The True Story of A Vampire by Count Eric Stanislaus Stenbock (Studies in Death, 1894) Tuesday’s Tale of Terror May 10, 2016 Our vampires, ourselves. All vampires are alike, yes or no? Do w…
Source: Our Vampires, Ourselves
The True Story of A Vampire by Count Eric Stanislaus Stenbock (Studies in Death, 1894) Tuesday’s Tale of Terror May 10, 2016 Our vampires, ourselves. All vampires are alike, yes or no? Do w…
Source: Our Vampires, Ourselves
The next meeting of the Farmington Writers Circle will be at 7:00 p.m. on Thursday, May 12, 2016, at Hastings Hardback Café on 20th Street. The topic of the evening will be a round table on contests and other publication opportunities. Participants are encouraged to bring information on contests and other publication opportunities to share with the other participants in an open discussion. The meeting is open to the general public.
The Farmington Writers Circle is a nascent organization of authors and writers, who are interested in publishing and marketing their works.
Please contact Phil Slattery via this website with any questions or comments.
Good article. I am currently stuck at 27,000-28,000 words on a novel I am writing. I recently started using sketches of character biographies to help with the longer short stories/novelettes I tend to write; it really helps. I have already used it for the two primary characters in the novel, but I now need to use it for the lesser ones as well. For tonight and the next few nights I intend to experiment with “stream of consciousness” to jump-start my creativity as I will be dealing with an extensive interior monologue of one of the two main characters.
I always get stuck at around 30 thousand words. I have been thinking about why, and this is my thoughts on it at this point in time.
Let’s open a story.
He entered the hidden room, returning to confirm his suspicions, not expecting an occupant. The lady was there, standing with her purse gun in her hand, her eyes welling with rage. He ducked out. She shot. The bullet ricocheted off the wall shredding a shower of debris into the dark hallway, filthy and cold, where he crouched on the floor fumbling on the shoulder holster, hanging empty and limp, for his gun that was not there.
This is pretty much a typical opening for me. Being a pantser, I just pile on events after an opening and see where the story goes. But we don’t know who “he” is or who “the lady” is at this point. We do…
View original post 1,270 more words
Opportunity awaits!
Sirens Call Publications is pleased to announce a new open submission for a horror anthology titled Alone With Your Fear!
The Call:
Isolation… not just physical, but psychological, emotional; it plays with your mind, drags out your deepest fears, makes them larger than life and far more sinister.
For this call, we’re looking for stories that pit the main character against their own greatest fear. It seems deceptively simple, but be warned – it isn’t. We want the fear to be the overarching theme, so make sure your story contains a hefty dose – if we don’t feel it, the readers won’t either.
Perhaps the best place to write this tale is Alone with Your Fear…
Deadline: September 1, 2016
Word Count: 4,000 – 8,000 words
All submissions MUST be submitted to: Submissions@SirensCallPublications.com
Reading & Evaluation Period: Two to three months after close of the deadline
View original post 50 more words
This is not horror, but I want to share it just to show the beauty of the voice, the power of understatement and concision, and another fine example of Hemingway’s “iceberg principle”.

Frankenstein is a 2016 British ballet directed by The Royal Ballet’s Artist in Residence Liam Scarlett at London’s Royal Opera House. The ballet is a music and dance adaptation of Mary Shelley’s Gothic tale of morality and love.
American composer Lowell Liebermann, composes a new score for the production. John Macfarlane created the stage designs, while David Finn provided the lighting design. The ballet is being simultaneously screened in a number of select cinemas. The main stars are Laura Morera, Federico Bonelli and Steven McRae.
Plot:
Victor Frankenstein is sent away to university, away from his family and his closest friend Elizabeth. Just before he leaves, his mother dies in childbirth. Distraught, Victor throws himself into his studies, learning obsessively all that he can from his Professor. Fuelled by his experiments and in a desperate hope to find a way to bring his mother back, Victor works furiously, and eventually succeeds in giving life…
View original post 354 more words
By k.amoh He liked cleaning. Anything that reduced entropy and forced order on the world was good. He avoided the corner farthest from the door because that’s where the suitcase was, and whenever h…
Source: Suitcase
Cool.
While a small part of me died a little when I saw that one of the most exciting directors in the genre was using his talent to make a found footage movie, it’s hard not to be excited to see what Adam Wingard does next. And that movie happens to be The Woods, a found footage horror film that’s largely a mystery—all we really know is that a bunch of kids go into the woods and don’t get to leave.
View original post 83 more words
The Shell of Sense by Olivia Howard Dunbar (1940s) Tuesday’s Tale of Terror April 26, 2016 If you’ve ever mused about what it’s like to be newly dead, here is a story about two sisters, …
Source: The Dim, Dark-Toned Room
Edward suspects his Mama is mad. Every afternoon they withdraw to the parlour overlooking the garden—Edward shoulder to shoulder with the pianoforte—as they jostle next to chairs arrayed for guests. No one presents calling cards at our door anymore. Papa has left for the City ‘on business.’ The servants, departed.
Mama sits, gazing at my baby brother, Ernest. “Do you think he looks a little pallid today?”
I nod sagely, “Yes, Mama. A little.”
Mama reaches over with her rouge to rub more colour into Ernest’s flaccid cheeks.
The vicar is still striving to give him a Christian burial.
| “Ferme tes yeux à demi, |
| Croise tes bras sur ton sein, |
| Et de ton cœur endormi |
| Chasse à jamais tout dessein.” |
| “Je chante la nature, |
| Les étoiles du soir, les larmes du matin, |
| Les couchers de soleil à l’horizon lointain, |
| Le ciel qui parle au cœur d’existence future!” |
The animal paused on the threshold, interrogative alert, ready for flight if necessary. Severn laid down his palette, and held out a hand of welcome. The cat remained motionless, her yellow eyes fastened upon Severn.
“Puss,” he said, in his low, pleasant voice, “come in.”
The tip of her thin tail twitched uncertainly.
“Come in,” he said again.
Apparently she found his voice reassuring, for she slowly settled upon all fours, her eyes still fastened upon him, her tail tucked under her gaunt flanks.
He rose from his easel smiling. She eyed him quietly, and when he walked toward her she watched him bend above her without a wince; her eyes followed his hand until it touched her head. Then she uttered a ragged mew.
It had long been Severn’s custom to converse with animals, probably because he lived so much alone; and now he said, “What’s the matter, puss?”
Her timid eyes sought his.
“I understand,” he said gently, “you shall have it at once.”
Then moving quietly about he busied himself with the duties of a host, rinsed a saucer, filled it with the rest of the milk from the bottle on the window-sill, and kneeling down, crumbled a roll into the hollow of his hand.
The creature rose and crept toward the saucer.
With the handle of a palette-knife he stirred the crumbs and milk together and stepped back as she thrust her nose into the mess. He watched her in silence. From time to time the saucer clinked upon the tiled floor as she reached for a morsel on the rim; and at last the bread was all gone, and her purple tongue travelled over every unlicked spot until the saucer shone like polished marble. Then she sat up, and coolly turning her back to him, began her ablutions.
“Keep it up,” said Severn, much interested, “you need it.”
She flattened one ear, but neither turned nor interrupted her toilet. As the grime was slowly removed Severn observed that nature had intended her for a white cat. Her fur had disappeared in patches, from disease or the chances of war, her tail was bony and her spine sharp. But what charms she had were becoming apparent under vigorous licking, and he waited until she had finished before re-opening the conversation. When at last she closed her eyes and folded her forepaws under her breast, he began again very gently: “Puss, tell me your troubles.”
At the sound of his voice she broke into a harsh rumbling which he recognized as an attempt to purr. He bent over to rub her cheek and she mewed again, an amiable inquiring little mew, to which he replied, “Certainly, you are greatly improved, and when you recover your plumage you will be a gorgeous bird.” Much flattered, she stood up and marched around and around his legs, pushing her head between them and making pleased remarks, to which he responded with grave politeness.
“Now, what sent you here,” he said—”here into the Street of the Four Winds, and up five flights to the very door where you would be welcome? What was it that prevented your meditated flight when I turned from my canvas to encounter your yellow eyes? Are you a Latin Quarter cat as I am a Latin Quarter man? And why do you wear a rose-coloured flowered garter buckled about your neck?” The cat had climbed into his lap, and now sat purring as he passed his hand over her thin coat.

“Excuse me,” he continued in lazy soothing tones, harmonizing with her purring, “if I seem indelicate, but I cannot help musing on this rose-coloured garter, flowered so quaintly and fastened with a silver clasp. For the clasp is silver; I can see the mint mark on the edge, as is prescribed by the law of the French Republic. Now, why is this garter woven of rose silk and delicately embroidered,—why is this silken garter with its silver clasp about your famished throat? Am I indiscreet when I inquire if its owner is your owner? Is she some aged dame living in memory of youthful vanities, fond, doting on you, decorating you with her intimate personal attire? The circumference of the garter would suggest this, for your neck is thin, and the garter fits you. But then again I notice—I notice most things—that the garter is capable of being much enlarged. These small silver-rimmed eyelets, of which I count five, are proof of that. And now I observe that the fifth eyelet is worn out, as though the tongue of the clasp were accustomed to lie there. That seems to argue a well-rounded form.”
The cat curled her toes in contentment. The street was very still outside.
He murmured on: “Why should your mistress decorate you with an article most necessary to her at all times? Anyway, at most times. How did she come to slip this bit of silk and silver about your neck? Was it the caprice of a moment,—when you, before you had lost your pristine plumpness, marched singing into her bedroom to bid her good-morning? Of course, and she sat up among the pillows, her coiled hair tumbling to her shoulders, as you sprang upon the bed purring: ‘Good-day, my lady.’ Oh, it is very easy to understand,” he yawned, resting his head on the back of the chair. The cat still purred, tightening and relaxing her padded claws over his knee.
“Shall I tell you all about her, cat? She is very beautiful—your mistress,” he murmured drowsily, “and her hair is heavy as burnished gold. I could paint her,—not on canvas—for I should need shades and tones and hues and dyes more splendid than the iris of a splendid rainbow. I could only paint her with closed eyes, for in dreams alone can such colours as I need be found. For her eyes, I must have azure from skies untroubled by a cloud—the skies of dreamland. For her lips, roses from the palaces of slumberland, and for her brow, snow-drifts from mountains which tower in fantastic pinnacles to the moons;—oh, much higher than our moon here,—the crystal moons of dreamland. She is—very—beautiful, your mistress.”
The words died on his lips and his eyelids drooped.
The cat, too, was asleep, her cheek turned up upon her wasted flank, her paws relaxed and limp.
“It is fortunate,” said Severn, sitting up and stretching, “that we have tided over the dinner hour, for I have nothing to offer you for supper but what may be purchased with one silver franc.”
The cat on his knee rose, arched her back, yawned, and looked up at him.
“What shall it be? A roast chicken with salad? No? Possibly you prefer beef? Of course,—and I shall try an egg and some white bread. Now for the wines. Milk for you? Good. I shall take a little water, fresh from the wood,” with a motion toward the bucket in the sink.
He put on his hat and left the room. The cat followed to the door, and after he had closed it behind him, she settled down, smelling at the cracks, and cocking one ear at every creak from the crazy old building.
The door below opened and shut. The cat looked serious, for a moment doubtful, and her ears flattened in nervous expectation. Presently she rose with a jerk of her tail and started on a noiseless tour of the studio. She sneezed at a pot of turpentine, hastily retreating to the table, which she presently mounted, and having satisfied her curiosity concerning a roll of red modelling wax, returned to the door and sat down with her eyes on the crack over the threshold. Then she lifted her voice in a thin plaint.
When Severn returned he looked grave, but the cat, joyous and demonstrative, marched around him, rubbing her gaunt body against his legs, driving her head enthusiastically into his hand, and purring until her voice mounted to a squeal.
He placed a bit of meat, wrapped in brown paper, upon the table, and with a penknife cut it into shreds. The milk he took from a bottle which had served for medicine, and poured it into the saucer on the hearth.
The cat crouched before it, purring and lapping at the same time.
He cooked his egg and ate it with a slice of bread, watching her busy with the shredded meat, and when he had finished, and had filled and emptied a cup of water from the bucket in the sink, he sat down, taking her into his lap, where she at once curled up and began her toilet. He began to speak again, touching her caressingly at times by way of emphasis.
“Cat, I have found out where your mistress lives. It is not very far away;—it is here, under this same leaky roof, but in the north wing which I had supposed was uninhabited. My janitor tells me this. By chance, he is almost sober this evening. The butcher on the rue de Seine, where I bought your meat, knows you, and old Cabane the baker identified you with needless sarcasm. They tell me hard tales of your mistress which I shall not believe. They say she is idle and vain and pleasure-loving; they say she is hare-brained and reckless. The little sculptor on the ground floor, who was buying rolls from old Cabane, spoke to me to-night for the first time, although we have always bowed to each other. He said she was very good and very beautiful. He has only seen her once, and does not know her name. I thanked him;—I don’t know why I thanked him so warmly. Cabane said, ‘Into this cursed Street of the Four Winds, the four winds blow all things evil.’ The sculptor looked confused, but when he went out with his rolls, he said to me, ‘I am sure, Monsieur, that she is as good as she is beautiful.'”
The cat had finished her toilet, and now, springing softly to the floor, went to the door and sniffed. He knelt beside her, and unclasping the garter held it for a moment in his hands. After a while he said: “There is a name engraved upon the silver clasp beneath the buckle. It is a pretty name, Sylvia Elven. Sylvia is a woman’s name, Elven is the name of a town. In Paris, in this quarter, above all, in this Street of the Four Winds, names are worn and put away as the fashions change with the seasons. I know the little town of Elven, for there I met Fate face to face and Fate was unkind. But do you know that in Elven Fate had another name, and that name was Sylvia?”
He replaced the garter and stood up looking down at the cat crouched before the closed door.
“The name of Elven has a charm for me. It tells me of meadows and clear rivers. The name of Sylvia troubles me like perfume from dead flowers.”
The cat mewed.
“Yes, yes,” he said soothingly, “I will take you back. Your Sylvia is not my Sylvia; the world is wide and Elven is not unknown. Yet in the darkness and filth of poorer Paris, in the sad shadows of this ancient house, these names are very pleasant to me.”
He lifted her in his arms and strode through the silent corridors to the stairs. Down five flights and into the moonlit court, past the little sculptor’s den, and then again in at the gate of the north wing and up the worm-eaten stairs he passed, until he came to a closed door. When he had stood knocking for a long time, something moved behind the door; it opened and he went in. The room was dark. As he crossed the threshold, the cat sprang from his arms into the shadows. He listened but heard nothing. The silence was oppressive and he struck a match. At his elbow stood a table and on the table a candle in a gilded candlestick. This he lighted, then looked around. The chamber was vast, the hangings heavy with embroidery. Over the fireplace towered a carved mantel, grey with the ashes of dead fires. In a recess by the deep-set windows stood a bed, from which the bedclothes, soft and fine as lace, trailed to the polished floor. He lifted the candle above his head. A handkerchief lay at his feet. It was faintly perfumed. He turned toward the windows. In front of them was a canapé and over it were flung, pell-mell, a gown of silk, a heap of lace-like garments, white and delicate as spiders’ meshes, long, crumpled gloves, and, on the floor beneath, the stockings, the little pointed shoes, and one garter of rosy silk, quaintly flowered and fitted with a silver clasp. Wondering, he stepped forward and drew the heavy curtains from the bed. For a moment the candle flared in his hand; then his eyes met two other eyes, wide open, smiling, and the candle-flame flashed over hair heavy as gold.
She was pale, but not as white as he; her eyes were untroubled as a child’s; but he stared, trembling from head to foot, while the candle flickered in his hand.
At last he whispered: “Sylvia, it is I.”
Again he said, “It is I.”
Then, knowing that she was dead, he kissed her on the mouth. And through the long watches of the night the cat purred on his knee, tightening and relaxing her padded claws, until the sky paled above the Street of the Four Winds.
By Matthew Wong The Guitarist strummed his out of tune guitar. The Chef carved slices of meat from the ham in the center of the table as the Guitarist kept on strumming a tuneless Tears in Heaven. …
Source: Canapés

The next meeting of the Farmington Writers Circle will be at 7:00 p.m. on May 12, 2016, at Hastings Hardback Café on 20th Street. The topic of the evening will be a round table on contests and other publication opportunities. Participants are encouraged to bring information on contests and other publication opportunities to share with the other participants in an open discussion. The meeting is open to the general public.
The Farmington Writers Circle is a nascent organization of authors and writers, who are interested in publishing and marketing their works.
Please contact Phil Slattery via this website with any questions or comments.
Interview With Sean Young, Author of Blood Of Socorro County For season 11 of the HorrorAddicts.net podcast, we will once again feature an 11 episode audio drama. Our latest ongoing story started …
Source: Blood Of Socorro County