Tag Archives: suspense

New edition of Kaitlin Queen’s Essex noir One More Unfortunate, including standalone bonus story

Published today:
a new edition of
One More Unfortunate by Kaitlin Queen
including standalone bonus story “Yesterday’s Dreams”

One More Unfortunate

It’s the mid-1990s and Nick Redpath has some issues to resolve. Like why he is relentlessly drawn back to a circle of old friends and enemies — and an old love — in his seaside birthplace in north Essex. And why he won’t let himself fall in love again. But first he must prove that he didn’t murder his old flame, Geraldine Wyse…

The ebook edition includes the standalone bonus story, “Yesterday’s Dreams”.

Kaitlin Queen is the adult fiction pen-name of a best-selling children’s author. Kaitlin also writes for national newspapers and websites. Born in Essex, she moved to Northumberland when she was ten and has lived there ever since. This is her first crime novel for an adult audience.

 

Ebook available from: Amazon USAmazon UKAmazon Canada

“There are twists and turns galore before finally the murder is solved… The characterizations are vivid, and in a couple of cases really quite affecting; the taut tale-telling rattles along at good speed; and the solution to the mystery is both startling and satisfying. Recommended.” – 5* Amazon review

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New: A Restless Wind by Shahrukh Husain

arestlesswind-fbgraphic

restlesswind-ebook-coverZara Hamilton leads an apparently charmed life as a human rights lawyer in London – but she is haunted by questions about her past. Why did her mother disappear? What made her college sweetheart, the Maharaja of Trivikrampur, abandon her? Why did her husband renege on a plan to return to her native India? And why has she avoided visiting her much-loved family home in Qila, Trivikrampur? After ten years as a Muslim in Britain, bereft of a homeland, Zara finally seeks the answers. When she returns to Qila, her world is shatteringly different, her aristocratic family mired in complications and far-right politics on the rise. Amid the unrest of a changing nation, Zara seeks the key to her mother’s secret as contemporary resentments clash with a harmonious past.

Buy this ebook from: Amazon USAmazon UKAmazon Canada – FREE on Kindle Unlimited

Buy this book in print (ISBN: 1515075699): Amazon USAmazon UKAmazon CanadaCreateSpace – and other booksellers
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A Restless Wind piques the reader’s interest from the very beginning with fine details and a strong and engaging protagonist.” The Deccan Herald

“A fascinating emotional narrative of an expatriate, A Restless Wind intertwines the old with the new in modern India.” Muneeza Shamsie, Newsline (Pakistan)

“When India Exotic meets India Embattled a great new transcontinental heroine is born. Husain has put the characters together with great care. But it is Zara who is the novel’s anchor and her confusion over her identity propels the plot.” Kaveree Bamzai, India Today

“One intriguing trait of Husain’s narration is its delicately filigreed details. Her descriptions are graphic, colourful and semiotically nuanced. The semiotized narrative brings home to the reader the contrasted cultural set-ups, or, in phenomenological terms, the conflicting ‘lifeworlds’ that the different characters in the novel inhabit.” Arnab Bhattacharya, The Telegraph, India

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Shahrukh Husain writes fiction and non-fiction for children and adults. She has written four themed retellings of folklore and myth for Virago and worked on scripts commissioned by Merchant-Ivory and Buena Vista among others. Currently, she is developing TV projects for SKY, KUDOS and BENDIT FILMS while working on her second novel.

She is a practising analytical psychotherapist and has worked extensively with asylum-seekers and PTSD survivors.

She was born in Karachi, Pakistan and divides her time between northwest London and East Sussex.


Tomorrow… may never be the same again: New YA release by Nick Gifford

Just out: Tomorrow by Nick Gifford

Tomorrow by Nick Gifford - a young adult time-travel thrillerTomorrow: a future only you can see; a future only you can save…

When fifteen-year-old Luke’s father dies, his eccentric family threatens to descend into chaos. Luke distracts himself by helping to sort through his father’s belongings, a painful process which takes on an entirely new dimension when he discovers that his father had somehow had knowledge of events in his own future. This prescience is connected in some way to a recent spate of terrorist attacks, which would explain why security forces – and others – start to take an interest in Luke’s discovery. Just what had his father known, and why are Luke and his friends suddenly at the centre of it all?

Tomorrow: an emotion- and time-tangled thriller set in the War Against Chronological Terror.

Tomorrow: when three teenagers may have the power to save or destroy a world that is yet to be.

Praise for Nick Gifford’s work

“The king of children’s horror.” Sunday Express

“Another great teen thriller.” Spot On

“Ingenious … this chilling story reads with all the power and demented logic of a thoroughly bad dream.” The Independent

“A contemporary thriller with overtones of Orwell and Huxley about it.” Rhyl Journal

“A story that genuinely chills and chafes at ethical and moral certainty… Erased is a real romp of a read. That it equips readers with an awareness of the mechanics of inhumanity must be a step towards ensuring history’s mistakes are not repeated.”Achukareviews

“An exceptional new talent in children’s literature … a bold, shocking and completely unputdownable horror story.” Waterstone’s Books Quarterly

“The pacing and plotting in this novel are superb. Twists and surprises occur at unpredictable intervals. And the ending is a blend of hope and menace … achieves a level of excellence equivalent to one of Ramsey Campbell’s books, neither condescending to his youthful readers nor slighting his adult ones. Now, that’s a truly scary accomplishment!” Asimov’s SF Magazine

“Guaranteed to scare your socks off.” Glasgow Herald

Buy this ebook from: Amazon US – Amazon UK

Buy this book in print: Amazon US – Amazon UK – CreateSpace

Murder by the Book by Eric Brown: a review

Murder by the Book by Eric Brown

I was lucky enough to be given a free copy of this lovely hardback, and still it cost me twenty quid. That Eric Brown can be a bastard like that.

Murder by the Book, a debut crime novel from a writer who has been publishing book-length fiction for nearly 25 years, winner and shortlistee of many awards, his books and short stories have mainly stuck to his science-fiction roots, straying occasionally into fantasy and horror (of the gentle, psychological variety), and a wide variety of fiction for teenagers and younger.

Murder by the Book is the first Langham and Dupre mystery. Don Langham is a middlingly successful 1950s crime novelist, Maria Dupre is the assistant to Langham’s delightfully over the top literary agent Charles Elder. The two are drawn together when Elder becomes the subject of a blackmail plot, with an extortionist demanding payment for some dodgy photos of Elder’s dalliance with a young man at a local swimming pool.

Before long blackmail turns to something far more sinister as it becomes clear that a recent flurry of deaths among London’s crime-writing fraternity are not the accidents they had first appeared. Murder by the Book is a cracking crime novel, with satisfying twists and turns along the way, but what is most striking – and engaging – about the book is the affectionate portrayal of 1950s London and the crime-writing community of the time. Much like Midsomer Murders, Brown has turned in a highly enjoyable crime romp that never takes itself too seriously, but always with a straight face; and also much like Midsomer Murders victims are soon dropping like flies.

Occasionally rushed, where a little more delay might have heightened the tension, Murder by the Book is the most fun I’ve had within the pages of a book in a long time, and I’m eagerly looking forward to the next in the series.

That twenty quid? About a third of the way into reading the book I lost my copy, and I was enjoying it so much I had to buy a replacement. It’s very frustrating that such a good book is priced so highly (in both its hardback and ebook editions), but I still blame Eric for writing such a good book that I just had to cough up at Amazon. That Eric Brown: he’s wasted on science fiction.

Murder by the Book is published by Severn House (the price of the hardback has since dropped to £14.99) and is available at Amazon, etc.


Early copies of new books by Eric Brown, Garry Kilworth and James Everington

They’re here!

The first copies of the print editions of three new infinity plus titles:

Salvage by Eric BrownSalvage by Eric Brown

When Salvageman Ed saves Ella Rodriguez from spider-drones on the pleasure planet of Sinclair’s Landfall, he has no idea what he’s letting himself in for. Ella is not at all what she seems, as he’s soon about to find out.

What follows, as the spider-drones and the Hayakawa Organisation chase Ed, Ella and engineer Karrie light-years across space, is a fast-paced adventure with Ed learning more about Ella – and about himself – than he ever expected.

The Salvageman Ed series of linked stories – four of which appear here for the first time – combine action, humour and pathos, from the master of character-based adventure science fiction.

Advance paperback copies available from Createspace now.
Paperback and ebook copies available from Amazon and other booksellers later this month.

The Fabulous Beast by Garry KilworthThe Fabulous Beast by Garry Kilworth

A set of beautifully crafted tales of the imagination by a writer who was smitten by the magic of the speculative short story at the age of twelve and has remained under its spell ever since.

These few stories cover three closely related sub-genres: science fiction, fantasy and horror. In the White Garden murders are taking place nightly, but who is leaving the deep foot-prints in the flower beds? Twelve men are locked in the jury room, but thirteen emerge after their deliberations are over. In a call centre serving several worlds, the staff are less than helpful when things go wrong with a body-change holiday.

Three of the stories form a set piece under the sub-sub-genre title of ‘Anglo-Saxon Tales’. This trilogy takes the reader back to a time when strange gods ruled the lives of men and elves were invisible creatures who caused mayhem among mortals.

Garry Kilworth has created a set of stories that lift readers out of their ordinary lives and place them in situations of nightmare and wonder, or out among far distant suns. Come inside and meet vampires, dragons, ghosts, aliens, weremen, people who walk on water, clones, ghouls and marvellous wolves with the secret of life written beneath their eyelids.

Advance paperback copies available from Createspace now.
Paperback and ebook copies available from Amazon and other booksellers later this month.

Falling Over by James EveringtonFalling Over by James Everington

Sometimes when you fall over you don’t get up again. And sometimes, you get up to find everything has changed:

An ordinary man who sees his face in a tabloid newspaper. A soldier haunted by the images of those he has killed from afar. Two petty criminals on the run from a punishment more implacable than either of them can imagine. Doppelgängers both real and imaginary. A tranquil English village where those who don’t fit in really aren’t welcome, and a strange hotel where second chances are allowed… at a price.

Ten stories of unease, fear and the weird from James Everington.

“Good writing gives off fumes, the sort that induce dark visions, and Everington’s elegant, sophisticated prose is a potent brew. Imbibe at your own risk.” – Robert Dunbar, author of The Pines and Martyrs & Monsters.

Advance paperback copies available from Createspace now.
Paperback and ebook copies available from Amazon and other booksellers later this month.


Ebook pricing, again; or “Fifteen quid for an ebook?”

So here’s the situation…

I’m partway through Eric Brown’s crime novel Murder by the Book, and loving it. I’ve been encouraging Eric to write crime for years and now he has and it’s a great read, full of fantastic characters and lovely 1950s London period detail.

And then, yesterday, when I was about to return to it… where in hell was that book? We turned the house upside down, but couldn’t find it. It literally is a mystery. I have every confidence that it will turn up again at some point: accidentally picked up with someone else’s books, knocked under the sofa, whatever.

But I want to know what happens next!

Simple, I thought: I popped over to Amazon to get a copy for my Kindle, happy to spend a few quid just so I could keep reading without break.

Two problems with that, though:

  1. Although the hardback came out in March, the ebook won’t be out until July. What reason is there for this? There can’t be a logistical explanation: the ebook hardly needs physically shipping to distributors, and it’s not exactly labour-intensive to produce; I’m sure the file is just sitting there, gathering virtual dust while it awaits publication. I can’t see any way they would gain sales by the delay; if anything they’d lose them, as people like me go looking for the book, find it’s unavailable, and then move on to other things.
  2. It’s priced at £14.90. Come again? Fifteen quid for an ebook? This is where I’m completely baffled by the publishers’ policy. Who do they think is going to buy an ebook at that price? Is there some kind of logic that says “While it looks good to have an ebook version available, we don’t want people to actually buy this format”…?

I get the reasoning for pricing the hardback at £19.99. Presumably the vast majority of sales at this price are to the library market, and the higher price makes sense given that each copy of the book will get multiple readers. But £15 for an ebook at Amazon? I’d love to know which part of the market publishers Severn House are targeting with this strategy.

The only possible explanation I can think of is that they think potential buyers will be horrified at the price and opt to buy the slightly more expensive hardback instead. But that makes no sense: the profit margin on the hardback is so much lower, because of production and distribution costs. They could price the ebook for a fiver and make just about as much as they make from the hardback, and they’d actually, erm, sell copies.

An Eric Brown crime ebook at £5 would sell. If anyone could explain to me how even a novel as good as this is will sell ebooks at £15 I’d love to be enlightened.


Snapshots: Stephen Volk interviewed

Whitstable by Stephen VolkQ: Just published by Spectral Press is your new novella, Whitstable, a creepily disturbing mixing of fact and fiction that pays homage to the Hammer House of Horror and the Gentle Man of Horror, Peter Cushing. Why Hammer? Why Cushing?

Because the idea centres around a young boy who needs a monster-hunter, and to me a monster-hunter is Van Helsing – and Van Helsing is Peter Cushing! It’s really as simple as that. The idea of the boy came first, a boy who is the victim of harm of the most despicable kind, and the only way he can assimilate it and deal with it is through the metaphor of fiction. Of the horror films he watches. The only kind of evil he understands is the vampire and the only hope he can expect is that of a vampire-hunter. The surface lore of the story is all about the horror genre I love – but underneath that, it is about real horror, the horrors of real life.

Having said that, I wouldn’t have become so excited about the story if it wasn’t about my favourite actor and my favourite film company. I grew up on Hammer films, and in many ways their mythos has informed everything I’ve wanted to write since – it certainly contributed to my wanting to become a horror movie writer. When I saw names such as Tudor Gates or Jimmy Sangster on the screen, I always thought: how brilliant would it to be to have that job, to dream up stories like this and be paid for it? So I was happy that my idea for “Whitstable” allowed me to indulge in my passion for the films of that era and, more importantly (if I got it right) pay an incalculable debt of gratitude to Peter Cushing, the actor who made many of those films so vivid and unforgettable.

Q: Given that this story centres around a rather well-known actor, did you feel constrained by needing to stick to the facts and the desire to pay tribute to Cushing, or was it more the case that fiction freed you to do so?

I knew I had to go as far as possible to get it to feel right. I knew I was putting him in a fictional situation, so there was a point where research runs out and my imagination or skill has to take over – and that is the fun of it, and the challenge. To worry about whether people might pick holes in this or that detail would completely stymie me, so I tried to forget about that. First of all I had to please myself and feel I’d done a good job. A case in point (spoiler!) is that I was wondering how Cushing could defeat his nemesis. I found it impossible that he would kill or be violent to the antagonist: it simply didn’t feel in character, even in fiction, to do that – and I felt desperately that even though this is fiction, it had to be plausible. The good thing is that the solution to this was much more fitting to the story – it really added another layer, which is that Cushing finds the strength to stand up to this monster, and in doing so, destiny takes over. Fate takes a hand. He doesn’t cause the ending physically, but somehow that seemed better, to me. Like his moral strength had nevertheless vanquished the enemy.

Q: How important is sense of place to you in your work?

I think in most stories specificity is important. Well, authenticity is important. If you are trying to convince the reader or viewer that something weird or outlandish really happened, the trappings of real life are often useful to give a feeling of realism, in a way. If somebody lights a Silk Cut rather than a cigarette. All those touches – not to belabour them, obviously – add to the feeling this could happen.

Beyond that a sense of place also helps with the symbolism and theme. I’ve always found off-season seaside towns evocative, even ghostly, in their dry, slumbery atmosphere. This was excellent in Don’t Look Now, of course – somehow making the place itself otherworldly. And in “Whitstable” – look, the place is the title, even! – the image of the bereaved man looking out to sea seemed fundamental. There’s something about the constant nature of the sea and our fickle, fragile lives. And then, of course, I thought about the industry there of fishing and fishermen. I didn’t want my “vampire” to be a nobleman or toff, or office worker, or weirdo with pervy glasses – I didn’t know what he could be without it being a cliché. Then I described him as a hippie, very much of 1971, in contrast with the fuddy-duddy, old-fashioned Cushing, and I thought Cushing would probably observe that he looked like Jesus Christ (as people often said of John Lennon). Then, bingo – the connection with being a fisherman was complete. Les Gledhill became the exact reversal of the Saviour that Cushing felt had abandoned him. The themes all came together, largely by thinking about the place.

Q: Official publication date is 26th May, but I believe the hardcover edition has already sold out. What kind of response has Whitstable received?

To be honest it has been beyond my wildest dreams. It got 5 out of 5 stars in SFX magazine and an amazing review in Starburst. I’ve girded my loins for a bad one but there simply hasn’t been, touch wood! I’ve even had some tremendous feedback from people who knew Cushing and are experts on his work – David Pirie, Jonathan Rigby, Wayne Kinsey, to name a few. They’ve all been massively encouraging. But of course it was vital for me to get input from people like that to reassure me I’d “caught” the great actor convincingly. I’m happy to report that, to a man, they reported I had. Director Mick Garris and critic Kim Newman have also said they love it. I feel a bit humbled by the positive response, to be absolutely truthful.

Q: What brought you to horror fiction?

Growing up with Hammer, with comics, with Famous Monsters of Filmland. Gravitating to Pan and Poe and Stephen King. I think it is a familiar route, except for some bizarre reason I didn’t particularly want to be a novelist, I wanted to write movies. I picked up a paperback of the screenplay of Westworld just after it came out, and that was my Bible. I actually loved the screenplay form. I loved seeing films in my head. The only way to do it.

Q: As well as prose fiction, you’re a successful scriptwriter for TV and film. What makes an idea a book or short story, rather than a TV or film proposal and script?

A short story is a succinct idea with a definite voice that you can bite off as whole, I find. You know how to do it. A film is simply a drama of definite length with dramatisable action and good roles. A TV show is a proposition – a set-up with open-ended possibilities: an engine that can run and run. The format, the way it works as a drama, is everything – and that can take months or years to work out. Even Call the Midwife, which you’d think would be a no-brainer, was in development at the BBC for ages. That’s what people don’t realise about TV when they watch it, and it works or it doesn’t work. It takes bloody forever!

Of course, some ideas are perfectly suitable as a film or a novel, so there’s malleability sometimes. One idea that I’ve just had turned down by a broadcaster I might turn into a proposal for a series of books – I don’t know. You can waste an awful lot of time re-circulating ideas and sometimes it’s better just to ramp up new ones. But you don’t want to waste that perfectly good idea just because that one person didn’t get, either.

Short stories for me are “instant gratification” – and I do it for love, certainly not money. I can tell a story exactly as I want it, and it gets in a book. That is a very welcome contrast to films, which take five, ten years to get into production – if they get produced at all. I can spend a year on a TV script and even then only six people will ever read it before it’s rejected and that’s that. So it’s very soul-destroying at times. I write short fiction because I’ve got to write stories and I have to get them out there, and getting a story accepted in an anthology, as happened today, can be just as much of a thrill as having a big screen movie released. It sounds insane – but it’s true!

Q: What has scriptwriting brought to your prose fiction?

Planning. And not planning! I’m punctilious about organising my thoughts on a screenplay because a script is about concision – less is more. It’s about structuring the scenes and what happens within the scenes, and that is 99% of the work. Thinking, not typing. So I bring a sense of structure to story writing, I think, and a sense of dialogue and subtext, which you would expect.

Paradoxically, though, what I like in writing fiction is what you don’t do in screenplays which is the voice, the voice of the story or the tone of the narrator, be it first or third person. I also enjoy that fiction can meander – you can go “off piste” with little thoughts or big thoughts, but in film it is all about the spine and forward motion. Then again the reverse is true and I like to think that the freedom I have in fiction filters back in to my scripts, and I’ve learnt there are no rules – break them, divert, do whatever the hell you like. They can’t shoot you for it.

AfterlifeQ: What are the highlights of your writing career to date?

Wow. Tough one. Most enjoyable moments? Walking along the South Bank after the premiere of Gothic at the old NFT. Felt I was walking on air that night. Felt like it was all taking off (…but of course it wasn’t!). Being with Lesley Sharp and everyone at the Royal Television Society Awards when she picked up Best Actress for Afterlife. That was very special. And of course, the night I collected a BAFTA for writing the short film The Deadness of Dad starring Rhys Ifans. I stood on stage between Sean Connery and Sigourney Weaver. I’ve never been so excited in my life! Unless you count going to a party at Carrie Fisher’s house in LA and lining up for barbecue chicken next to Harrison Ford, Danny De Vito and Jack Nicolson! That was pretty nuts!

Q: What are you working on now?

I’m head down in a new series for BBCTV. Early days yet. But I’m very excited about it. And quite a few spinning plates with TV and film companies, including Playtime, a script I’ve written with Tim Lebbon, and Telepathy – which I hope will get its financing confirmed at Cannes and be filming later this year. On the fiction front I’ve stories coming out in a Professor Challenger anthology soon, in Beyond Rue Morgue (Titan), in Terror Tales of the Seaside (Gray Friar) and in The Burning Circus (BFS Publications). I’m also hoping to hear news soon about a second collection, my follow-up to Dark Corners. Which is very exciting.

Q: Describe your typical writing day.

Yikes. Must I? I’m a chronically slow starter and mornings are useless (unless I’m on a deadline) – paperwork, noodling, the inevitable emails, and coffee. Afternoons, I get stuck in, but I’m at my most productive in the evening and night time. If I had no family or social life I’d probably work from 4pm to 2am. But a lot of writing happens when you’re not writing. You’re never off work because problems and ideas are always percolating. They come together when they need to. I get panicky if I haven’t sat at my desk for a certain number of hours, but the work always gets done. Though doing 10 pages a day on a script is different kind of work than working on a treatment or outline, which is different from rewriting, which is different from writing memos or notes or having meetings, or pitching. There is no typical day!

Q: What would you draw attention to from your back-list?

The best of my drama is probably Afterlife. The best of my fiction is possibly “Whitstable”. But others might tell me differently. In terms of “back-back” list I’d like the old BBC series Ghosts to be released on DVD – I wrote two of those, and they weren’t bad. Is Network TV listening?

Q: Which other authors or books do you think deserve a plug?

I’ve just read Joel Lane’s collection Where Furnaces Burn, which is marvellous. I loved Mark Morris’s latest collection from PS too. And of course Graham Joyce’s Some Kind of Fairytale. And Stephen Gallagher’s The Bedlam Detective. One of the joys of joining the community of writers in the independent genre press or via the BFS (British Fantasy Society) is that I now count all the above people as my friends. I’d also like to plug Pain Cages, a great collection by Paul Kane, for which wrote the introduction.  And for no personal reason other than it’s brilliant, I’d recommend Why Be Happy When You Could Be Normal? by Jeannette Winterson.

Q: If you were to offer one snippet of writing advice what would it be?

First of all, if you are a genre writer interested in Horror, SF or Fantasy, join the British Fantasy Society. Then, I’d say:

Perseverance + Talent = Luck

You can’t do anything about your innate Talent (you’re either a storyteller or you aren’t) but you can work on the Perseverance part. And make sure when Luck comes along you are ready for it because you’ve been working your arse off!

Whitstable by Stephen VolkMore…

Stephen Volk is best known as the creator of the TV drama series Afterlife and the notorious 1992 BBC “Halloween hoax” Ghostwatch. His screenplays include The Awakening starring Rebecca Hall and Dominic West, Ken Russell’s Gothic and The Guardian directed by William Friedkin. He has been a finalist for the Bram Stoker, British Fantasy and Shirley Jackson awards, and his short fiction has been selected for Year’s Best Fantasy and Horror, Best New Horror and Best British Mysteries

And more:

 


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