, Fantasy Tales, Aboriginal Science Fiction, Dark Discoveries and Lovecraft e-Zine. His first collection, His Own Mad Demons was published by Hazardous Press in 2012. The Return, a Lovecraftian horror novel was published by Blood Bound Books in 2013. This second collection brings together under one cover seventeen of the author’s best blood-curdling stories.

Their Cramped Dark World & Other Tales

Their Cramped Dark World and Other Tales is David A. Riley’s third collection of short fiction, spanning 40 years of publication, from appearances in New Writings in Horror & the Supernatural #1 in 1971, to the Ninth Black Book of Horror in 2012.He has had numerous stories published by Doubleday, DAW, Corgi, Sphere, Roc, Playboy Paperbacks, Robinsons, etc., and in magazines such as Aboriginal Science Fiction, Dark Discoveries, Fear, and Fantasy Tales. His stories have been translated into Italian, German, Spanish and Russian. His Lovecraftian crime noir horror novel, The Return, was published by Blood Bound Books in 2013. His fantasy novel, Goblin Mire, was published by Parallel Universe Publications in 2015.Table of Contents Hoody (first published in When Graveyards Yawn, Crowswing Books, 2006) A Bottle of Spirits (first published in New Writings in Horror & the Supernatural 2, 1972) No Sense in Being Hungry, She Thought (first published in Peeping Tom #20, 1996) Now and Forever More (first published in The Second Black Book of Horror, 2008) Romero’s Children (first published in The Seventh Black Book of Horror, 2010) Swan Song (first published in the Ninth Black Book of Horror, 2012) The Farmhouse (first published in New Writings in Horror & the Supernatural 1, 1971) The Last Coach Trip (first published in The Eighth Black Book of Horror, 2011) The Satyr’s Head (first published in The Satyr’s Head & Other Tales of Terror, 1975) Their Cramped Dark World (first published in The Sixth Black Book of Horror, 2010).

His Own Mad Demons

David A. Riley’s first professionally published story was in the 11th Pan Book of Horror in 1970. Since then he has been published in numerous anthologies from ROC Books, DAW Books, Robinson Books, Corgi Books, Doubleday, Playboy Paperbacks, and Sphere. Two recent notable anthologies in which he has appeared are The Century’s Best Horror Fiction from Cemetery Dance, and Otto Pensler’s Zombies! Zombies! Zombies! from Vintage Books.In 1995, David and his wife Linden edited and published Beyond, a fantasy/SF magazine. His stories have been published in magazines such as Aboriginal Science Fiction, Dark Discoveries, Fear, Fantasy Tales and World of Horror.His Own Mad Demons contains his stories “Lock-In”, “The Worst of All Possible Places”, “The Fragile Mask on His Face”, “Their Own Mad Demons”, and “The True Spirit”.

Halloween Extravagana: INTERVIEW: David A. Riley

Meghan: Hi, David! Welcome to the new blog… and welcome back to the Halloween Extravaganza. It’s been awhile since we sat down together. What’s been going on since we last spoke?

David A. Riley: Not so much writing, though I have turned to it once more in the last few months. I have concentrated on publishing books by other people through Parallel Universe Publications, and spent a lot of time working on one particular project, which was a large art book for my friend Jim Pitts. The Fantastical Art of Jim Pitts, which is available as a limited-edition hardback and, more recently, as a two-volume soft cover. This was a major project for me, involving an investment in a new, more powerful computer to handle all the graphics and some rather expensive software. It was very time consuming too as each page had to be designed individually. I also branched out into publishing hardcover book collections, including Fishhead: The Darker Tales of Irvin S. Cobb, which was another labour of love, involving a lot of research and copying out a great many stories.

Meghan: Who are you outside of writing?

David A. Riley: Gardener, cook, reader, film and theatre-goer. I now have three grandchildren, which is fantastic.

Meghan: How do you feel about friends and close relatives reading your work?

David A. Riley: I love it, though I don’t go out of my way looking for favourable comments about it, as I know it’s unlikely I’ll get a completely honest appraisal – except from my wife, who is totally honest and whose judgement I know I can rely on.

Meghan: Is being a writer a gift or a curse?

David A. Riley: I don’t regard it as either, except when I am struggling with a particular story – then it’s definitely a curse, especially if I become convinced that whatever skills I might have once had have deserted me! I think that’s a not uncommon feeling, though.

Meghan: How has your environment and upbringing colored your writing?

David A. Riley: Though I don’t write specifically about this in everything I turn my hand to, there are quite a few things I have written that reflect my upbringing in Lancashire, in an industrial town. On the other hand, I have written a number of stories set in the United States, including New York, which I am assured read convincingly even though I have never visited the States. It’s good to have your roots as an influence, but a mistake to be shackled to them all the time. A writer should be able to use their imagination and what they have learned, either through travel, reading, films and TV, to branch out.

Meghan: What’s the strangest thing you have ever had to research for your books?

David A. Riley: Strange for the UK: guns, as handguns are illegal here. I did quite a bit of research into the handguns used by the Mossad, as one of my characters always used one in his role as a gangland enforcer in London. I first learned of them from a friend who had a genuine but deactivated Beretta .22.

Meghan: Which do you find the hardest to write: the beginning, the middle, or the end?

David A. Riley: The beginning. That has to grab me first of all or I find I very quickly lose the incentive to go on. I must have characters from the outset I can believe in and with whom have some empathy. If they’re just cardboard cutouts I can’t go on. They bore me. And if I’m bored, what can I expect from any potential readers?

Meghan: Do you outline? Do you start with characters or plot? Do you just sit down and start writing? What works best for you?

David A. Riley: I don’t outline. I do work from the characters to start with, and I prefer to have some sort of vague plot in mind, but I find the best ideas come while I’m writing, which sometimes veers off quite a lot from what I intended. The characters and their predicaments do have a tendency to take over, which in my view is as it should be.

Meghan: What do you do when characters don’t follow the outline/plan?

David A. Riley: Hope I can maneuver things towards a proper story in the end. That doesn’t always happen – and that story will remain on my computer, unresolved. Sometimes I can take a look at it again some time later and things suddenly start to work out. Sometimes, though, they don’t.

Meghan: What do you do to motivate yourself to sit down and write?

David A. Riley: Feel in the mood to start with. I don’t think I can force myself. That doesn’t work for me. I wish it did. I would probably write a lot more if that happened.

Meghan: Are you an avid reader?

David A. Riley: I read every day, though not as much as I would like. I used to read a lot more when I was younger. On the other hand, we have a holiday home in the country where we have only limited internet and even more limited TV where I spend a lot of time reading. I was there last week and got through three rather hefty novels. And loved them.

Meghan: What kind of books do you absolutely love to read?

David A. Riley: Novels in particular. Though I mainly write short stories, I am not as big a reader of these as I used to be. I have also found that my tastes have altered over the years and I must admit I don’t like a lot of new short stories. I now love crime fiction and historical novels, particularly writers like Ian Rankin, Michael Connelly, and Simon Scarrow. I also like crime novels that veer towards supernatural horror, like John Connolly, who is one of the best writers in horror today. I have also started to reread a lot of books I first came across many years ago, like Ray Bradbury, Agatha Christie, and Robert Bloch.

Meghan: How do you feel about movies based on books?

David A. Riley: I am particularly keen to see more movies based on books, if only because that will take us away from the obsession with remaking old movies with inferior ones. On the other hand, it is saddening to see some great books rendered into poor movies because someone thought that making major changes would improve on the original – something that rarely ever happens. A lot of film makers seem to have a poor idea of storytelling and it’s disheartening to see a great book butchered by someone who wrongly thought they knew better than the original writer.

Meghan: Have you ever killed a main character?

David A. Riley: Frequently. That’s a common fate in my short stories especially. In my novels not so much so, though I did have one main character who at the end commits suicide because that was really the only option left open to him.

Meghan: Do you enjoy making your characters suffer?

David A. Riley: Not particularly, and often I do feel sad about this – which I hope the reader feels too! If they do, I have at least made them feel some empathy towards the character in question, which means I also managed to make that character believable.

Meghan: What’s the weirdest character concept that you’ve ever come up with?

David A. Riley: A heroic but nevertheless barbaric goblin – the main character of my only fantasy novel, Goblin Mire. Mickle Gorestab is old, irascible but unflinchingly courageous – and stoutly convinced of the rightness of his cause: the reestablishment of a Goblin Empire. I really loved this character for all his faults.

Meghan: What’s the best piece of feedback you’ve ever received? What’s the worst?

David A. Riley: The best was from Otto Penzler. When interviewed about his anthology Zombies! Zombies! Zombies, he was asked “If a reader has an opportunity to read only one story from Zombies! Zombies! Zombies!, which one would you recommend?” He would recommend two: “…the stories that jump to mind are Seabrook’s “Dead Men Working in the Cane Fields” because it’s such a comprehensive introduction in the genre, and David A. Riley’s “After Nightfall” because it is, holy moley, so damned scary.”

The worst is a review of my only fantasy novel, Goblin Mire, which simply stated: “Terrible. Everything about this[sic] book is terrible. I’d write more but I’d be wasting both of ours’ time…”

Meghan: If you could steal one character from another author and make them yours, who would it be and why?

David A. Riley: John Connolly’s Charlie Parker. He is such a great character. But he would be wasted on me. I couldn’t use him anything like as well as Connolly.

Meghan: If you could write the next book in a series, which one would it be, and what would you make the book about?

David A. Riley: I am not sure. I have never been keen on retreading the same ground and have only once (after much badgering by a friend) written to sequel to any of my stories, so the idea of doing a series doesn’t necessarily appeal to me. The nearest I have come is in using the same settings, as in Grudge End, where I have set a few of my stories and also my novel The Return. It’s my English version of Arkham or Dunwich.

Meghan: If you could write a collaboration with another author, who would it be and what would you write about?

David A. Riley: I have tried a couple of times to write a collaboration with another writer, but it didn’t work out. I don’t think I would ever be tempted quite honestly.

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

David A. Riley: Hard to say. I hope to get at least one more novel finished. I have several which are part written, one with about 60k words, another with 40k. I would like to get a few more science fiction stories completed. I have always felt I should have written more SF. My first love when I first started writing was SF and I actually did complete a SF novel, now lost completely. I kind of stumbled into writing horror because I found SF more difficult. Then again, I started writing about the same time that the New Wave started in the late sixties under Moorcock and New Worlds, and I didn’t really gel with all that. I was overjoyed when I had a science fiction story published some years ago in Aboriginal Science Fiction.

Meghan: Where can we find you?

David A. Riley: Parallel Universe Publications for my publishing activities and my website for my writing and everything else

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 or the last?

David A. Riley: The most important thing is to support writing and writers. And to try and give your favourite writers some kind of positive feedback, especially those who have never been fortunate enough to have achieved best selling status, as this is the only kind of thing to give them a boost and encourage them to write more. I am a great believer in the written word and, though there is far more fame and glory these days in TV and films, a well-written book or story still has far, far more to offer. If films and TV disappeared tomorrow, I could live with it. If books did, I couldn’t.

David A. Riley writes horror, fantasy and SF stories. In 1995, along with his wife, Linden, he edited and published a fantasy/SF magazine, Beyond. His first professionally published story was in The 11th Pan Book of Horror in 1970. This was reprinted in 2012 in The Century’s Best Horror Fiction edited by John Pelan for Cemetery Dance. He has had numerous stories published by Doubleday, DAW, Corgi, Sphere, Roc, Playboy Paperbacks, Robinsons, etc., and in magazines such as Aboriginal Science Fiction, Dark Discoveries, Fear, Fantasy Tales. His first collection of stories (4 long stories and a novelette) was published by Hazardous Press in 2012, His Own Mad Demons. A Lovecraftian novel, The Return, was published by Blood Bound Books in the States in 2013. A second collection of his stories, all of which were professionally published prior to 2000, The Lurkers in the Abyss & Other Tales of Terror, was launched at the World Fantasy Convention in 2013. His fantasy novel, Goblin Mire, was published by Parallel Universe Publications in 2015. Their Cramped Dark World is his third collection of short stories. With his wife, Linden, he runs a small press called Parallel Universe Publications, which has so far published ten books. His stories have been translated into Italian, German, Spanish and Russian.

The Return

It was never going to be easy to return for one last look at the streets where he spent his childhood years. Even knowing this, Gary still felt he had to make the effort, just this once, to see if they were really as bad as he remembered. In a few months demolition was due to start on Grudge End… When Gary Morgan travels north to lie low after a gangland shooting in London, a childhood friend is violently maimed within hours of his arrival. Decades after escaping the blight of his hometown, he finds himself ensnared in a place he hates more than any other.Feuding families, bloodthirsty syndicates, and hostile forces older than mankind all play a role in the escalating chaos surrounding Gary Morgan. Now he must unravel the mysteries of Grudge End and his own past or meet his doom in the grip of an ancient, unimaginable evil.

Moloch’s Children

Elm Tree House had a sinister history but few realised the true demonic power that lurked within its forbidding depths till it was taken over by a cult determined to make use of its horrendous secret.

Goblin Mire

Many years have passed since Elves defeated and killed the last Goblin king. Now the Goblins are growing stronger in their mire, and Mickle Gorestab, one of the few remaining veterans of that war, is determined they will fight once more, this time aided by a renegade Elf who has delved into forbidden sorcery and hates his kind even more than his Goblin allies. Murder, treachery and the darkest of all magics follow in a maelstrom of blood, violence and unexpected alliances. Facing up to the cold cruelty of the Elves, Mickle Gorestab stands out as the epitome of grim, barbaric heroism, determined to see the wrongs of his race avenged and a restoration of the Goblin King.

Into the Dark

There’s a serial killer at loose in London. Janice, who has a chronic fear of the dark, stumbles into a relationship with the man who may secretly be the murderer. Neither know that in the North of England, in a place previously owned by his dead mother, activities are taking place that may unleash a horror that could spell the end of civilisation in Britain – an ancient evil that would make the activities of any serial killer look like child’s play by comparison. Could a psychotic killer be the only man capable of ending this? Andrew Jennings is also known as David A. Riley.

The Lurkers in the Abyss & Other Tales of Terror

David A. Riley began writing horror stories while still at school and had his first professional sale to Pan Books in 1969, which was The Lurkers in the Abyss, published in The Eleventh Pan Book of Horror Stories. This story was chosen for inclusion in The Century’s Best Horror Fiction in 2012. Over the years he has had numerous stories published in Britain and the United States plus translations into German, Spanish, Italian and Russian. His fiction has appeared in World of Horror, Fear, Whispers, Fantasy Tales, Aboriginal Science Fiction, Dark Discoveries and Lovecraft e-Zine. His first collection, His Own Mad Demons was published by Hazardous Press in 2012. The Return, a Lovecraftian horror novel was published by Blood Bound Books in 2013. This second collection brings together under one cover seventeen of the author’s best blood-curdling stories.

Their Cramped Dark World & Other Tales

Their Cramped Dark World and Other Tales is David A. Riley’s third collection of short fiction, spanning 40 years of publication, from appearances in New Writings in Horror & the Supernatural #1 in 1971, to the Ninth Black Book of Horror in 2012.He has had numerous stories published by Doubleday, DAW, Corgi, Sphere, Roc, Playboy Paperbacks, Robinsons, etc., and in magazines such as Aboriginal Science Fiction, Dark Discoveries, Fear, and Fantasy Tales. His stories have been translated into Italian, German, Spanish and Russian. His Lovecraftian crime noir horror novel, The Return, was published by Blood Bound Books in 2013. His fantasy novel, Goblin Mire, was published by Parallel Universe Publications in 2015.Table of Contents Hoody (first published in When Graveyards Yawn, Crowswing Books, 2006) A Bottle of Spirits (first published in New Writings in Horror & the Supernatural 2, 1972) No Sense in Being Hungry, She Thought (first published in Peeping Tom #20, 1996) Now and Forever More (first published in The Second Black Book of Horror, 2008) Romero’s Children (first published in The Seventh Black Book of Horror, 2010) Swan Song (first published in the Ninth Black Book of Horror, 2012) The Farmhouse (first published in New Writings in Horror & the Supernatural 1, 1971) The Last Coach Trip (first published in The Eighth Black Book of Horror, 2011) The Satyr’s Head (first published in The Satyr’s Head & Other Tales of Terror, 1975) Their Cramped Dark World (first published in The Sixth Black Book of Horror, 2010).

His Own Mad Demons

David A. Riley’s first professionally published story was in the 11th Pan Book of Horror in 1970. Since then he has been published in numerous anthologies from ROC Books, DAW Books, Robinson Books, Corgi Books, Doubleday, Playboy Paperbacks, and Sphere. Two recent notable anthologies in which he has appeared are The Century’s Best Horror Fiction from Cemetery Dance, and Otto Pensler’s Zombies! Zombies! Zombies! from Vintage Books.In 1995, David and his wife Linden edited and published Beyond, a fantasy/SF magazine. His stories have been published in magazines such as Aboriginal Science Fiction, Dark Discoveries, Fear, Fantasy Tales and World of Horror.His Own Mad Demons contains his stories “Lock-In”, “The Worst of All Possible Places”, “The Fragile Mask on His Face”, “Their Own Mad Demons”, and “The True Spirit”.

Halloween Extravaganza: INTERVIEW: Jessica McHugh

Meghan: Hi, Jessica. I’ve not had the pleasure of interviewing you before, so welcome, welcome. Tell us a little bit about yourself.

Jessica McHugh: I’m an author of horror, sci-fi, young adult, and pretty much any other speculative genre that wriggles into my mind, especially if it’s a giant mash-up. While I primarily consider myself a novelist, I also write lots of short fiction, poetry, and am an internationally produced playwright. I love my amazing husband, my super cool cats, and my hometown in Maryland where I work as a tour guide for food and happy hour tours.

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

Jessica McHugh:

  • My maiden name means “beautiful” but is also a variety of tuna.
  • I told Jakob Dylan from the Wallflowers to his face that I used to jerk off to a poster of his face.
  • My parents changed my middle name from Lynn to Brianne after I was baptized the same day as another Jessica Lynn.
  • I worked as a stripper in West Virginia for 7 months.
  • If you’ve read my book Pins, you already know the previous fact, so here’s a new thing. After my 2nd night at the club, my boyfriend at the time had to take me to urgent care because I’d thrown and slammed and twisted my body in so many ways I could barely move the next day.

Meghan: What is the first book you remember reading?

Jessica McHugh: Fox in Socks. I remember telling my oldest brother I thought the Fox was mean.

Meghan: What are you reading now?

Jessica McHugh: Devil’s Creek by Todd Keisling. It’s actually great culty inspirado for my work-in-progress.

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

Jessica McHugh: I honestly can’t think of one. I think most people know I have eclectic reading habits.

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

Jessica McHugh: I’ve always been a bookworm and loved making up stories/ playing pretend, but in 4th grade when a teacher introduced short stories and the writing process, I fell in love with the revelation that the authors of my favorite books were once just kids like me. I also discovered my love of crafting horror during that time. I wrote my first scary story, and though a note from my teacher suggested I “avoid gory topics,” I clearly ignored that advice. I did turn more toward poetry and scriptwriting in high school, but I dove back into writing short stories and novels in a huge way when I was 19.

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

Jessica McHugh: I moved a few months ago after 11 years in the same place so I’m still sussing out my favorite writing spot. It’s also a weird transition time for me cuz I’m trying to type more than handwrite as I’ve been doing for years, so I’m all over the place right now. I do enjoy typing in our little dining nook, though, and I’m lucky to have a bunch of amazing bars in walking distance where I can get my people-watching inspirado. I do enjoy writing in public quite a bit.

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

Jessica McHugh: I wouldn’t call it quirky, per se, but it seems a lot of my inky cohorts don’t do this, soooo… I do an auditory revision as my last step before submission. In other words, I have my computer read my story aloud so I can hear how the dialogue flows and catch any issues my eyes missed. It’s extremely helpful and probably the least stressful part of the writing process, as I can relax with a glass of wine and jump in here and there to fix things.

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

Jessica McHugh: Everything about writing has been challenging since my cat Tyler died almost four years ago. He was an integral part of my writing life, and it’s been a struggle finding my way back to the comfort and joy I felt before. At one point last year I even considered leaving the writing world entirely. Obviously I didn’t do that. Couldn’t, really, because I love story creation too much. So I’m working my ass off–not to regain what I lost, but to appreciate the life I had before and nurture the one I’m cultivating for the future.

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

Jessica McHugh: I believe my novel The Green Kangaroos is the best book I’ve written, and it was the funnest first draft experience, so it definitely gives me a lot of satisfaction. Because it had such personal content dealing with addiction, it was therapeutic to get out those feelings. The bizarro elements, however, disconnected me enough from the traumatic truth of the tale to have a lot of fun.

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

Jessica McHugh: I feel like every new book I read is an inspiration, especially those from small press authors like me. I read slowly these days because of my hectic deadline schedule, so I value the time I get to spend in my worlds of my inky cohorts. They make me a better writer. I think the biggest influences on my style are Anne Rice and Bret Easton Ellis. I enjoy writing honest and raw prose like Ellis, but I also love going crazy on description, especially when it comes to world building and gory bits, which Rice excels at without going too purple with the prose.

Meghan: What do you think makes a good story?

Jessica McHugh: For me, it’s all about the characters. A unique plot and rad setting helps for sure, but if the characters aren’t compelling or making realistic decisions according to their personalities, I won’t care about all the radtacularity around them.

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

Jessica McHugh: Flaws. Most real people are carrying around a lot of damage, whether caused by outside trauma or self-inflicted. If a character can coast through story conflicts as if the world was built just for them, I’m out. I especially love “unlikable” characters, which I feel are pretty much just… humans… so I tend to write a lot of those folks.

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

Jessica McHugh: The main character of my young adult series, Darla Decker, is a version of me with bigger balls. She takes more risks and talks about her feelings with more ease, but I do think I’ve improved on both those counts, partly because I learned a lot about myself while writing her character over five books.

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

Jessica McHugh: You shouldn’t judge a book by its cover, but… come on… some covers are so bad you can’t help but think the story will follow suit. And unfortunately that’s a risk of indie and small press. Not to say the rash of covers with headless regency females released by big presses are much better at enticing me. As for my own, I wish I was better at envisioning what they should be. I usually just throw out some ideas and hope the cover artist/ publisher can make sense of it.

Meghan: What have you learned creating your books?

Jessica McHugh: Much of what I learned and took joy in during my first decade plus of writing was unfortunately rewritten during my grief process over my cat. No embellishment, everything about my writing life changed. Four years later, I’m still far from where I was when it comes to productivity. I used to think nothing could ever derail my drive to write, but… well, here we are. So I guess I’m still learning who I am, every day, with every word I write, without him.

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

Jessica McHugh: About a decade before Tyler’s death, I wrote a death scene for a character based off him in my sword and sorcery series, The Tales of Dominhydor. Actually, since the first book exists in the mind of the main character (this isn’t a spoiler; it’s in the first line of the novel) and the second book covers the reality of what’s happening in Dominhydor, I wrote that scene twice, each filled with lost love and overwhelming sorrow I had no idea would cling to me years later.

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

Jessica McHugh: The fact that I won’t stick to only this genre. Even if it’s undoubtedly a horror book, there will also be elements of suspense, comedy, action, romance, fantasy, science-fiction, and maybe some nods to bizarro. Real life is a genre goulash, and I want my stories to feel like that too. Even if it makes the book seem a bit bonkers, I prefer bonkers over boring.

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)?

Jessica McHugh: I think it’s really important. I just happen to be terrible at it. Oh titles… one of my least favorite parts if I don’t have one at the get-go. I think the title is extremely important, so I definitely stress over it. I’ve chosen titles in different ways, from posting options online and having my fans pick (like with Rabbits in the Garden) or putting keywords into a form and generating random options (like with “Camelot Lost”). I also once posted that I wanted to write “a motherfucking heist novel” one day, and one of my inky cohorts begged me to make that the actual title, so I did. However, the family-friendly version is “A Melonfarming Heist Novel.” My current work-in-progress is a sequel to Rabbits in the Garden, so the title “Hares in the Hedgerow” came about organically. As did the third book I’m planning to write, “The Witches in Our Warrens.” But I usually agonize over this part of the writing process.

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

Jessica McHugh: In the past I’ve gotten more satisfaction from developing and writing novels, but since it’s been a few years since I started and completed a new novel, I have to show short stories some serious love. They’ve buoyed me as I’ve navigated the stormy waters of grief and depression. Without the magic of short stories, I might’ve drifted out to sea, never to write again, but they kept me paddling, striving to reach a glittering shore I once called home. Whether I’ll reach that satisfying shore of novel inspirado again, I don’t know, but I’m taking what fulfillment I can from the various short stories that have come and gone over the last few years.

Meghan: Tell us a little bit about your books, your target audience, and what you would like readers to take away from your stories. I could spend the next few pages rattling on about my books (and definitely have before) but I’ll just say this: because of all the different genres in which I write, you might not enjoy all of my books, but I guarantee there’s at least one book in my catalog that’s up your alley. Except for the Darla Decker Diaries, I don’t usually write for a target audience–and even those were written for adults to enjoy too. And enjoyment is exactly what I want the reader to take away. Whether they derive it from stories about blossoming friendships or a stripper’s face being obliterated by a malfunctioning pinsetter, I want my readers to have a fun, complicated, messy, bonkers, devastating, hilarious time in the McHughniverse.

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

Jessica McHugh: I do save most of what I cut for possible use in other projects, but most of it will probably just chill in a folder until the end of time. As much as it hurts cutting cool scenes and lovely lines sometimes, I’ve learned to recognize when something simply doesn’t belong in a story. If it’s not telling the reader anything new about the characters or moving the plot forward, it’s gotta go.

Meghan: What is in your “trunk”?

Jessica McHugh: I wrote a historical fiction novel about playwright Christopher Marlowe’s secret life as a spy for Queen Elizabeth I. I loved it at the time, but anxiety about historical accuracy halted me.

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

Jessica McHugh: My latest novel “Hares in the Hedgerow” will likely be out from Post Mortem Press in 2020, but I have several short stories due out at the end of the year. “When the Moon Hits Your Eye,” a bloody tale of a home-invasion gone wrong is in the now famous pizza horror anthology, Tales from the Crust, from Perpetual Motion Machine Publishing in October. “This Can Happen to You” is a story about a reluctant lottery winner navigating the ills of fame while trying to protect her baby that will appear in the Sara Tantlinger-edited anthology “Not All Monsters” from Strangehouse Books. I used the Fleetwood Mac song Gold Dust Woman as inspirado for my story “Pick Your Path and I’ll Pray,” which is part of the Burdizzo Mix Tape Volume 1, now available from Burdizzo Books, and my story “My Partner Went First,” which focuses heavily on a cat’s grief as it deals with the unexpected death of its owner will appear in Volume 2 of From a Cat’s View from Post-2-Print Publishing.

Meghan: Where can we find you?

Jessica McHugh: I’m on Instagram and Twitter, and I also run a Patreon page that folks can join for as little as $1 a month. I post a short story from my experimental compound novel, “WEBWORM,” as well as stories inspired by patron votes on polls about setting/genre. For $5 I’ll record a singing video to entertain my neighbors, of which patrons can request as many as they want every month, and I also mail out physical copies of one-of-a-kind blackout poetry for $10/ month. I’m probably most active on Instagram, though, so come find me!

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?

Jessica McHugh: I just want to thank all of my fans and friendos who’ve supported me these past eleven years. Whether it’s reading and reviewing my books, subscribing on Patreon, buying my blackout poetry, or donating when times got rough, you have all made me feel like I (and my stories) really matter in this crazy and often fickle publishing world. It’s a gift I feel like I can only repay by creating more art. Which, thanks to your encouragement, I fully intend to do.

Jessica McHugh is a novelist and internationally produced playwright running amok in the fields of horror, sci-fi, young adult, and wherever else her peculiar mind leads. She’s had twenty-three books published in eleven years, including her bizarro romp, The Green Kangaroos, her Post Mortem Press bestseller, Rabbits in the Garden, and her YA series, The Darla Decker Diaries. More information on her published and forthcoming fiction can be found on her website.

Website ** Amazon
The Green Kangaroos ** Tales from the Crust ** Burdizzo Mix Tapes Vol 1
The Darla Decker Diaries Vol 1-5

The Green Kangaroo

Perry Samson loves drugs. He’ll take what he can get, but raw atlys is his passion. Shot hard and fast into his testicles, atlys helps him forget that he lives in an abandoned Baltimore school, that his roommate exchanges lumps of flesh for drugs at the Kum Den Smokehouse, and that every day is a moldering motley of whores, cuntcutters, and disease. Unfortunately, atlys never helps Perry forget that, even though his older brother died from an atlys overdose, he will never stop being the tortured middle child.

Set in 2099, THE GREEN KANGAROOS explores the disgusting world of Perry’s addiction to atlys and the Samson family’s addiction to his sobriety.

Darla Decker Diaries 1: Darla Decker Hates to Wait

Patience is not Darla Decker’s strong suit. Surviving sixth grade is tough enough with an annoying older brother, a best friend acting distant, and schoolwork. After adding instructive kissing games and the torturous wait for a real date with her biggest crush, Darla is perpetually torn between behaving like an adult and throwing temper tantrums.

Games of flashlight tag, and the crazy cat lady roaming Shiloh Farms in a “demon bus,” serve as distractions during her parents’ quarrels and her anxiety about show choir auditions. Yet the more Darla waits for her adulthood to begin, the more she learns that summoning patience won’t be the hardest part of being eleven.

A frank and funny look at the path to adulthood, DARLA DECKER HATES TO WAIT begins a journey of love, loss, and the nitty-gritty of growing up through Darla Decker’s eyes.

Tales from the Crust

The toppings: Terror and torment.
The crust: Stuffed with dread and despair.
And the sauce: Well, the sauce is always red.

Whether you’re in the mood for a Chicago-style deep dish of darkness, or prefer a New York wide slice of thin-crusted carnage, or if you just have a hankering for the cheap, cheesy charms of cardboard-crusted, delivered-to-your-door devilry; we have just the slice for you.

Bring your most monstrous of appetites, because we’re serving suspense and horrors both chillingly cosmic and morbidly mundane from acclaimed horror authors such as Brian Evenson, Jessica McHugh, and Cody Goodfellow, as well as up-and-coming literary threats like Craig Wallwork, Sheri White, and Tony McMillen.

Tales From the Crust, stories you can devour in thirty minutes or less or the next one’s free. Whatever that means.

Rabbits in the Garden

At twelve years old, Avery Norton had everything: a boyfriend who was also her best friend, the entirety of Martha’s Vineyard as her playground, and her very own garden to tend. By thirteen, it was all over.The discovery of a secret crypt in the basement starts the Norton family down many unexpected avenues, including one that leads to Avery’s arrest for murder and her subsequent imprisonment in Taunton State Lunatic Asylum.

Set in 1950s Massachusetts, Rabbits in the Garden follows Avery Norton’s struggle to prove her innocence, exact her revenge, and escape Taunton with her mind intact.