Tag Archives: independent

Rave reviews for Nightscape!

Today I wanted to share with you some of the reviews coming in for my short story anthology, “Nightscape”, published by Parallel Universe Publications. It’s been a long haul, but people are saying how much they enjoy this book.

Here is the most recent review:

“A great collection of short stories ranging from horror to science fiction, surely not to disappoint fans of any genre. Psychotic animals, mystic horrors and Hollywood vampires are just some of the creatures to stalk its pages, I highly recommend it.”

Other readers have compared it to “The Twilight Zone”, with its blend of sci-fi and horror stories.

“Sure to be one of the greats some day!”

“A horror anthology well worth your attention.”

“Mr. Steele will not fail to delight.”

Here is a sample of the stories to be found within:

“Black Annis” – a troubled married couple inherits a cottage once owned by a legendary witch.

“The Groaner in the Glen” – a Roman legion encounters a supernatural menace deep in ancient Scotland. 

“Indian Summer” – a young woman paralyzed in a car accident hires a gardener with magical “green” fingers. But is he all he appears?

“Charlie” – a beloved pet develops disturbing new appetites when the family’s controlling patriarch dies.

And more!

You can read a FREE sample of “Nightscape” here: http://a-fwd.com/asin-uk=0957453523

Thanks for looking!

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Interview in InkTip magazine

Here’s a cover of InkTip magazine containing the recent interview about my produced feature film, THE STUDENT (2017).

Directed by Steven R Monroe (I Spit On Your Grave) and produced by The Cartel in Hollywood, the movie tells the story of Abigail Hardacre, an uncompromising law professor who is a stickler for obeying the rules. But when she fails a student who has sociopathic tendencies, he sets out to teach her a lesson, one she will never forget.

The film stars Blake Michael as the student, Vincent Van Sickle, and Alicia Leigh Willis as Abigail. You can watch it here.

The interview details my writing process and also the inspiration for writing the story.

InkTip have been going strong for over 10 years now as the number one independent writer’s listing service for scripts on the internet.

https://www.amazon.com/Student-Alicia-Leigh-Willis/dp/B073VDHDJC/ref=sr_1_1?ie=UTF8&qid=1521643945&sr=8-1&keywords=the+student+alicia+willis

 

 

Fantasycon 2016 report: Fantasycon-by-the-Sea!

 

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Scarborough – home of all things sci-fi, fantasy and horror!

 

Last weekend marked my third foray into Fantasycon, the annual convention of the British Fantasy Society. This year it was held in Scarborough at two hotels: the Grand and the Royal. Guests of Honour included bestselling science-fiction, horror, and fantasy authors Joe Hill, Mike Carey, Adam Neville,  Scott Lynch, Elizabeth Bear, Frances Hardinge, James Smythe, and Derek Landy.

The main hotel was, shall we say, interesting. Scarborough itself seemed to be stuck in a bit of a time warp – appropriately perhaps. But no-one can deny that the Grand is awesome to look at – a Gothic façade that dominates the Scarborough seafront. The main staircase served as an impressive backdrop, as did the various antique ballrooms.  I found myself reminded of The Shining several times!

 

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The Overlook Hotel… I mean The Grand in Scarborough.

 

Registration was easy enough, although the wristbands proved to be a bit fiddly and impossible to remove, except by accident! The usual bag of goodies included a stick of rock, to put us in the mood. Having learned from previous experience, I signed up to several of the agent/editor sessions and masterclasses straight away. Perhaps unsurprisingly the session with Joe Hill was booked up even before Friday afternoon.

Fantasycon 2016 was absolutely stuffed to the gills with panels and events. I attended as many as I could fit in around socialising, which is the most enjoyable part of Fantasycon.

Highlights for me included the panel titled “It’s a Kind of Magic” featuring Sue Tingey, Pete McLean, Peter Newman, James Bennett, and Irene Soldatos.

Also, the newly-launched UK chapter of the Horror Writers Association was a strong presence. Friday saw the HWA launch several books in concert with Jo Fletcher Books. Many authors were on hand to sign their latest books and to rub shoulders with newer authors like myself. Kudos to HWA organisers Paul Kane and Marie O’Regan for hosting such a well-attended event.

Agents and editors were also available to provide insights into the world of publishing and screenwriting. I found these sessions to be a particular highlight and hope they will continue to be a theme at future cons.

Another addition to the programme was writing masterclasses sponsored by Gollancz. These were of a very high standard, catering to the new writer but also useful to writers of all levels.

There were many book launches over the weekend. In fact, you needed limitless pockets to be able to attend them all! But the ones that I did get to were lively, informal affairs. Of course I soon abandoned my vow not to buy any more books and came away with a small armful.

Saturday saw another horror panel: “Creepin’ up on You”, about the overlap between reality and horror fiction. Chair Paul Finch interjected some welcome humour into what could have been very grim proceedings. Other attendees included living legend Ramsey Campbell, Tracy Fahey, VH Leslie, Helen Marshall, and Mark West.  Topics ranged from the scariest things ever written, to things the writers would not consider writing about, and an interesting discussion on how shifting cultural awareness has meant that some horror devices may no longer be legitimate ways of frightening an audience, such as the “terrifying” reveal of the disfigured composer’s face in the Phantom of the Opera.

Another standout was the HWA panel on getting published. The experienced panellists included Paul Kane, Marie O’Regan, agent Ian Drury, publisher Jo Fletcher, and editor Stephen Jones. Again, this was a standout for me, with many “dos” and “don’ts” on dealing with publishers and agents.

Saturday evening saw my first ever reading at Fantasycon (though not my first ever reading) along with horror scribe Terry Grimwood. The listeners were very graceful and it seemed to go down well. I thoroughly enjoyed Terry’s reading from his new book. My thanks to Roy Gray for providing much-needed coffee!

Afterwards, all eyes were on the legendary Fantasycon Karaoke, the disco, or the bar. I stayed up way too late and had way too much fun nattering to people. Sometime after midnight I slunk off to my guest house to grab a few hours of sleep before Day Three!

 

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The Grand lives up to its name – from the outside, anyway.

 

On Sunday morning I took part in my first ever Fantasycon Panel. “Lost in Hollywood” was moderated by agent Ellen Gallagher and featured legendary TV writer (and all-round nice bloke) Stephen Gallagher of Dr Who and Oktober fame, as well as Stephen Volk (screenwriter of Ghostwatch and Gothic), as well as Remington Steel TV writer Joanna Horrocks. The discussion was wide-ranging and I enjoyed it a heck of a lot. Hopefully, I’ll get to do it again!

My Sunday ended with the Monster mash panel, in which Ross Warren, Adam Millard, Georgina Bruce, Alastair Rennie, and Laurel Sills discussed monsters and what makes them scary (or not). It was a lively and varied debate, and I found myself getting one idea after another as I listened.

The BFA Awards ceremony rounded off the weekend. Having never attended one before, this was an eye-opener, and as each Award was dished out too thunderous applause I found myself aware of just how much the BFS is a very inclusive family.

In all, I found Fantasycon-by-the-Sea the best Fantasycon yet.  Or perhaps I’m just getting into the swing of things more. It was great to catch up with existing friends and to make some new ones. As always, my reading list has grow exponentially. It was also great to continue to appear on panels and perform readings. My thanks to the more experienced writers who took time to talk with me at length about this insane and insanely entertaining business we’re engaged in. I left feeling invigorated, pumped up, and ready to write. To anyone who hasn’t been, I can’t recommend the experience highly enough.

 

Exciting news!

I am very happy to report that my latest novel “The Autumn Man” is going to be published in the very near future!

I’ll release more details when and as I can, but this is a horror novel that is very close to my heart.

You can read my fist novel, the sci-fi horror “Project Nine” here.

The story behind how  both “The Autum Man” and “Project  Nine” got published is an epic one and I will share it with you at some point in the future. But for now, I’m just excited  and looking forward to sharing more with you as this develops. Stay tuned for a sneak preview of the cover and for more screenwriting tips and secrets!

 

The best movies of the 2010s so far!

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So for some reason it’s time to take stock of the movies made in the 2010s so far. Well, it would be remiss of me not to have my own Top 10 movies of the decade. Here’s a big disclaimer, though: these are just the movies I’ve seen. Some very recent movies (including a couple of Academy Award winners) are not among them. Anyway, here goes…

10. Thor

Why: Because it made the surfer look cool again. And it also gave us Tom Hiddleston. Kenneth Branagh’s rip-roaring take on the thunder god was just what Marvel needed. A genuinely fun romp, brilliantly executed.

9. Inception

Why: It’s Chinese Puzzle of a plot proved that audiences are more intelligent than they are given credit for. Some jaw-dropping SFX helped too. But mainly it was Christopher Nolan’s refusal to spoon-feed the viewer with easy answers that won me over.

8. Tron Legacy 

Why: Because it made synthesizer music trendy again. A killer soundtrack and incredible SFX made this underrated blockbuster a must-see. As well as being faithful to the original movie, it included such breakthroughs as a 30-years-younger Jeff Bridges fighting with himself. Oh, and Olivia Wilde. A visually stunning and practically perfect action movie.

7. Guardians of the Galaxy

Why: It made “I Am Groot” part of popular culture. A very funny old-school action/comedy that just happens to be set in the Marvel universe. It also has some of the most memorable characters I’ve seen on screen for a long time – especially one psychopathic raccoon and a very literal-minded alien. Writer/director James Gunn never allows the excellent SFX to dictate the story and doesn’t fall into the trap of logically impossible action scenes.

6. The Conjuring

Why: A terrifying movie-going experience, right from the opening titles. This is horror on steroids. The plot is old-fashioned, but the movie is executed in one bravura set piece to the next. Classic horror.

5. Seven Psychopaths

Why: Postmodern, irreverent, full of grindhouse-style violence. But for me, Chis Walken and Sam Rockwell’s acting steals the show. The violence is played for laughs, but there’s also a real heart to the story that makes us question all that movie bloodshed we see so much of nowadays.

4. The Way Way Back

Why: A movie that perfectly captures adolescence. This is the kind of family comedy they made in the Eighties, but with a modern sensibility. Steve Carell is truly loathsome as the passive–aggressive antagonist. While Sam Rockwell turns in another masterful performance. Thirty years ago, Bill Murray would have done the same thing.

3. The Master

Why: The terrific acting holds together this rather quirky “institutionalized” drama. Joaquin Pheonix is a smouldering presence, inviting us to figure out what’s bugging him. It’s a pleasure to try to unravel the characters’ psyches while we watch them onscreen.

2. The King’s Speech

Why: A masterful talking-heads picture with some terrific low-key drama. There are no explosions or spaceships here, just stuffy drawing rooms and restrained performances. But it’s a movie that knows what it’s about and does it superbly, hitting all the right emotional notes.

1. The Artist

Why: What’s not to like about this movie? It’s a silent, black and white film made over 80 years after the first talking picture. But it’s not just a spoof or an homage. It uses silent film as a genre, almost as a metaphor. When sound does intrude upon the action, it’s a truly memorable moment. Some great performances with no dialogue underline this masterpiece of cinematic art. And it features one of the greatest dogs in movie history!

So there you have it. My top movies of the decade so far. These are, of course, based on my own personal tastes, although I’ve tried to include something for everyone. Feel free to tell me I don’t know what the heck I’m talking about. But for me, these were the real standouts.

The Best Horror Movies of the Past 50 years! Part 5! The Nineties!

Ah, the 1990s… when the Eighties were a distant memory. The Nineties were mad for it. Grungier than its predecessor, we never thought there would someday be a price to pay for all those late nights spent clubbing it. Nowadays the whistles and glowsticks seems just as bad as those silly hats.

Horror movies had a hard time in the 90s. The 1980s had milked the slasher movie to death. Vampires and werewolves were old hat. Even the horror comedy was on its way out. In a way, many of these movies represent the dying breaths of horror’s staple bad guys. The horror genre was about get ugly…

Exorcist III 1990

The decade began with a shuddering return to form of William Peter Blatty’s faith-based possession franchise. The film doesn’t seem to know where it’s going. Maybe it simply had nothing new to say. But with some genuinely chilling moments involving a bone saw, this was a worthy sequel to the classic horror hit, if not a new beginning.

Jacob’s Ladder 1990

As a counterpoint to that kind of “old-school” horror, here we have the first of several psychological horror movies as Tim Robbins does a star turn as a man haunted by visions of demons. In true Nineties style, the story turns out to be a bit “meta”.

The children of the night may be beautiful, but they're not very scary.

The children of the night may be beautiful, but they’re not very scary.

Bram Stoker’s Dracula 1992

Francis Ford Coppola turns Bram Stoker’s classic bloodsucker into a kind of modern fairytale. Not scary in the least, and certainly not a definitive version, despite the claim to closely follow the novel (which it doesn’t), and full of wildly uneven performances, you have to admire its impressive, visual style, while Gary Oldman’s outing as Dracula would cement him as a great actor for years to come.

Army of Darkness 1992

Sam Raimi rounds off his “Evil Dead” trilogy with this rip-roaring slapstick live-action cartoon. Boasting some great comic one-liners and an even more OTT performance by B-movie legend Bruce Campbell, this Halloween treat contains skeleton warriors, flying books, and an extremely surreal scene in a windmill where Ash chases around little versions of himself. This is one of those films that’s so bizarre it stands in a category of its own. It is also so downright mad that it ended the series, albeit on a high note of laughter.

Interview with the Vampire 1994

Neil Jordan brought audiences the visually alluring but story-lite “Company of Wolves” in the 80s. Here, he tackles Anne Rice’s novel of a vampire telling the story of his 200 year-old existence. Starring Tom Cruise in  role nobody expected of this all-American action star (a bloodsucking ghoul), and a young Brad Pitt, as well as a 12 year-old Kirsen Dunst, this is a lavish tale worthy of those old Hammer classics of the Sixties. But the novel has a touch of 1990s despair about it. This vampire doesn’t know his place in the world and is constantly seeking something to believe in – a little like people in the 1990s. Once again, the vampire is a reflection of his times, which perhaps explains why it took so long for the book to reach the screen.

From Dusk Til Dawn 1996

Quentin Tarantino hit the big time in the 1990s with his multiple-storyline post-modern heist flick “Reservoir Dogs”. Here, he dips his wick in the horror genre, at least for the first half. Once the vampires cut loose, he turns directing over to Robert Rodriguez, who brings his over-the-top campy action style into play. Hard to take seriously today, this movie has its tongue surgically implanted in its cheek. It is also the movie that inspired a million tattoos thanks to George Clooney. A fun film at the time that is less fun with age, it had some strong actors but is ultimately a bit of a gimmick rather than a serious movie – the main draw being actors getting killed whom you expect to survive. Horror, it seemed, was running out of ideas.

Are you cool? I'm cool. Are we cool? Vampires are not... cool in this movie.

Are you cool? I’m cool. Are we cool? Vampires are not… cool in this movie.

Scream 1996

The last word in Slasher movies belongs to Wes Craven, who was ironically one of its creators. This film is postmodern in every sense. Teens stalked by a slasher discuss how slasher movies work in order to escape their killer, only to discover that the killer also watches slasher movies and knows as much about them as they do. The death knell of the slasher movie can be heard loud and clear in this horror/thriller. After this, there was simply nowhere for the subgenre to go.

Event Horizon 1997

An underappreciated film that makes little sense on first viewing. Imagine Star Trek crossed with a John Carpenter film and you get the picture. Horror icon Sam Neil (at this time a big draw thanks to Jurassic Park) takes a risk as a doomed character in this story of a space ship that returns from its journey into hyperspace without its crew, like a futuristic Marie Celeste. As scientists try to uncover what happened to the passengers, they learn that something nasty waits on the other side of the dimensional border. A Lovecraftian sci-fi, in a sense, this is one of the few truly original horror movies of the decade.

The Faculty 1998

Movie stars got younger and younger in the 1990s as studios targeted their “real” audience. Here, Robert Rodriguez is on form as he directs a tale of high schoolers taking on an alien invasion with the help of a pot-smoking rebel. This B-movie boasts some standout future stars like Elijah Wood and Josh Hartnettt. It is also much more enjoyable than it deserves to be, given the number of irritating jargon-speaking schoolkids. A very “nineties” updating of old 1950s B-movie tropes. Once again, however, the “alien invasion” horror movie had no real place to go.

The Sixth Sense 1999

This movie marked the debut of M Night Shyamalan, whose career would (for a while) be known for its outrageous plot-twists. The movie also resurrected the career of action star Bruce Willis as a psychiatrist treating a kid who “sees dead people”. Although people disagree as to whether the plot twist at the end was a surprise or obvious, the film packs some genuinely creepy moments, and lots of shocks along the way, as only the boy can see the dead folks, but they can see him.  Shyamalan’s tale proved hard to copy, but revived a lot of interest in the flagging horror genre for a new generation of filmgoers.

Like it or loathe it, this movie gave the genre a breathe of new life.

Like it or loathe it, this movie gave the genre a breath of new life.

The Blair Witch project 1999

As if to underline audiences’ boredom with standard horror fare, the found footage genre re-emerged at the end of the century with the most profitable independent film in movie history, usurping John Carpenter’s “Halloween”. Three people get lost in a wood on videotape. It really is that simple. What follows divided audiences. Some loved it for its clever use of a very (nonexistant) limited budget and the way it raises your hackles by not showing you what is going on. Others hated it for precisely the same reason. The found footage genre proved an enormous hit, no doubt because it was very cheap to copy. But whether you love it or hate it, this subgenre gave the horror film a new direction, one that would create a whole new set of filmmakers in the ‘Noughties and beyond, and who would exploit rapidly-changing technology to give the studios a run for their money.

The Nineties suffered from the overdose of slasher movies that took place in the Eighties. For a while the genre was left reeling. But new technology and clever filmmaking resurrected the horror movie at the end of the decade. With audiences demanding new thrills, better special effects, and grimmer storylines to reflect the pessimism of the times, horror movies were about to go to a very dark place indeed.

Next time…

Zombies, zombies, zombies! The world goes mad for George A Romero’s creations. Horror goes viral, ghosts turn Japanese, and it seems that anyone can make a horror film as long as they have a mobile phone.

 

 

The Best Horror Movies of the Past 50 Years, Part 3! The Seventies! 1976-1979!

Hi, there, horror fans! Last time we looked at how Hollywood was unafraid to make more experimental horror features in the early 1970s. Although Spielberg’s “JAWS” would lead to studios forever chasing the summer blockbuster, the late Seventies were still an exciting time for horror movies. Foreign filmmakers like David Cronenberg and Dario Argento were developing cult followings. Meanwhile, low budget filmmaking was about to come into its own, as was a certain young horror writer from Maine, New England…

Let’s start our list of late seventies horror with…

The Omen 1976

No-one can doubt the influence of Richard Donner’s by-the-numbers horror movie. With more than just a passing nod to artsy horror masterpiece “The Exorcist”, this is a rip-roaring Hollywood-style horror flick. It boasts some bravura set-pieces, such as the decapitated photographer. With stalwart acting from heavyweights Gregory Peck, Lee Remick, Billy Whitelaw, and David Warner, the picture is very believable. But there’s no happy ending here as the Antichrist is born to a powerful American politician. This movie created a profitable and mostly well-made series of sequels that gave the world Sam Neil. It also became the bane of children named Damien everywhere.

Martin... a new kind of vampire.

Martin… a new kind of vampire.

Martin 1976

George A Romero, back from “Night of the Living Dead”, triumphed again with this underappreciated cinematic gem. It’s a genuinely original take on vampires. Is homicidal young loner Martin a vampire or not? Is he merely disturbed, or is there some truth in his bizarre flashbacks to another time? Terrific, glory, explicit, sensual, thought-provoking and beautifully filmed, this movie features an amazing performance by the underused John Amplas. Overlooked at its time, this has become a true cult classic.

Carrie 1976

The arrival of a young writer called Stephen King created a reign of terror that is still going today. Hollywood struck gold with King’s curiously brief tale of an alienated young girl with awesome telekinetic powers. Phenomenal directing by Brian De Palma (of “Sisters” fame) catapulted King into the popular consciousness. At one level this is a time-tested tale of an ugly duckling who gets her revenge. But DePalma used split screen and slow motion camera work to viscera effect for the final massacre that is actually too much to fit on one screen! What is mentioned less often is the great cast of actors including Sissy Spacek and Piper Laurie. This is one horror blockbuster that stands the test of time.

Suspiria 1977

Italian Filmmaker Dario Argento’s most well-known film is about a coven of witches posing as a ballet school in Italy. Some memorable set-pieces elevate this beyond its video-nasty style violence. Argento often treads a fine line between good and poor taste. Here, he manages to keep it on the straight and narrow. It also boasts a great score by the world’s foremost horror band… Goblin!

Dawn of the Dead 1978

Which brings us to George A Romero’s sequel to “Night of the Living Dead”. Where “Night” finished, “Dawn” goes a step further. Civilization is falling into chaos at the hands of the zombie invasion. We begin with some great scenes of things literally going to hell. Four survivors hitch a ride on a helicopter and hole up at an abandoned shopping mall. They soon learn that having everything does not make you happy. A social satire as well as a very frightening movie, the impact of “Dawn” may be diluted now due to dated make-up effects and the current trend for fast-running zombies. But the Romero’s innumerable hordes of shambling ghouls still make for claustrophobic viewing. This movie gave us memorable images like the Hari Krishna zombie, elevators full of undead shoppers, and an eerie kids’ TV theme tune. It also features some great acting from a cast who sadly never went on to stardom. “Dawn” has influenced virtually every horror movie since, including current TV sensation “The Walking Dead” and 2004’s delightful “zombie-rom-com” “Shaun of the Dead”. And come on, don’t you wish you were in that world, just a little bit?

The slasher genre... the most profitable genre in movies!

The slasher genre… the most profitable genre in movies!

Halloween 1978

John Carpenter’s film debut is actually not his film debut. That came with sci-fi black comedy “Dark Star” (1974). But he will forever be associated with this low-budget shocker about a psychopath that comes back to a leafy suburb to kill again on the titular eve. The movie made Jamie Lee Curtis a scream queen and cemented the “slasher movie” as a staple of cinema. The slasher movie’s key components of low cost, titillation, and violence was a wining combination, one that survives to this day. Arguably, this is the one sub-genre that has blackened the reputation of horror films, due to the many terrible or poor taste rip-offs branded “video nasties” in the 80s, such as the inept “Driller Killer”. But what makes “Halloween” a lot more intelligent than many of its successors is John Carpenter’s expert direction. He makes every shadow in your living room menacing, every closet or couch the potential hiding place of a madman. So that by the end of the movie your own house is no longer a safe place to hide. For a long time the most successful independent film ever made, “Halloween” is a true horror classic.

The Amityville Horror 1979

Hollywood must have been confused by the success of “Halloween”, if this return to the tried-and-tested haunted house formula is anything to go by. To be fair, it’s a very effective movie. The haunted house is given a twist by adding a bit of demonic possession, as well as copying the “true story” myth from “Texas Chainsaw Massacre” to give it added credence. But the worrying priest, bleeding walls etc are all things we’ve seen before. A well-made film that spawned innumerable sequels of decreasing quality and suffered the obligatory 21st century “reboot”. But that’s really the only reason it’s here.

It's enough to put you off eggs for life.

It’s enough to put you off eggs for life.

Alien 1979

Which brings us to the end of the 1970s. If Hollywood was running out of fresh ideas, it found one of its most enduring franchises in this unofficial adaptation of the B-movie shocker  “It! The Terror From Beyond Space” (1958). At the time, science-fiction mania was sweeping the world, thanks to the pop culture phenomenon of “Star Wars” (1977) and Spielberg’s “Close Encounters of the Third Kind” (1977). The time was ripe for a sci-fi/horrror hybrid. Cue Dan O’Bannon and Ronald Schussett’s script of a rather unpleasant alien that stows away on a space ship. A very simple movie, enhanced by amazing visuals and strong actors, this is essentially hide-and-seek on a space ship. The groundbreaking chestburster scene also gave audiences a scare they would never forget. Responsible for a slew of sequels, some better than others, the end of the Seventies showed that horror was still prepared to boldly go where no ghoul had gone before!

Next time… The Eighties arrives!

In which aliens get even nastier, vampires get even cooler, werewolves get even hairier, and a some teenagers have their sleep disturbed on Elm Street. Sweet dreams!