Monday, 12 August 2019


Really happy to announce my short story "All I Ever See" has been accepted for Stephen Jones' forthcoming anthology The Mammoth Book of Folk Horror. And chuffed to find I'm also going to be sharing it with such luminaries as David A Sutton, Alison Littlewood, and Jan Edwards.
The title's a line from an old Status Quo single. That and the above image are all the clues you're going to get.

Saturday, 22 December 2018


As the year grinds inevitably towards its end we come, with equal inevitability, to the annual round-up and hopeful glances towards the future. Not a very long post, you’ll be glad to hear since 2018 has been fairly quiet with regard to publications.

In June I achieved a lifelong ambition, and had a Jerry Cornelius story published on the Further Adventures of Jerry Cornelius website. Titled "Pierrot in Bombazine" I had fun playing with steampunk tropes, among other things.

July saw a story of mine appear in PICKMAN’S GALLERY from Ulthar Press: an anthology of Lovecraftian fiction that took its cue from the original HPL story, “Pickman’s Model”. My own contribution, “Eigenspace X”, was an askance look at the modern art world, and what happens when sculpture meets multi-dimensional mathematics.

The Western I’d always wanted to have a go at was published by Pro Se Publications in August: REVENGE IS A COLD PISTOL. I was surprised (and delighted) to discover that not only were there paperback and Kindle editions, but also a hardback. To my mind, the publishers should have scrapped the paperback and just gone with hardback (while maybe reducing the price a little): the whole product looks so much sharper, the cover art more vibrant.

WEIRDBOOK #40 included my “And the Living Is Easy”: a short story which started life as a one-act play, believe it or not. Concerning two sun gods hiding away from a poisoned or dying sun, it probably works best as short fiction (a good man always knows his limitations).

And my final appearance of the year was in THE ALCHEMY PRESS BOOK OF HORRORS. Unable to resist diving back below the deep blue briny and mixing up a Kate Bush track with a Japanese monster, I came up with “Her Favourite Place”. 
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And for 2019? It’s often difficult to be precise, because publishing is rarely an exact science, but I can say that Graeme Hurry’s KZINE #23 is out in January and includes a short SF story of mine: “A World in Aspic” (which you might describe as valvepunk, if we’re throwing labels around).

Damian Paladin will be returning in “Cradle of the Deep” in the first issue of the relaunched STARTLING STORIES (you guessed it: more underwater frolics), and a revised and expanded edition of THE PALADIN MANDATES (includes two previously unpublished adventures for Leigh Oswin and Paladin) should be heading your way. And elsewhere, if the stars are right, another team-up with Adrian Cole’s Nick Nightmare. Those two do get around.

Finally, there is another short novel ready to be unleashed on the unsuspecting world: involving an updated masked avenger which, no one will be surprised to hear, involves quite a lot of flying. And hand to hand fighting. And gunplay. Details as and when. 
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And that’s it. Just remains for me to wish everyone a Happy and Prosperous 2019. Be good to each other.

Thursday, 18 October 2018


Weirdbook has existed, in a variety of iterations, since the late 1960s, coming into its own in the mid-1970s. It was a quality small press magazine long before the term Small Press was coined, and I discovered it in the early 70s. I'd joined the British Fantasy Society and was rapidly becoming aware of a hitherto unknown world of authors, books and magazines. The society's annual convention, FantasyCon, gave these publications flesh and I gladly offered up all my hard-earned cash to get my hands on them.

Edited by W Paul Ganley, Weirdbook looked the business. It had covers by Stephen Fabian, poems by Robert E Howard and Joseph Payne Brennan, fiction by the likes of H Warner Munn, Brian Lumley, Eddy Bertin, Adrian Cole, Darrell Schweitzer and L Sprague de Camp. It was as professional as it was possible to be on a tiny budget. It never occurred to me - fledgling writer that I was - that one day I'd by published within its pages.
Unlike its contemporaries, Weirdbook has managed to survive – now published by Wildside Press and edited by Douglas Draa, with W Paul Ganley as consulting editor - looking to the developing styles of weird fiction of the 21st century whilst unashamedly celebrating its roots. Once again, Darrell Schweitzer and Adrian Cole are regulars, along with plenty of fresh blood.

And I've made it too. Issue 40. Check it out.

Friday, 10 August 2018


I’m of that generation where Westerns were everywhere: films, TV, books. I just about remember watching Richard Boone as Paladin (now where’ve I heard that name before?) in Have Gun, Will Travel, along with Sugarfoot, Rawhide, Wagon Train, and in later years Alias Smith & Jones and The High Chaparral.
But I did lose interest in the movies sometime in the mid-1960s. Back then the BBC would show a Saturday Western every week and, to be honest, most were poor quality, assembly-line films lacking in originality, budget, or decent actors. I reached a point where I just couldn’t bring myself to watch another Western movie. That is, until I was at polytechnic.

I was far too young to see A Fistful of Dollars when it first came out; though I do remember the fuss caused by its amorality and perceived sadism. Several years later, though, I was a student at Lanchester Polytechnic. On Wednesday afternoons a film club ran in a lecture theatre; one film I watched was For a Few Dollars More. It was like a slap around the face. That same year High Plains Drifter was released and I watched it at a Coventry flea-pit on a double bill with Two Mules for Sister Sara. In no time I was a fan of both Clint Eastwood and Italian Westerns.
I never read many Western novels – although paperbacks by British authors such as Terry Harknett (under a variety of pseudonyms) and JT Edson were everywhere throughout the 1970s. I did peruse the odd novelisation (such as the first two “Dollar” films and A Fistful of Dynamite) and Glendon Swarthout’s The Shootist (the film adaptation of which is still my favourite John Wayne film). I was – and still am – mainly into Horror, Fantasy and Science Fiction, and writing same.

Then, towards the end of the 70s, I hit a period of enforced idleness. I don’t know how many of you remember the smallpox outbreak at Birmingham University’s Medical School, but my department was caught up in the tragedy. We were sent home for an open-ended period while part of the building was decontaminated. I grew bored rapidly and, for reasons I no longer remember, started writing a Western. It was pretty bad: the central character, Quarrel, was an obvious Man With No Name knock-off, everyone else an assembly of clichĂ©s. I abandoned it when I returned to work.
But the odd thing was, I’d enjoyed it – purple prose and stupid plot notwithstanding. And it had swiftly become clear that, unless you were writing a strictly historical one, Westerns were as much Fantasy as anything from the pen of Michael Moorcock, Fritz Leiber or Robert E Howard (who did write Westerns, of course). And Quarrel never went away: lurking in the depths of my head, biding his time. Eventually, his time came.

A couple of years back, Pro Se Publications accepted a Damian Paladin book, Walkers in Shadow,  for publication, and I found myself wondering if there was something else I could try out on them. A Western? I thought. Pro Se is a New Pulp publisher, and Westerns are one of the oldest forms of pulp fiction.

With a new look and a first name – Arieh – Quarrel came a-knockin’. Shamelessly borrowing the plot of Walpole’s The Castle of Otranto (well, adapting Samurai movies hadn’t done Sergio Leone or John Sturges any harm) and going for a slightly more Italian Western vibe, I pitched the idea at Tommy Hancock at Pro Se. “Write it,” he said. And thus was Revenge is a Cold Pistol born. I am now a published Western author – words I never thought I’d write.
Will Arieh Quarrel return? Well, I’m working on a storyline at the moment, and I’ll pitch it once it’s complete. Then we’ll see.

Tuesday, 10 April 2018


"Anyone who wants to spend time with the uncanny and horrific will find this volume contains gems"

Pauline Morgan has reviewed RADIX OMNIUM MALUM & OTHER INCURSIONS for both the SFCrowsnest website and the Birmingham SF Group's newsletter. With Pauline's permission, I happily repost the review.

Anyone who has heard of Mike Chinn will probably be familiar with either his steampunk versions of Sherlock Holmes or his Damian Paladin stories. Since the works of Sir Arthur Conan Doyle are now out of copyright, there have been a number of stories and novels (of varying degrees of competence) using this character. Mike Chinn’s rank in the higher echelons of the sub-genre but there is a danger of them being lost. Damian Paladin has, so far, two collections devoted to his exploits which are well worth hunting down. Mike, though, has written and had published a wide range of other stories, some of which are included in this new volume. From a man who keeps guinea pigs they are often surprisingly dark.

Devising ways to end the world, or at least human domination of it, is a favourite pastime of horror writers. ‘Radix Omnium Malus’ (loosely translates as ‘The Root of Evil’) is reminiscent of Brian Lumley’s ‘Fruiting Bodies’ but here the malicious growth has been magically invoked and is out of hand and is consuming everything. In ‘Blood of Eden’ instead of an indestructible plant it is Dracula threatening world domination using corporate means. ‘Cheechee’s Out’ is the start of an alien invasion, with Cthulhu-type creatures taking over men in high positions. Inevitably, there will be collateral damage.

Monsters of several varieties occur within a number of these stories. The trick is doing something new with them. In ‘Sons of the Dragon’ the road builders in Romania encounter vampire worms and ‘Considering the Dead’ relates the history of Cthulhu, but the biggest monsters are human. ‘Kittens’ begins as an urban myth, this time the story of kittens being dumped in a glass recycling bin and morphs into serial killer nastiness.  In ‘Only the Lonely’ the monster is a female sexual predator. Instead of being a warning for young girls it is the middle-aged man that needs to beware.

One of the causes of people believing they have had supernatural encounters is anxiety. ‘Two Weeks From Saturday’ is one of those stories that anyone who has been reluctantly included in an event will understand. For Cliff it is the impossibility of writing a decent story for the writers’ meeting run by his boss’s son that creates nightmares. Grief, too, is an emotion that can affect the mind. ‘The Streets Of Crazy Cities’ demonstrates an extreme reaction that Martyn has after the death of wife, child and several other people that he knows. It is a story that initially misleads and shows the skill of the author in its construction.

These and the others stories in this volume challenge the reader. They meld folklore and myth into, mostly, modern settings. There is one historical story there, ‘Suffer A Witch’ which demonstrates petty human jealousy and the danger of drawing conclusions. Like the characters it is unwise to assume that you have all the knowledge needed to understand the situation. In ‘The Pygmalion Conjuration’ both Dennis, who finds a conjuration to bring to life photographs of desirable women for sex, and Miss Grant, the librarian who pointed him towards the relevant book, find to their cost that they have missing information.

Folklore doesn’t have to have an ancient pedigree. The urban myth behind ‘The Owl That Calls’ has a more recent genesis, but even these may have some reality behind them as Tomas Ullerden discovers when expecting to debunk the sighting of a Mothman on Bodmin Moor. While many myths have their roots in a pagan or superstitious past, the coming of the steam age has imbued trains with a degree of mysticism, often involving death. Two train stories are included here. ‘Rescheduled’ sees Graeme having to go home to fetch the office keys and having distinct problems with trains, while in ‘The Mercy Seat’ Jim catches up with two friends from his youth. The memories revolve around the railway bridge by the station and the trains that run over it

Some of the stories in this volume need to be read more than once to find the subtleties in the story telling, but for anyone who wants to spend time with the uncanny and horrific they will find this volume contains gems.

Monday, 12 February 2018


British Fantasy Award winning The Alchemy Press have announced the ToC for their forthcoming anthology (publication date TBA): The Alchemy Press Book of Horrors. It's an impressive lineup. Details can be found on their website.

Monday, 15 January 2018

Voyage to the Bottom of the Barrel

I’ve always been a ridiculously big fan of the 1960s Irwin Allen TV series Voyage to the Bottom of the Sea (this will come as no surprise to those who know me). Submarines, sea monsters, aliens – what’s not to like? And for years I’ve wanted to write a kind of tribute story, without actually delving into fan fiction. 

My first attempt, “Welcome to the Hotel Marianas”, appeared in The Bitter End: Tales of Nautical Terror (Pill Hill Press, 2009), and later republished in my first collection, Give Me These Moments Back (The Alchemy Press, 2015). I say attempt, since at some point it drifted away from a VttBotS tribute into slightly more Lovecraftian territory. Still, the clues were all there: character names, sub with a glass nose. More recently I submitted another underwater tale for The Alchemy Press Book of Horrors, and again, although that was set in an underwater habitation there was nothing about it to suggest an old, cheesy TV series.

Then, while watching Blue Planet II on BBC TV recently, I was struck by the (speeded up) image of a sea cucumber stuffing its maw with prey the tentacles on the tips of its arms had snared. I had to use that in a story somehow, and within a day I knew it was going to be a Damian Paladin tale; and there was going to be a submarine in it. An experimental one: bigger and able to dive deeper than any other sub that existed in the 1930s.

A while back I was playing around with the idea of writing an adventure novel featuring a boat based on the French submarine cruiser Surcouf. It was a big old thing: armed with a twin 8 inch deck turret (the largest allowed by treaty at the time) and a variety of machine guns, along with a hanger abaft of the conning tower that housed a reconnaissance seaplane. That vessel fed into my new US Navy boat and became the blueprint for it – just a little longer, and minus the hangar (which had caused the Surcouf no end of trouble). And just for my own amusement (and because I like to have help visualising stuff) I adapted an image of the Surcouf: trimming back the hangar, altering the colour scheme, and replacing the French Naval ensign with the US flag.
As for the story, “Cradle of the Deep” – I even lifted that from a VttBotS episode – of course there’s a huge sea monster, and crew members being thrown about inside the boat.

The submarine SG-1, under the able command of Captain Bannon and Lieutenant Commander Munrow, will be back: helping Paladin in another adventure, and maybe even plotting its own future course.


Really happy to announce my short story "All I Ever See" has been accepted for Stephen Jones' forthcoming anthology The Mammo...