Posted: July 31, 2017 in Uncategorized



As announced by Roma Gray

P26 – Project 26

26 books, each one representing a different letter in the alphabet, with each letter in turn represented a horror-related concept that starts with that letter.

The owner of JEA, catt dahman, challenged several JEA authors to participate in this grand project. The project consists of an assortment of anthologies, novels, and short story collections. Many of the authors involved in the anthologies did not even know about this, although they were part of a larger contest and won a huge prize (to be announced later)

Over a year in the making, the creative range and scope of this project is both awe inspiring and terrifying. We challenge you to collect them all.

Today we have four new books Backwoods Bonfire a novel by Scott Essel Pratt, Vampz Vendetta an anthology featuring multiple JEA authors and edited by John Ledger, Jurassic Jackaroo: Jasper Junction – a novel by Roma Gray and Lacrimation of the Leviathan a novel by Scott Essel Pratt

What? They’re not being released in order? Damn straight. At JEA we are rebels 😉 In two more weeks we’ll launch a few more. How many? Which letters? No one knows


As announced on Facebook by Roma Gray, J. Ellington Ashton Press have finally unveiled P26, which is of course Project 26, where all 26 letters of the alphabet are represented by either a novel, anthology, or collection in horrific fashion.

Unlike other alphabet related projects which have occurred before, this behemoth is not rolling out books in alphabetical order, instead they are going to emerge completely randomly. The first four to materialise are those mentioned in the above statement.

For my own part, I account for four of the overall letters of the twenty six, including helming two anthologies (featuring a host of excellent authors with stories tailored to suit the specific theme of each letter) and two novels (which, like Riders-Plebs 2, are both part of the same story). These two, if you’ve been paying attention on Facebook, Twitter etc. are of course, Carnival of Chaos and Festival of the Flesh.

These books revolve around a group of disgruntled ex-employees of a rustic old Carnival/circus entity who find themselves suddenly out of jobs after a sinister newcomer and his entourage buy out and take over their place of employment with grand designs on turning it into an enormous modern horror themed monster.

Their own grand visions of enacting some type of vengeance go to hell in a rush, when they make some disturbing and grotesque discoveries that suggest there is far more to the Carnival takeover than mere business.

Now they, and a whole slew of associates, innocent friends, and even the police, are going to find themselves hopelessly entangled in the hideous melange of bloodshed, perversion and savage violence of the Festival of the Flesh, the gruesome entity that lurks behind the bright, seemingly innocuous facade of the Carnival of Chaos.

carnival cover

Stay tuned for more information, actual synopsis’s for both books, release updates, and keep on top of all the other books comprising the project as they roll out. As announced above, four of these, including two novellas by Essel Pratt, one from Roma Gray and an anthology edited by John Ledger, have already been released.

*Warning-All the books constituting Project 26 are horror in genre, but fit under the broad blanket of horror, suitable for the vast majority of readers. Carnival and Festival on the other hand, are WetWorks oriented works, which means they dwell mostly in extreme horror realms. Be prepared for extreme violence, explicit sex, offensive material, potential triggers. If some scenes don’t disturb, you may be dead. Or gleefully perverted.

festival cover

SotS Cover


Though I will constantly make reference to the late great Richard Laymon as being the chief influence and inspiration on my writing, indeed the man whose work altered and honed the way I write, after I first read ‘Darkness, Tell Us’ back in the early 90’s, it was a little earlier than that when I became hooked on horror and there were myriad motivators prior to Laymon the king. Hutson, early Koontz, McCammon and old King were pivotal to me, but when it comes down to specific books that played a massive part in entrenching me in a lifelong love with the genre, in all its mediums, three novels in particular spring immediately to mind, because they’ve stuck with me from the moment I’ve read them, been re-read over and over again, and never lose any of the horrific charm that first obsessed me with them. They are Graham Masterton’s ‘Walker’s, Thomas Page’s ‘The Spirit’ and Clive Barker’s ‘Cabal’. Since this is the book that made me, singular, I will have to narrow that down to just one and in that event I’m going to run with ‘Cabal.’ Being the kid at school who was always writing tales about phantasmagorical monsters and bizarre beasts of my own creation, ‘Cabal’s’ fantastic graveyard community of Midian was a source of immediate fascination to me, fostering an instantaneous love for these oddities and the characters who joined with them. Having a love for all things dark and all things monstrous meant ‘Cabal’ was just about the most perfect story I’d ever read at that stage of the late eighties, a young impressionable lad with a profound desire to explore these dark and twisted worlds. The characters are all deeply flawed and damaged, and the portrayal as humans existing as the real monsters of the piece is something that has always remained with me, something I like to explore in my writing as well. The atmosphere throughout the entire thing is an epic one, laden with menace, darkness, and fantasy aspects, but often conjures up more emotional moments and feelings of alienation, and Barker is a master at being able to balance everything with just the right touch of poignancy, dropping in moments of shocking violence and a nice splash of sex as well. The copy I first read was the Fontana Collins edition from 1989 featuring Craig Sheffer as Boone in his monster personality after becoming one of the Nightbreed and Anne Bobby as Lori from the Nightbreed film adaptation which came out the following year, and it also contained the curious artwork from Barker himself, appearing throughout, before chapters, at the end of chapters. I was almost as intrigued by these artworks as I was the story and they definitely enhanced the assortment of atmospheres conjured up by the narrative itself. I still own that very same copy, along with Laymon’s ‘Darkness, Tell Us’, one of the very few books I actually have the one copy I’ve maintained from the very first reading way back then and consequently its pages are yellowing and it certainly looks aged, but otherwise I keep it in pristine condition. It has stood up to so many re-readings I have lost count of how many times I’ve pored over the same pages, been immersed in the same unusual characters and drifted away to the world of Midian. It may not be Barker’s most acclaimed or widely acknowledged work, and as a relatively short piece considered a novella these days, might not be as extensively convoluted as much of his other material, but to me it remains a classic and will forever hold a place as one of those books that leave an indelible mark. It’s one of three books that made me, but for the purpose of this article, it is the book that made me.


In the interests of paying a little more attention to this site, I’ll be posting somewhat more regularly around here. Which means you’ll either get something semi-coherent or an utter stream of complete gibberish. For now, we’ll go with an update.

At the tail-end of last year I posted up a pretty comprehensive list of projects and books I planned to work on in 2017, including roughly twelve novels. The good news there is that two of those are just about written (another one-The Sleep, subject of my last post, of course came out in January) and will see the light of day this year. Because these two are both part of a larger project, I’m not at liberty to release anything in the way of details just yet. While I’ve had fun working on these books, they’ve monopolised a lot of time, and honestly, I’ll be glad to get that shit done and squared away. A whole bunch of different factors have meant I haven’t exactly ripped through the latter book in the way I normally would, so trying to get it done has been moderately frustrating. I dig the characters and the story, but to say I’ll be glad to see the back of it is an understatement. While I’ve been pouring what available writing time I have into trying to knock this motherfucker over, I’ve had numerous other projects sitting on the back burner, some with rapidly approaching deadlines. Fair bet there’s a few other things I’d committed to, or wanted to write for, that have had their deadlines elapse now.

Naturally I’ll announce news on these books and release details when I’m able, but for now, rest assured, at least two new books will be coming this year. Initially when I made the list detailing the various novels I had in the works, or plans to delve into, I’d envisioned having a bit more done by this time of year than I have so far, but you know, best laid plans and all that shit…

The various factors and outside aspects that have impacted on my writing time turned this latest book into something of a fucking albatross around my neck, and I’ve felt like I’ve been moving through it more sluggishly than I’d have liked when I actually do get around to doing any scribbling on it. Fortunately, the end is in sight and I can get it cleared and move on to all those other projects that are piling up like a mountain of fucking unpaid bills.

After I finally get that sorted, my first focus will be on a few short stories for various anthologies that have to get written. The bonus there is I have a story lurking insidiously around in my head for the first of those, and ideally I’d have already splattered this one out in fresh blood or what-have-you, but in trying to get the novel completed, I set myself the rule of only working on it until it’s done, so nothing else gets written until then.

Knock those antho commitments out of the way and work shall commence on any number of novels, either already started, or some new fiendish endeavours. One thing is a given. This beast will be in there somewhere…plebspromo3

There will be a sequel to Undead Fleshcrave: The Zombie Trigger somewhere in the mix too, but that will probably be considered sometime after Plebs 3. I did mention on Facebook at some stage that some folks might get to be in one of these two books, at least in terms of appearing as a character, or having a character named after them etc. etc. I recall a pile of people commenting on that particular status nominating themselves to be in the books, but shit, that was a fair while ago and rather than scrolling through the fuckload of posts that have saturated my timeline since then, I might need to do a refresher and see who was keen to get themselves deepsixed (maybe) in either Plebs 3 or The Zombie Trigger 2. Or maybe something else. Who knows?

In other news, the brutal juggernaut that is Rejected For Content will continue to stampede over all and sundry with no remorse, no regard and certainly no signs of slowing down. I made mention of a new disturbing entity that I have brewing which led some to question whether this was going to be something of a replacement for RFC. Short answer, no. Long answer, fuck no.


Rejected For Content has so many more stories to tell, so many dark corners and recesses to explore, and so many stones to overturn, so there’s no end in sight for that monstrosity. Again, in the interests of involving readers and fans of the series, I might throw open the potential naming or theming of Rejected For Content, to those very people. In fact I already did toss it out there to gauge reactions and see what sort of despicable shit people were keen on seeing for number 6, but nothing officially set in stone. I’ll return to that when the time is right to start building momentum for the RFC machine. So, for all those who fear that Rejected For Content was on it’s last legs, or out the door, or about to fuck off out of here, no need to worry at all. Not only is the open call for RFC6 going to be happening, but so too will something else RFC related. The latter will potentially occur before anything RFC6 does; we’ll see.

As for the other WetWorks entity I made mention of just above and on Facebook leading to those queries about RFC, well, this isn’t going to be a replacement, it’s going to be something completely different and something to run alongside Rejected For Content. I’m looking forward to divulging some information about this, but again, I’m waiting to do that until I clear some projects. I will say this though; it will be extreme, it will be controversial and without doubt it is bound to upset some folks and ruffle a few feathers. I haven’t yet decided whether it is going to be thrown open, or if it will be invite-only, but I am leaning toward the latter. Which means, as I stated on the Facebook status, that some time shortly, I will be actively seeking for collusion and involvement from suitably deranged, disturbed, extreme, perverse sanguinary scribes. I already have a mental list of folk I’m keen on asking-or should that be a list of mentals?-which is why I’m a little keener on making the project an invite-only thing. Primarily because I know that the folk I’m interested in asking to be part of it, can write the type of material I’ll be seeking. Extreme inkslingers who aren’t afraid to get dirty, bloody, offensive, yeah, you get the gist.

That isn’t to say I won’t throw it open at some later stage, we’ll wait and see how this excursion into extremity pans out. As I said, I’m anticipating that it will stir some people up, but then again, everything does these days.

dual depravity initial wrap

Dual Depravity hasn’t been forgotten either; there will be more volumes of that forthcoming at some stage down the track, with various authors getting involved for those books, but for now, fucking projects, lots of projects. Not enough time to get everything done, and of course, me claiming to ease back on the anthos and concentrate on novels this year worked out a treat didn’t it? Committed myself to a pile of those…

Anyway, that’s enough of that. One more chapter to write on this novel and I’m done, so best I get to that.



As if I needed any more proof that I sorely neglect this WordPress site, how about this? My most recent novel came out in January, and here it is mid-May, and I haven’t mentioned shit about it over here. In my defence, I maintain an assortment of different pages and profiles, and more often than not, this is the one which gets left to rot and fester. In any case, best rectify that now.

January 2017 saw the release of my first novel for the year (there will be at least a couple more coming out this year, but those are still under wraps as far as providing details for them goes). This of course, as most people should already know (unless you use this site to keep update on news-in that case, you wouldn’t have a clue), was The Sleep.


This book is my spin on a creature feature of sorts, a monster tale, albeit written in my usual grindhouse splatterpunk style, though it probably is a little more accessible to mainstream horror fans than some of my previous works have been. That isn’t to say it has been toned down in any context, more of a case of the story not quite warranting some of the things that have appeared in prior books.

Here’s the synopsis

Obscure urban legends and monstrous myths abound all over the internet, and none are more obscure or bizarre than the one purported to haunt the strange, remote and oddly named town of Growling and its surrounds.
Here, the communities are plagued by freakish weather phenomena, aberrant lightning and something even worse that arrives in the midst of these irregular storms. Here, all denizens adhere stringently with the unwritten rules of what they all know as The Sleep. Here, the way of life for folk is dictated to by the BeastStorms.
When a group of friends, including an amateur horror film maker, an urban legend and supernatural enthusiast, a sceptic and a journalist, among others, stumble across the vague tale online, each have their own reasons for wanting to discover the veracity of the peculiar legend.
Now, they are on a road trip that’s taken them thousands of miles from their comfortable city existences and right into the domain of The Sleep. Where mistrusting, superstitious locals patrol the neighbourhoods in packs with ominous warnings for intruders and unwelcome passers-through. Where dissenters are run out of town to live as outcasts on the fringes of civilization. Where repercussions are severe for those who don’t take heed of warnings to abide by the rules of the land.
Where unholy storms unlike anything ever experienced before, dredge up something more than insane weather. Something monstrous.
Every so often, among all those many legends easily explainable, or proved to be nothing more than pure hoax, there’s one with more than a kernel of truth to it.

One like the BeastStorms.

The whole concept of this tale is one I’ve had in my head for quite some time, and it was all originally derived from one single image (the base image you see on the whole cover wrap-the old dwellings and the sky). Elements were added by cover artist Michael Fish Fisher to further enhance the aesthetics and fit the theme of the book, but the base image itself, prior to any of that, was enough to conjure up the story in my head before I even started writing it, at least in terms of the mythos, what happened when the Storms came and how people dealt with that. Like most of my work, I didn’t plan it or outline it in any way, shape or form; I had the initial characters, what their motivations were and as usual, I threw them into monstrous situations and let them see how-or if-they could come out of it. Unlike the majority of my other books, I did have some idea on how it was going to end, though even that took something of a turn along the way. In any case, here’s a few things folks have been saying about it.
“The Sleep is a combination of a novel and a horror movie which goes in gonzo directions and yet it all makes sense in the end. This is what novels are supposed to do. As horror, when the evil erupts in almost atomic bomb explosion with everyone in its sights, expect the worst for the worst is there spilling with blood, death, and decapitations. The monsters, both human and monsters, are monsters with little pity.”
Goforth layers his novel with violence, and gore, but there’s a compelling story here. That’s what makes The Sleep so good. It’s a dark, gritty novel that reminds us that it’s the things we can’t see that are the most terrifying. When it comes to horror no one writes like Goforth. This is a guy that takes the genre back to it’s early days of true terror, and suspense, and writes like a man possessed. This is the future of horror and each novel gets him one step closer to mainstream success.”
Jim Goforth never holds back and always packs a hell of a punch.”
If you like horror stories and can handle gore, I highly recommend this entertaining book!”
I have a lot of respect for the writing of Jim Goforth. He can take an action scene, draw you in, keep you gasping for breath, and turn the whole situation in another unexpected direction. This is what he does in The Sleep.
If any of that sounds right up your alley, snag a copy of The Sleep and check it out. Feel free to drop a review off on Amazon and let me know your thoughts. Good, bad or ugly, all reviews are appreciated.

From the author of Plebs and Undead Fleshcrave: The Zombie Trigger.

Seven intrepid travellers. One obscure tale. One hell of a storm of nightmares.

Some urban legends are true.

Another Sleep promo3

Author Interview: Jim Goforth

Posted: January 10, 2017 in Uncategorized

Jim Goforth is a horror author currently based in Holbrook, Australia. Happily married with two kids and a cat, he has been writing tales of horror since the early nineties. After years of detourin…

Source: Author Interview: Jim Goforth


2016 has been a prick of a year, not just for a handful of people, but seemingly for most folk across the board. With more ups and downs than a rollercoaster (probably more of those downs), it’s pretty apparent that this is a year most people are keen to see the back of, but that’s not really the purpose of this post. Rather than dwell on any of the less than exemplary experiences that have occurred, either personally, or for many others, this is my 2016 writing wrap.

And in terms of writing, personal output and achievements, 2016 was a stellar year for me.

With the exception of only April, May and June, I had something happening in each month of the year, whether it was the release of novels, stories appearing in anthologies or part of the ongoing Rejected For Content series. In some instances there were at least a couple of things each month with October and December being particularly productive.

My initial thoughts way back in the day that I’d try and follow a template of releasing a novel, then a collection, then novel and following that pattern went way out the window considering I had three novels come out in 2016 and no collections. Granted, two of those full lengths were two separate halves of the same story, and released simultaneously, but all the same, they were lengthy beasts and simply not feasible to put out as one book. As for collections, while I do have a pile of stories to comprise collections, not all of them are brand new and with the amount of anthologies I’ve been involved in, undoubtedly there would be reprints. My stance on collections remains the same-until one is a massively established writer with a whole host of things under their belt, putting out a collection largely comprised of reprints folks have probably already read is a rort. Save that for your greatest hits album. When you’re at the stage of making a greatest hits album, that is. Not a mere couple of years or less into a career. In any case, a collection made up of mostly new stories and a few reprints from niche anthologies and lesser read publications will be on the agenda for next year, but we’ll see what happens with that and where it fits in among all the other things planned for 2017.


I kicked off the year in January with the release of extreme metal zombie opus Undead Fleshcrave: The Zombie Trigger. Being a splatterpunk/extreme horror take on the whole zombie genre with a constant soundtrack and proliferation of primarily black and death metal driving it, this was always going to be something of a niche book likely to appeal to specific audiences, but a having it reviewed in Metal Hammer magazine was a distinct highlight. Unfortunately with the collapse of Team Rock, it’s likely Metal Hammer and other long-running magazines under that particular blanket won’t exist anymore, so any sequels spawned from Undead Fleshcrave won’t be finding themselves reviewed in those pages.

February saw the release of the very first in a line of battle anthologies, that being the M v F (Male vs Female) books, where a team of male authors captained by John Ledger was pitted against a team of female authors led by Catt Dahman. Simple rules were put in place here; each team were given specific items that had to play a part in their story and a location which it needed to be based in or around, and then each story was voted on by a group of impartial judges with no knowledge on who wrote what. Two books were spawned from this competition, MvF: Deadliest of the Species and MvF: Death Personified. You can catch my tale Lancet, in that latter book.

This was the first of three battle type anthologies I appeared in over the course of 2016, with the other two coming at the tail-end of the year in VS: US vs UK Horror and VampZ vz WolvZ.

In March, the second volume of Tales From the Lake from the always fantastic Crystal Lake Publishing finally emerged after a period of delay (the book was originally slated to be released mid-2015). The story I wrote for this one, Lagos de los Perdidos, was something of a complete departure to my usual splatterpunk, ultra-violent, more extreme end of the scale type material, centering more on a dark emotional side of things. I was one of the judges for the Tales From the Lake competition and almost forgot I was supposed to write a story for the book as well, so this one was written in a mere night or so. All the same, it was definitely one of my favourite stories of the many I penned during the year, and tapped into a different approach to horror, or what most folk might have come to expect from me.

Earlier on I’d jumped onboard with Matt Shaw’s ideas for an Easter themed horror anthology and March also saw the release of that holiday beast, Easter Eggs and Bunny Boilers. In the cheery little tale of mine, When a Bunny Snaps, I introduced a quaint establishment called Fantasy Dress, a costume themed restaurant/bar/club where each holiday of the calendar year sees the female staff dressing appropriately to match said holiday. This was intended to be a one-off, but Matt also pulled together many of the same authors who’d appeared in Bunny Boilers as well as multiple big hitters of the genre for a Christmas antho (or rather, an anti-Christmas antho), so the chance to revisit Fantasy Dress and drop them into festive fuckery was too good to pass up. I’d originally started writing a completely different Christmas horror story and then left it to pen a completely new one which would focus around Fantasy Dress instead.


In the next few months, I was mostly busy with working on the follow-up books to Plebs and the fourth volume of the Rejected For Content series. In July, Rejected For Content 4: Highway To Hell burst forth in a fiery inferno of the grotesque and the grisly, and in the following month, the sequels to Plebs finally appeared, over two years since that first book (and my debut novel) was released. Riders was split into two books (Riders: Plebs 2-Book One and Riders: Plebs 2-Book Two) because it was an enormous sonofabitch on completion, well over the 180k length that Plebs was. It simply wasn’t viable to put it out as one book, even after extensive cuts. In any case, readers who are familiar with Plebs might, or might not, know what to expect from these books. Brutal, explicit, bloody, yeah, you know the drill. Or if not, dive in and see what it’s all about. Those who have managed to catch up with the latest exploits of the Riders are already calling for a return, so rest assured, that will be on the agenda at some time in the future, hopefully sooner rather than later. Those who have read Plebs, but haven’t yet ventured into Riders, best get into it now.

I was initially planning to write a bit of a spiel on each tale I had published during the year, but as is generally the case, I’m pretty pressed for time as it is, with projects banking up for the new year and it’s fair to say I’ve been a little slack with writing much of anything over the Christmas period, so I’ve got a hell of a lot I need to get done. So with that in mind, rather than go into any more detail, I will just post a list of everything that came out during the year. You’ll be able to see from that list, the rest of the year was pretty hectic as well, particularly around the end of it. I’ll revisit some of the stories I didn’t get around to saying anything about later, but for now I’ve messed around enough in the way of not getting solid words written on anything productive the last week or so.

So, without any more preamble, here’s the list of published works I had, or appeared in, during 2016. Story names from anthologies listed in italics.

Undead Fleshcrave: The Zombie Trigger January 8 (novel)

M v F: Death Personified (Males vs Females Book 2)Lancet Feb 27

Tales From the Lake Vol 2Lago de los Perdidos, Mar 11

Easter Eggs and Bunny Boilers: A Horror AnthologyWhen a Bunny Snaps, Mar 27

Rejected For Content 4: Highway to Hell July 15 Editor

Riders: Plebs 2-Book One Aug 20 (novel)

Riders: Plebs 2-Book Two Aug 20 (novel)

Drowning in GoreMarshlands Malice, Sep 20

TrashedStrange Old Brew, Oct 3

Dual Depravity Volume One (WetWorks Presents)-with John Ledger Oct 7

Horror Anthology 2016 (Moon Books Presents)-Cavedwellers, Oct 13

Full Moon SlaughterHour of the Wolf, Nov 1

Bah Humbug! An Anthology of Christmas Horror StoriesMental Elf, Nov 27

VS: US vs UK Horror Line Dancing at Hack House, Dec 1

Rejected For Content 5: Sanitarium Dec 8, Editor

VampZ vz WolvZDinner Interruptus, Dec 14


Fairly reasonable year happening there, a lot of stuff got done. And although I say the same thing every single year, regarding cutting down on anthologies and focusing on my novel projects and so forth, I’ve already committed myself to a pile next year, so rest assured you will see a list of similar length, or even longer, surface around this time in 2017.

Here’s a brief rundown of projects earmarked for next year or ones I’m already working on (or at least those projects I’m at liberty to disclose right now).

January 2017 will have a monstrous start to it. First cab off the rank for me is going to be The Sleep, a new novel that isn’t affiliated with Plebs, Undead Fleshcrave or anything like that at all. Instead, it’s something completely different, a creature feature if you will, or monster type book, albeit soaked in my grindhouse splatterpunk stylings.

Then there will be an appearance with a bonus short story in Matt Shaw’s highly anticipated release The Devil’s Guests, out in February. I will also be appearing in another of Matt’s projects later on in the year, a huge project that already has a hell of an excellent line-up with more authors slated to join the TOC over the coming months.

Alongside a host of anthologies which haven’t yet had details released to the public, I’ll also have stories in Suburban Secrets 3: Home Invasion, Sweet Dreams from Anthology House and another VS project, and that’s just a few of those I can make mention of, two of which are already written for and sorted, ready to roll. No doubt there are also going to be myriad open calls spring up throughout the year I’ll be interested in submitting to, so that resolve to steer clear of anthologies is just something I’m going to concede is probably never likely to happen.

There will also be no less than three Rejected For Content creations (and only one of these will be the next volume in the series-that will be number 6, currently untitled. I’m thinking I may involve fans of the series to conjure up what sort of loose theme they’d like to see explored).

I already mentioned another collection, and depending on how much time I end up with to be able to put it together, that could see the light of day in 2017. I have a body of new stories, as well as those aforementioned reprints from publications that didn’t receive a wide readership on release, that will comprise said new collection.

Aside from that, Dual Depravity Volume Two (with Dawn Cano) will be happening, and I also have plans for a musical-themed anthology focusing on a specific band (and either one of their classic albums, or drawing inspiration from several of their albums). There are actually numerous bands and albums I’d love to be able to do anthologies revolving around in this manner, but again, time is a factor. Deadlines for other projects are already looming, so the focus is going to have to be with them first, then we’ll see where I end up.

In terms of novels, here’s a brief rundown on what I’m working on or will be working on over the course of the year. At this point in time only The Sleep is a definite release but two of the following have deadlines and are slated for 2017 release, so you can expect no less than three novels from me, maybe more. (Most of these are working titles only and are subject to change)

The Sleep

Carnival (abbreviated title)

Festival (abbreviated title)

Tyler Flynn

Plebs 3

Global Death: The Zombie Trigger 2

Murder Academy


Johnny Fox and the Werewolves


Lycan Gang

Degenerate Children


There are also some plans to venture back into worlds already established in a couple of previously published short stories and make full length novels, or at very least novellas, from them, but again, we’ll see if time permits that or whether they’ll become future projects further down the track.

That’s a rough idea of how many novels I already have started work on, completed work on or am near to completing, and that’s without being beset by new ideas. Without a doubt I’ll also be compelled to randomly start new novels out of the blue which aren’t on this list or have absolutely nothing to do with any of the works or planned works already mentioned. That’s how inspiration hits me. Could be the slightest thing, a single picture, a snippet of conversation, a song, anything, and I’ll have the ideas for a new book cooking up a horrific story. The whole idea of The Sleep sprang from one single image and it’s not unusual for me to find an entire book right there in one solitary picture.

I also meant to make mention of this earlier on, but naturally got carried away with talking gibberish. 2016 also saw me crack the top 100 in Most Popular Horror Authors on Amazon, which is largely due to that prolific output, as well as the Rejected For Content series and appearances in a string of successful anthologies. Reaching number 68 has been my peak so far, but I’ve been in there for a month or so, so we’ll see if I can round out the year by staying in there and climbing higher next year with a slew of bloodsoaked releases.

Stay tuned. 2017 is going to be a hell of a ride.







Now that the doors to the Sanitarium have been opened wide and the fifth volume of the Rejected For Content series is out in the world, spreading insanity far and wide, I figured it was time to have a little retrospective into the Rejected For Content phenomenon.

What is Rejected For Content?

Well, unless you’ve been living on the moon, or under a rock, or in some other way out of the loop, chances are you may have heard of it. Although it is perfectly viable that you haven’t heard of it at all; after all, the phenomenon isn’t exactly something aimed at all audiences. It isn’t something normal folk who don’t have a penchant for the extreme would be inclined to seek out or investigate.

So what is it? Quite simply it started out as a simple discussion, a notion, an idea to create a place where those stories deemed too offensive, objectionable, disturbing or horrific for various reasons to be published by the majority of publishers could find themselves a home. Essentially, it was to become a suitable outlet for tales that had been, or were likely to be, rejected on the grounds of content.

A small collective of authors were originally involved in the general banter which soon switched from mere discussion to plans and suggestions for a specific anthology. These folk included the likes of Catt Dahman, Scott Essel Pratt, Michael Fisher, Amanda Lyons, Mark Woods and myself. A conversation was mostly revolving around extreme horror and during the course of it I was making mention of the fact that I had a story submitted somewhere that I was pretty sure was going to be rejected on the basis of its content. That story, House of the Goat Monster, was later actually accepted for the publication I’d submitted it to (Ghosts: An Anthology of Horror From the Beyond) and more recently has resurfaced in Dual Depravity Volume One, but from that off-hand remark sprang the discussion that led to the creation of Rejected For Content. Michael Fisher knocked up a cover concept, a call for submissions was opened up and the wheels were set in motion.

It was bold, it was an experimental venture, it was risky, it was a gamble. And it dropped at the perfect time. Into a sea of readers keen to be launched into realms of extremity. This was only a mere couple of years ago.

Extreme horror was not new then by any means; it’s been around for a long time indeed, but its popularity was, and still is, continuing to rise. Folks love the extreme, they dig it, they want to be immersed in it and they can’t get enough of it, and though different things, fads, whatever you want to call them, are going to shift in and out of fashion, extreme horror has entrenched itself solidly and it’s not about to go away any time soon. And what’s more, those stories that were getting knocked back by publishers on the grounds of content that mere couple of years ago, would now stand a much better chance of getting published by those same publications that shied away from them in the first place. Because extreme horror sells. People want it. They crave it. They love it.

The submissions flowed in for Rejected For Content, and they ran the gamut from subtle to outright shockingly gruesome, displaying just how many different levels there are to the concept. What is, or should be, rejected on the basis of the content, doesn’t essentially require it to be an utter bloodbath or a murky mire of depravity and perversion, it can simply be something that is disturbing and disquieting through suggestion alone, enough to make your mind conjure up worse things than what’s already been spilled on the pages.

Catt Dahman helmed this first volume (which later ended up with the subtitle Splattergore), while I assisted and advised with stories, and chased bios and things along those lines. There were no theme limits (and even to this day, despite the various subtitles that were attached to ensuing volumes, Rejected For Content remains an open theme venture), which meant folks were free to run wild with their imaginations, or of course, submit those stories that had been knocked back from other places, whatever they happened to be about. Horror, bizarro, erotica, or even some strange melange of all the above were perfectly acceptable and continue to be.

And surprise, surprise, the audacious gamble paid off. Readers loved the concept, they loved the inclusion of the rejection letters with each author’s contribution, they loved to be frightened, horrified, appalled, disturbed…all those things horror should make the reader feel.


However, the purpose of Rejected For Content wasn’t a solitary one. It was multi-fold.

Not only was RFC intended to become a home for those difficult to place outlandish, shocking stories with their desire to approach the unapproachable or to delve into topics and material few would be game to consider, it was a place where these stories could convey messages despite the often outrageous content. These weren’t just tales designed to shock for the sake of shock, or to be explicit and ultra-violent just in order to be extreme, they carried an undercurrent of commentary and societal reflections within their grisly or provocative trappings, things to make you ponder and contemplate. Unfortunately there are those who misconstrue writing extreme horror as an excuse to spill buckets of blood or plumb the depths of perversion without bothering to anchor any semblance of a story to it, but that wasn’t the case here.

On top of that RFC served as a place where new and upcoming writers could have an opportunity to get a foot in the door. Publishing might be a hell of a lot easier in some contexts to get into these days, at least in comparison to several decades ago (when I first had a bash at getting work published), but there are still certain expectations, levels of writing, all manner of things to consider and it’s tough for new writers to try and crack. Easier doesn’t mean easy. So with that in mind, RFC also existed to allow some exposure to be spotlighted on some of these folks. In some ways it also served as a launching pad of sorts for several, some who have managed to crop up prevalently over the whole course of the series, some who appeared in perhaps just the one volume. After all, repeating the same table of contents (at least in terms of author names) wouldn’t allow for anything fresh, or new names to appear. Naturally there are multiple repeat offenders and a rare few have the distinction of appearing in every single volume thus far.

This inaugural volume featured tales from many of those involved in the original discussions, including Essel Pratt, Michael Fisher, Mark Woods and yours truly as well as introducing the likes of Toneye Eyenot and featuring some truly worthy pieces from folks like Jason Hughes and Kevin MacLeod.

After the surprise success of Splattergore-or perhaps it wasn’t such a surprise, since it was a unique concept dropped right amidst the scene in all its filthy, shocking, brutal and jarring glory that folks were keen to embrace-it was a given that a follow-up book would be planned. Midway through the process of this was when I took over the series (which is why I also have a story appearing in said book-I’d already written it with RFC2 in mind and had it accepted) and again, the tales creeping in for this one were a wildly diverse bunch that covered all bases, from the quietly disturbing to the brutally affronting. Writers embraced the concept with whole-hearted gruesome glee and readers did likewise. Once more, and as it always will be, the theme was wide open to interpretation, meaning if you had a story that was likely to be rejected because of the content or already had been previously, no matter what it was about, then it was a potential fit for what I later termed the Aberrant Menagerie. A zoo full of freakish exhibits, a collection of the unusual and the horrifying.

The same template established in the first volume, the same reasons for existing, the same ideology was present in Rejected For Content 2. Rejection letters, actual or otherwise creatively conjured up, would be part of the book and have become one of those quirky little aspects that have vastly appealed to readers and are here for the duration.

More importantly though, the stories carried messages, cautionary concepts or presented ideas and notions designed not to just horrify you, but to make you think. Again, there were opportunities for new and upcoming writers to join the RFC brigade. A blend of established inkslingers and unknowns delivered stories essentially deemed unfit to be published on the grounds of content. Nothing was taboo here. Censoring horror is counterproductive and unnecessary sanitization of a genre which, as its very name suggests, should be horrific. It should invoke feelings of dread, or fear, apprehension, terror, even disgust and shock. Which probably explains a little of the success of the series. There are no boxes here to try and fit in, no stone left unturned, no dark corner which can’t be explored, no layers that can’t be sliced and peeled away.

There weren’t just stories here, there were works of poetry (the first volume also contained poems), displaying that less words, or shorter entities could convey just as much of those requisite sensations experienced when reading these books as lengthier stories could.

Toneye Eyenot, Essel Pratt and Amanda Lyons (who are the only three recidivists with the distinction of being in each book of the whole series to date) resurfaced in the Aberrant Menagerie; we had names such as Christine Morgan and Michael Noe dipping into depths of depravity.

The Aberrant Menagerie opened for business in April of 2015 and remains in the top 100 Horror Anthologies today, albeit dropping out now and then, only to resurface with renewed venom and vigour.


Given the fact that the first book and the second one appeared in 2014 and 2015 respectively, one might assume that the ensuing volume would surface in the following year, but in the grand scheme of things, the span of time between the two wasn’t exactly one whole year. What was more, folks wanted more. No, they needed more. Craved more. Which brings us to Rejected For Content 3: Vicious Vengeance.

This beast also marked the beginning of something of a new trend in the series, where a themed subtitle presented more focus on specific subject matter, at least loosely. To begin with, this wasn’t a conscious decision. Like the two predecessors, RFC3 wasn’t given any title until after I’d compiled the stories and pieced the book together, but it was as I was going through the various submissions that I noticed a high proportion of them received for this call revolved around themes of revenge and vengeance. While the whole concept of Rejected For Content remained open theme, this high occurrence of vengeful tales meant the opus pretty much named itself.

Some very familiar faces made themselves known yet again with Toneye Eyenot, who up until this point had been a regular contributor of poetry, unleashing a stunning story of brutal vengeance to open proceedings and set the scene for what was to follow in a deluge of darkness. Powerhouses K. Trap Jones and The Sisters of Slaughter (Michelle Garza & Melissa Lason) were on-board for this too with tales to eviscerate and decimate, as were a host of newcomers who brought all kinds of weird and wonderful to the table, from more subtly nuanced pieces to the utter gory filth we love at RFC, albeit once more with multiple layers to each composition. Some of these names such as Brent Lorentson, G. Zimmerman and Matthew Weber would return in later volumes, penning truly intriguing stories that most definitely belonged in the establishment known as Rejected For Content.

Michael Fisher, the man responsible for the artwork of both previous volumes was back to create the cover for this one too, with the dark greys, browns and blacks of those two supplanted here by striking blue/purples and bright bold red.



Nine months after the release of Vicious Vengeance, another bestial, bloody, hellish RFC baby was spawned. This entity built on the foundations laid in volume three and went one further, by actually having a subtitle set in place prior to the book being put together. This was courtesy of cover artist Michael Fisher who was playing around with ideas for a future RFC cover and created one with the subtitle to match. Thus, Highway to Hell was born.

This time, despite keeping the overall theme as an open one, I made mention of the fact that I would be specifically seeking for some of the submissions to address this subtitle in some way, however folks chose to interpret that or involve some highway to hell, actual or metaphorical, was completely up to them. Plenty of sanguinary scribes rose to the occasion and delivered all manner of good stuff, from a literal walk through hell, to suggestions of mental hells, to folks whose deeds meant they would surely be guaranteed a berth in any perceived hell. Splatterpunk scribes such as David Owain Hughes, John Ledger, K. Trap Jones and others brought the extreme, newcomer Eric LaRocca brought one of the most intriguing stories we’ve seen to date, T.S. Woolard shredded souls with a short, sharp gut-punch of a tale and the whole volume itself made for one hell of a fucked up road trip into the pit (both mental and actual). A blend of seasoned pros and fresh faces was again the order of the day, the same ideals of strong stories with more than just shock factor were present and accounted for.


Which finally brings us to where we’re at in the series now. The recently released Rejected For Content 5: Sanitarium. By now, the template where we have a subtitle prior to the open call, has been set in place, so while an open theme policy remains consistent, a focus on stories which in some way, no matter how tenuous, adhere to that whole Sanitarium idea, was encouraged. This meant I wanted tales of craziness, insanity, institutions, folks who should be incarcerated in them or whose actions meant they’d end up there sooner or later. And that was precisely what I got, in all kinds of lurid interpretations. The creativity and imaginations of folks out there is astounding, brilliant and captivating, and it’s always fascinating to give these people a simple focal point and see just how differently they all choose to approach it. Consequently, while Rejected For Content will always stay as an open themed entity (not sure I’ve said that often enough in this whole look back on the phenomenon, so best to say it once more), the whole notion of putting a subtitle to the book beforehand or pointing out that I’ll be after a proportion of stories related in some manner to said subtitle gives people something to focus on. Their interpretation, how they elect to approach it or whether they even want to adhere to it at all is all part of the fun, and one of the things that makes Rejected For Content so vibrant, fresh and so much fun to be involved with.

So when the doors to the Sanitarium finally cracked open, there was insanity abounding. Old hands at this Rejected For Content business were lurking in the corridors and new inmates were ushered in and shown to their rooms, where it was either going to be a case of straitjackets or lobotomies. K. Trap Jones, Essel Pratt, Toneye Eyenot booked themselves padded cells, and we welcomed back repeat offenders such as Brent Lorentson, G. Zimmerman and David Owain Hughes, while newcomers J.L Lane, Tamara Fey Turner and Mark Nye brought their own special breeds of insanity.

I coined the simple phrase Get Rejected a while back in the series, and this time I added Go Insane to that. It was fair to say that all those who were admitted to the Sanitarium certainly did that. In fact, they should all be institutionalised.


So, where to from here when it comes to Rejected For Content? Well, you will all have to wait and see, but there are most definitely plenty of plans and plenty of places we have yet to go. I can’t foresee this wrapping up any time soon. I love Rejected For Content and at this point in time, there’s no end in sight. In fact, soon I might be calling on fans of the series to be involved in various future endeavours. For now, be sure to check in to the Sanitarium and catch up on the latest installment. And wonder just where we’re going to end up next.