June Reviews


Dying to Live: Last Rites by Kim Paffenroth is the third in a series of post-apocalyptic novels—this time, focusing on four characters from the previous books that were exiled from their community at the end of the second book, Life Sentence, two living humans and two intelligent undead. When one of the humans falls ill, the group takes refuge with a different community, which is run a bit differently—they have an economic system and luxuries, for one, and no respect for the undead, for two. Needless to say, once the group discovers the truth about their benefactors, they aren’t too pleased. While the philosophical content common to this series is still present, it rarely takes the form of long, plot-slowing lectures, which is always welcome. You wouldn’t imagine half a novel could be told well from a zombie’s POV, either, but Paffenroth does it well.

Ghoul by Brian Keene has been the target of a lot of hype since it’s publication in 2007. While Keene always turns out a superior product, there are certain novels of his that most every fan of his will tell the uninitiated they simply must read—The Rising and City of the Dead, The Conqueror Worms, Terminal and Ghoul—and while I’ve read almost all of Keene’s available output since first picking him up around 2008 or so, I’d never read Ghoul. The Deadite re-release of the novel seemed like a perfect time to fix that. It’s definitely everything you’ve been told—an excellent coming-of-age horror story firmly rooted in the Eighties, with conflicted characters and a bit of an unhappy ending. I wholeheartedly recommend it to anyone, die-hard horror fans and people who rarely pick up the scary stuff alike. You may also have heard about the movie based on the book. I can’t imagine it holding a candle to the novel, but I’m picking up the DVD the first chance I get.

The Infection and The Killing Floor by Craig DiLouie are a pair of novels set after an Infection sweeps across the planet, turning people into mindless zombies. The first novel introduces a mixed group of civilians and military personnel. The plot is very organic—the group hides out in a hospital before breaking out and making it to a FEMA community. Once there, the story takes a more solid direction: the community is sending out a small group to blow up a bridge in order to reduce avenues through which the Infected can approach.

The second book picks up right after the bridge is blown, and follows many of the characters introduced in The Infection as they go their different ways: a few strike off in separate directions of their own, another returns to the community and yet another discovers that he’s the result of another of the Infection’s many mutations: a carrier who, while not Infected himself, spreads the disease by releasing airborne spores. It also introduces another group of military personnel, charged with guarding a scientist who just might be able to cure the Infection—if he can find a pure sample.

DiLouie has an electic writing style that is catchy for the most part, save a sentence or two here and there that jolts you from the story momentarily. What pulls you right back in are the excellent characters he’s created, and the relationships built between them. DiLouie’s apocalypse comes with an additional twist—there are not just zombies to content with, but grotesque monsters created by evolutions of the virus: two headed, giant, fanged worms and hairless, jumping monkeys with infectious stingers, just to name a couple. While DiLouie says there are no plans for a third book at the moment, The Killing Floor ends in such a way that begs for another sequel. He’d be crazy not to write it—and I just might go crazy if he doesn’t.

The Undead Situation by Eloise J. Knapp wouldn’t have been disappointing at all had it not been billed as “Hannibal Lecter during the zombie apocalypse.” But, having seen that, I was prepared for the novel twist of someone eating a fellow survivor’s liver with some fava beans and a nice Chianti while all hell broke loose outside. Instead, we get an unemotional asshole who lets a girl into his house and hangs her out the window for kicks, and then pretty much does nothing too heinous—he kills some zombies, and a few bad people, and that’s about it. A couple of past murders are mentioned, but they come off as being included solely to establish Cyrus’ credit as a bad man. The best part of the book is the blossoming relationship between Cyrus and another sociopath-type, a female ex-Marine named Blaze, who eventually warm up to each other. The ending is killer, too, I’ll give it that. But, a sociopath-in-the-apocalypse story is the sort of thing that deserves to be done all the way, and this wasn’t it.

The Junkie Quatrain by Peter Clines is a quartet of short stories set in a world where a virus has spread across the planet—a virus that makes people impulsive to the extreme for several weeks before killing them. By impulsive, I’m talking murder, nymphomania, cannibalism, etc. They just can’t help themselves. The stories are interconnected: I don’t want to ruin everything, but by way of example, a sniper who kills a Junkie at the beginning of one story and is never seen again for the rest of the tale is seen again in another story, and is the main character of a third. The characters in all four stories are similarly connected. By the time you read the last one, you learn the secret of the Junkie virus. It’s a complete, satisfying collection with a novel concept that I highly recommend.

The Seven Habits of Highly Infective People by William Todd Rose is two stories in one: the modern-day narrative of a mental patient who can jump into the bodies of people in the future and who kills a woman in his time to prevent the outbreak of a zombie infection, and the story of Ocean, a girl in the future who is rescued from zombies by a small group of survivors who might not exactly have her best interests at heart. While the title makes the book sound like a self-help spoof, it’s actually a quick, fun read.




Because you can’t possibly come here every day wanting to hear moar about me:

Since enrolling in Select six months ago, my monthly sales have gone from around $50/per month, to surpassing my day job income in three of the last four months.  I’ve reached thousands of new readers by enrolling in this program (Kindle Select–ed.), and these readers have, in turn, bought my other works.

Depending on how quickly you work, I think it’s vital to come out with new material at LEAST every few months. Debuting new material allows you to promote it and simultaneously call attention to your other works. I’m aiming for new stuff every other month. I’m not necessarily talking a new novel every other month – it can be as small as a new short story.

The Rules of Writing

  1. You MUST Write Quickly
  2. You MUST Write Slowly

Support Genre-Author Veterans This Memorial Day


This Memorial Day weekend, you might have time to stretch out with a good book, in between the grilling and the beers. There are a lot more military personnel (current as well as former) creating genre fiction than you might imagine. Supporting one or two of them by picking up an awesome read would accomplish multiple acts of awesome with just a few mouse clicks. Here’s a short list, just to start you off. If I left out your favorite veteran/author, add him or her in the comments box. I’m certain to miss one or two. If your wallet’s a little light after buying all that beer and meat, follow a few of these folks on Twitter or Facebook, or subscribe to their blogs!

Of course, this being my site, I’m going to lead off by pimping my dark superhero anthology, CORRUPTS ABSOLUTELY? (which opens with Tim Marquitz’ tale of a superhuman weapon in the War on Terror followed by an excellent story by Weston Ochse) but, if you already have that or superheroes aren’t your thing, you can pick up a copy of FOUR IN THE MORNING today, in advance of the official release date of 1 June.

Former Navy man Brian Keene has something for everyone–the holiday is certainly a good excuse to pick up something from him. I recently reviewed THE CAGE and recommend it if you’re in the market for a quicker read.

Army vet Weston Ochse’s BLOOD OCEAN is available for a measly five bucks on Kindle. I have this one on my stack and will be cracking into it soon.

I haven’t read Army Reserve officer Myke Cole’s CONTROL POINT yet, but it looks interesting and has a lot of good reviews.

I’ve read and reviewed both of Army veteran Bryon Morrigan’s military-horror hybrids, THE DESERT and ACHERON, and highly recommend them.

I also have former Naval officer Jeffrey Wilson’s THE TRAITEUR’S RING on my TBR shelf. I interviewed him a couple months back, as well.


May Reviews


Zombie Bitches From Hell by Zoot Campbell takes an atypical, if not completely new, take on the zombie apocalypse—only women become zombies, and they’re vulnerable via the ovaries instead of the brains—and stirs in the usual survival-fight plotlines, resulting in a decent afternoon-killer of a novel. It’s confusing at times—at one point in the story, a little girl becomes part of the survival party without any mention of the rest of her family or why she was brought along, and Campbell doesn’t make full use of his characters; at least once, the aformentioned little girl isn’t even mentioned in a major scene, and later, she’s used in a manner that would have had far more impact had she been better developed. I’d never unleash a novel on the world in this state, but it does get points for not being so bad I had to put it down unfinished.

Hero by Wrath James White and J.F. Gonzalez throws an elderly black civil rights activist into the direct path of a mixed-race hospice nurse with a psychopathic hatred of African Americans. Those familiar with White and Gonzalez will probably expect a bit more graphic nastiness than Hero provides. It’s still plenty disturbing, however—reminiscent of Stephen King’s Misery, though antagonist Natsinet is anything but activist Adelle’s Number One Fan. While not as over-the-top as other works by these authors, this seamless collaboration packs in enough torture, dismemberment and murder to satisfy any discerning appetite.

While I find the novella to be Brian Keene‘s least fulfilling storytelling medium (I eagerly anticipate his every novel and have enjoyed every short story and comic he’s written, though), The Cage feels most like a complete story of the ones I’ve read. A lunatic gunman walks into an electronics store at closing time, wastes two of its eight employees, and locks the other six up in the back room. He retrieves them one at a time, leaving the rest to wonder what’s going on at the front of the store—until it’s their turn, of course. Cage is part of Keene’s Labyrinth mythos, though I’m not going to spoil it by mentioning which of the Thirteen the story involves. As with every Keene novella I’ve read, it left me wanting more (which I guess is more of a compliment than a complaint), but at least it read like a complete story, while a couple others I’ve read seem more like part one of a novel that would be seriously badass if finished.

Genital Grinder by Ryan Harding is a collection of eight stories most would consider “torture-porn.” Prefaced with an introduction by veteran splatter author Edward Lee, Grinder is by no means in the same category as the thought-provoking but sadistic works horror fans have read by Wrath James White, Jesus Gonzalez, Richard Laymon and the like. For the most part, this collection is gross for the sake of being gross—and if you expect anything different from a book called Genital Grinder, I say the blame lies with you rather than the author. A notable deviation from this theme is the final story, First Indications, which I honestly didn’t quite grasp. The rest of the book did exactly what I was hoping it would when I cracked into it, though—it entertained me for a few hours and made me damn queasy in the process. I particularly enjoyed the references the stories made to events taking place in preceding stories, and the recurring characters Von and Greg who appeared in several pieces. If I had to pick out one standout piece, it’d be Development, which actually did have a storyline and possibly the least gratutious gore of the whole book.

Quarantined by Joe McKinney follows Detective Lily Harris and her partner, Chunk, as they investigate a mysterious death inside the walls of superflu-contaminated, quarantined, San Antonio. When the detectives uncover the secrets behind the murder, the novel turns into not only a police procedural but also a survival-escape story. In many ways, Quarantined reads like a protoype for McKinney’s Dead World zombie novels (walled-off southern Texas city, disaster outbreak, police protagonists), but this standalone novel takes place in a different world and doesn’t feature any supernatural elements at all—it’s conspiracy-driven, rather than a fight for survival against a physical threat. As usual, McKinney offers a compelling story drawn heavily from his experiences as a San Antonio homicide detective and disaster response specialist.


Regarding Harsh Criticism


The other evening, I read this blog by Amanda Palmer. For those unfamiliar with her, Amanda Palmer is a singer/musician best known for her work with the Dresden Dolls, who also happens to be the wife of author Neil Gaiman. Her best-known work involves her singing while playing the piano, accompanied mainly by an awesome drummer and occasionally other musicians, but recently she’s recorded and played a lot of shows featuring her on the ukulele.

The first few paragraphs of the blog post discuss a forum thread  started by a longtime fan who hates what Amanda’s been doing for the past few years (aggressive merchandising, more ukulele playing than piano, etc).  Amanda doesn’t mind the thread at all, but advises other public figure types not to read such things about themselves on teh Interwebz. I have an entirely different viewpoint on the matter. My perspective is that of a writer, not a musician, but I think you’ll get the idea.

I understand, as one of my pals pointed out, brand-new authors might hit a few snags when it comes to public criticism of their work. They’ll have to get used to it. It might sting a bit when someone slags a story they’ve spent weeks or months on. Some critics simply don’t carry themselves in a respectful manner, and we can’t change that, either, as crappy as it is. For a new author, hobbyist, or someone who can afford to not sell their work any more, not reading public reviews/criticism may be a viable option. Authors who take their work seriously, however, are slightly more limited in their choices, in my opinion.

Now, this probably isn’t the Gospel truth for every author, but I figure on average we should seek out what the reading public thinks about us and our work, especially if we make our livings (or hope to some day) from our talents and the appreciation of those gifts by others. I’d rather read a thread about how I’m doing too much superhero stuff and need to write Moar Horror, for instance, rather than just wake up one day and not have any readers.

Don’t get me wrong; I don’t feel obligated to make my work conform to readers’ wishes. If I write two vampire books and feel a strong urge to write a third, I’m going to write it even if there’s a whole forum thread about how people wish I’d do something else. But I also understand that readers aren’t obligated to buy something they don’t like, whether their issue is with the quality of my work of the subject matter I’m dealing with. I’m advocating awareness, not conformity.

If you’re too thin-skinned to take criticism with a grain of salt, figure out what’s useful and gloss over the rest, you’re probably going to have a short career as a serious creator, anyhow. Besides, if people aren’t sounding off about your work, both the good and bad aspects of it, it means they don’t give a shit about it. Which would you really prefer, when you stop and think about it?

And in case you’re wondering, I personally love Amanda’s work with the Dresden Dolls, and her 2008 solo album. The ukulele stuff..? Not so much, but I definitely can’t wait to see what she comes up with once she moves on.