Denver Horror Collective is a sponsor of this recurring event at Bookbar hosted by our very own Tom Mavroudis, pairing horror and thriller readings with flights of beer & wine.
On Sunday, July 28 @ 6 pm we feature Carter Wilson reading from his new book The Dead Girl in 2A. RSVP here!
Jake Buchannan knows the woman sitting next to him on his business flight to Denver—he just can’t figure out how he knows her. Clara Stowe isn’t in Jake’s line of work and didn’t go to college with him. They have nearly nothing in common apart from a deep and shared certainty that they’ve met before. Despite their best efforts over a probing conversation, both struggle to figure out what circumstances could possibly have brought them together. Then, in a revelation that sends Jake reeling, Clara admits she’s traveling to the Colorado mountains to kill herself, and disappears into the crowded airport immediately after landing.
The Dead Girl in 2A is the story of what happens to Jake and Clara after they get off that plane, and the manipulative figure who has brought them together decades after they first met.
Carter Wilson is the award-winning and USA Today bestselling author of Mister Tender’s Girl. He lives outside of Boulder, Colorado, with his two children.
Saturday June 8 @ 6-8pm, Golden, Colorado (RSVP for directions)
The Denver Horror Collective Book Society–a book club for horror writers at any level–will be celebrating over thirty-five years of PET SEMATARY by Stephen King. Let your horror fiction flag fly, and be prepared to share your fave PS stories (when you first read/saw it, any PS folklore you’re fascinated by, and of course, what you love about it).
Have your writer’s cap on along with your party hat and spade. Directions will be PM’d to ya. Please RSVP to facilitate planning for this soiree, and thanks in advance.
1. Name one horror author you admire and explain how they help you become a better writer?
Peter Straub. Straub helps me become a better writer because of his beautiful use of language blended with professional execution of creating dread and scenes of absolute terror. His work is un-commercial in the best possible way, yet utterly accessible in readability and makes my imagination’s flesh crawl like no other writer. It helps me become a better writer in knowing that I can aim for the story first, and cut the commercial crap right out. His novel Shadowland is probably my favorite book I’ve ever read, and I read it at least once a year.
2. What author did you dislike at first but grew into?
H.P. Lovecraft. I think I associated his name too much with gaming and protracted paragraphs (that sounds like a swipe at gaming culture when it really isn’t; at one time I just felt like Lovecraft’s world was over-appropriated in it), but when I revisited his work a few years ago I came to appreciate it on my own terms and made my own discoveries in his work. He’s a controversial figure, but—at this point, at least—I’ve decided to appreciate the artist. Chew on the meat and spit out the bones, to use a blunt horror metaphor.
Denver Horror Press is seeking the best in local horror fiction to publish in our upcoming anthology, Terror at 5280’.
We’re looking for short stories related to or taking place in or around Denver, Colorado(bonus points for including local lore or haunts) written by authors currently living in Colorado (stories written by those outside of Colorado will not be considered).
People often act surprised when I tell them I’m both a journalist and a horror fiction writer.
I mean, I get it: In many ways the two fields don’t even occupy the same landscape. In one, shameless hacks make up fake stories to exploit the most depraved aspects of the human experience, while the other is a celebrated genre of literature popularized by respected writers such as Bram Stoker, H.P. Lovecraft, and Stephen King.
Seriously, though, while quality journalism presents a spectrum of viewpoints all at once, horror fiction is typically about seeing the world through the biased (even warped) lens of one character at a time.
The mechanics of the writing itself also tend to differ, where spare and simple prose best conveys the facts essential to newswriting, while in fiction colorful word choice and stylistic phrasing amplify a writer’s unique voice.
But the lines can—and often do—blur. Whether it’s an article delving into the gun control debate or a story about swimmers devoured by a lake monster, both crafts are driven by our inborn attraction to conflict.