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How to Get Your Book Reviewed

Authors, especially ones who self publish or publish with indie/small presses, understand the importance of getting their books reviewed. Promotion and consumer feedback are the lifeblood of a new release, and having readers write reviews* is a vital component to this. Not only will seeing reviews splashed across social media motivate onlookers to purchase, but they play a major role in how a book ranks and gets exposure on sites like Amazon and Goodreads.

(*by the way, if you’re a reader and you’re not regularly writing reviews, please consider starting now – Goodreads, Amazon, Barnes and Noble, blogs, social media, anywhere. Seriously, it doesn’t have to be long and it doesn’t even have to be glowing. Every single one helps)

row of scary old books

Before Your Book is Reviewed

Before you even begin reaching out to people for reviews, there are a few items you should have in order first:

  • Reassess your editing and formatting. You could have the most original story idea ever, but if your manuscript is riddled with typos of bizarre formatting issues you could lose someone right out of the gate. Many reviewers have a hard time overlooking such errors, so it’s certainly in your best interest to make sure your book has been edited and formatted correctly (ideally by professionals in those specifics areas)
  • Set up author accounts on Goodreads, Amazon, and Barnes & Noble. These are the three main sites you’re going to want people to submit reviews to, so you will need to make sure your book is actually available to be purchased from and reviewed on these particular platforms. Ideally you will have set these accounts up far in advance of your book’s release date so readers/reviewers can explore them as soon as you begin reaching out.
  • Put together a media/release kit. If you’re releasing the book through a publisher, odds are some of this will be done by their marketing team. However, if you’re self-publishing, or if the press doesn’t do much outreach, there are a few items you should prepare before seeking out reviewers. These items include: copy of the book (either digital or physical, depending on your means), short press release (think of it as an advertisement for your book), plot synopsis, brief author bio, and finally author and book cover photos. Not every reviewer will want all of this, but the more you have ready the better prepared you are just in case.
  • Set up social media accounts. Having an established presence online is often critical to the success of your book. Not only is engaging on social media a great way to attract reviewers, but it’s an important part of marketing/promoting your work as well as yourself as an author. The main platforms being used are Twitter, Instagram, and Facebook. We recommend setting up accounts and engaging with the book community for at least a few months prior to asking for reviews. This gives people a better chance of knowing your name ahead of time, and possibly means they would be more receptive to your request.

Getting Your Book Reviewed: Thoughts from Actual Reviewers

So authors, wondering about best practices for getting your horror book reviewed? I have my own personal opinions on the subject, but I also decided to reach out to the review community for their input. Lo and behold, it basically matches what I said. If multiple reviewers are all saying the same thing, it’s probably worth taking note. Below are some of the most popular suggestions (including the reviewer’s name and Instagram handle):

“I always appreciate when an author takes the time to get to engage with me and get to know my interests better before reaching out. The initial review request should mention why I’m a good fit, what the book is about, what format you’ll send, and if you’re looking for a specific time frame (if you are I probably will say no because I can’t guarantee anything right now). Personally I’m fine with a DM, but I know some reviewers take emails more seriously. A good way to lose my interest immediately is to send communications that are brusque, incoherent, or impersonal.”

Ben Long (@reading.vicariously)

“I’m willing to review books for people who think I would be a good voice for their books, so they’ve taken me and my personality into consideration. They’ve interacted with me enough & approached me in a friendly manner. I am not willing to review books from people who have not followed me, have not interacted with me, don’t offer any kind of free copy, and don’t take into consideration stuff I like to read. I prefer physical copies for pictures, but I can make things work with an electronic copy. If you can offer physical copies though, definitely do.”

Melissa (@melissanowark)

“Flattery helps. I’ve had people approach me and say they liked my other reviews or they liked my aesthetic and asked if I’d be interested in reviewing theirs. Or they said they’ve seen what I’ve reviewed and think their book might be something I’d be interested in and asked if I’d be willing to give it a try…approach is everything. But an organic approach is best. I want to feel like you’ve taken time to see if I’d even be into your book. I’m also not interested in buying your book just to do you a favor because you “cold called me.” I’m far more likely to review if you offer me a copy and even more likely if you offer me a physical copy. I prefer them for photographing.”

Sarah (@thebookish_daydreamer)

“Find reviewers that specialize in your genre or have an interest in your genre. Accept a negative review as valuable feedback. Personalize your review pitch rather than copy and pasting generic ones. Once the review is written, return the favor by sharing the review with your audience. And finally, don’t chase a reviewer down and ask if they have read your book. It is ok to ask a reviewer for a time frame. If they give you one and its elapsed, it is then ok to follow up.”

Tali (escapereality4now)

“I appreciate it when someone tells me if they would like it read by a certain date or specifically the release date so I don’t have to ask. I’ve gotten excited about reading review copies and then when I ask they have wanted it done by the release date in a couple weeks or so and had to decline.”

Keely Fuse (@keelyfuse85)

“For me personally, an author has a higher chance of me reviewing their book if they have engaged with me in an organic way prior to asking. ALWAYS ask if you may send the book. Do not send a link in the initial contact. It shows you are not concerned with connecting with me as much as getting your book out. Authors should also survey my feed, read my other reviews, and check out my blog and socials to make sure your book is really a good fit for me. Physical copies are expensive so electronic copies are fine, but if you are going to send electronic for the love of everything good and pure do not send a PDF. Also, Do NOT expect a review to be completed by a certain time. Reviewers are human and this isn’t their job, its a hobby. Finally, continue engaging after I receive your book. Stay in the reviewers line of sight WITHOUT being pushy.”

Roxie Voorhees (

“Don’t DM reviewers you don’t know asking for reviews. Go to their blog or look for an email address. Include promotional links and a summary. Don’t tell me you’ve written the best book ever written.”

Matt (@teamredmon)

“It’s important to be personal and real. Don’t send messages requesting a review for your book that appear to be copied and pasted and impersonal. Also, if you’d like your book reviewed in a certain time frame, be up front about that with your potential reviewers. I personally always consider a paperback copy to review over a digital copy due to eye strain from screen reading, but also because I find a physical copy to be easier to photograph and promote. I know all readers are different though, so having digital or physical copies available for reviewers is great, but I also know that is not always possible. When seeking engagement surrounding your book, build up hype, ask engaging questions related to the book topics, host giveaways, and interact with anyone who shows an interest in your writing or the genres you write in.”

Amanda (@spooky.octopus.reads)

“Bullying or unbecoming behavior will not be tolerated and I will sever ties completely if needed. My interest has already been piqued by the time I’ve chosen a book and that spine has been cracked open (or the Kindle powered on). I am your target audience, as such I don’t necessarily need to be won over but I am your reader to lose.”

Zakk Madness (@zakkmadness)

“Be cool, be not creepy, be nice.”

Ashley (@spookishmommy)

To reiterate, here are the reviewers’ top “Dos” and “Don’ts” summed up:


  • Engage authentically with potential reviewers
  • Have organic interactions with potential reviewers (likes, comments, shares, tags, etc)
  • Express understanding of a reviewer’s interests and genres they prefer
  • Consider the manner and medium with which you make first contact
  • Offer physical copies if possible, but if not then check to see if digital is fine (typically MOBI or EPUB)
  • Scan your messages for typos


  • Communicate aggressively (audacious tone, repeated messages, commands to buy your book, etc)
  • Pressure the reviewer
  • Demand specific deadlines (requesting a time frame may be fine, as long as the reviewer is on board and the understanding is that the deadline may not be met)
  • Assume everyone wants to read your book
  • Harass people who leave negative reviewers
  • Act in a trolling, bullying, or otherwise unpleasant manner online (you never know who could be a potential reviewer that you’ve turned off with inappropriate/negative behavior)

After Your Horror Book is Reviewed

So you’ve gotten a review (or twenty)? Hooray! While you should bask in the glow of knowing people are reading and writing about your book, don’t stop there. To really get the most out of each and every review, consider doing the following:

  • Keep engaging! It’s important that your engagement has been authentic, and a reviewer’s positive experience means they will be much more likely to review future books down the line.
  • Write a thank you! Reviewers like knowing you appreciate their feedback. Even if the review was less than stellar it shows you’re willing to listen and engage as an author.
  • Use those reviews! Share quotes from positive reviews on social media, marketing/press materials, your website, and even on the book cover (if you got them in before print or if you end up reprinting) – anywhere you can share the good things people are saying about your work.

The Bottom Line

Obviously there’s a lot more that goes into the success of a book release (including social media marketing, promotional giveaways, blog tours, and even the right cover to name a few things). But when it comes to successfully pitching your work to reviewers and bloggers in your niche, following these tips will go a long way in helping get your horror book reviewed!

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On the Verge: Folk Horror Authors You Need to be Reading

We know we’re not allowed to pick favorite genres of horror here at Puzzle Box, but we do tend to get particularly excited when discussions turn to folk horror. Creepy cults, pagan rituals, rural isolation, and frightening folklore all spell a good time. It seems the further we rush into the future, the more the past becomes something strange, disquieting, and enticingly foreign to us. Especially for those of us who live in bustling cities and urban areas, the thought of being lost or trapped out in the countryside, out of our normal element, is quite discomforting.

Though the history of folk horror leans heavy into film for its exemplars, there are also plenty of fantastic books being written in the genre. In particular we want to highlight and promote the work of authors who are self-published or writing for indie presses but who deserve mainstream attention. So without further ado, here are five of our top picks for folk horror authors you need to be reading!

Stephanie Ellis

Stephanie Ellis author photo

Stephanie Ellis is based in Southampton, UK, and writes dark speculative prose and poetry, much of which has been published in a variety of magazines and anthologies. Her latest work includes a novella, Bottled, published by Silver Shamrock, and novel, The Five Turns of the Wheel. She has been published in Flame Tree Press’ A Dying Planet anthology, the charity anthology Diabolica Britannica and is included in Silver Shamrock’s Midnight in the Pentagram anthology. Her poetry can be sampled in the Horror Writer Association’s Poetry Showcase Volume 6 and 7. She has collected a number of her published, and some unpublished, short stories in The Reckoning, dark verse in Dark is my Playground, and flash in The Dark Bites, all available on Amazon.

1. Tell us a bit about yourself and what got you started in horror writing?

I’m a writer of dark fiction, having recently made the move to writing full-time. Prior to this I had a convoluted career path via quality control in pharmaceuticals, quality assurance in raw materials (food industry), programmer and technical author and most recently, teaching assistant and librarian in a secondary school. The shift to writing has been made possible due to a supportive husband and a house move to Wales!

I’ve been writing several years now. I am 57 years old to those who think they are too old to start writing! My start came as my three children grew up and I’d been dabbling in protest poetry at work for a select few colleagues to read(!) – it was a good way to vent – and I thought I’d try writing short stories. I used to subscribe to Writers News and they would list markets and I remember a call from Theresa Derwin’s KnightWatch Press and subbed a story – “Death is not a Potato”. It was dark but it wasn’t “horror” enough, though Theresa encouraged me and I responded to their following calls with some success and it all evolved from there.

I never read horror in its pure form growing up, apart from Edgar Allan Poe. The specific children’s books I remember and which stayed with me are Alan Garner’s Owl Service and the Weirdstone of Brisingamen and also Susan Cooper’s The Dark is Rising. I only started reading the more traditional horror at the end of my teens, early twenties, and yes that was Stephen King, but I have since expanded and read a lot more within the genre although with a huge amount to catch up on.

In terms of writing the sub-genres, that seems to have evolved naturally and I have three main “go-to” sub-genres: gothic, post-apocalyptic/dystopian and folk. The folk horror side has grown considerably as I created my own world in the novel, The Five Turns of the Wheel, and the characters refused to die. They have returned in the sequel, Reborn, which is currently resting after the first draft write up, and also in my collection As the Wheel Turns – More Tales from the Weald, which was just released.

These stories have allowed to me to use elements of the people and land I knew growing up, revisit British rural traditions and create a world which feels like home to me. The rituals in The Five Turns were completely made up but I researched some actual traditions for use in my collection.

Horror to me, and I’ve said it quite often, is not something instilled by movies, but by the senses. Twilight is the time, day in, day out, which makes me pause and think there’s something else, something lurking in the darkness. It’s a feeling that never goes away – when the sun sets, the owl hoots and the shadows grow. It always makes me shiver.

As well as writing, I am co-editor of Trembling With’s online flash zine. This is a weekly publication which I’ve been working on for nearly four years now with Stuart Conover, the owner of Horror Tree. This is a huge demand on my time as it is 52 weeks of the year with little let up but it’s been my way to give back to a site which published the opportunities which gave me my break. It is also an excellent place for new writers to get their first publication!

Bottled book cover with house in a jar
The Reckoning book cover with grim reaper chess piece
The Five Turns of the Wheel book cover with tree and fire

2. We talk to a fair amount of new writers. What tips would you give yourself if you could go back to when you started based on what you know now?

I knew it would be hard to break into publication, but the sheer amount of resilience required to pick yourself up after rejection upon rejection – which still happens to me, despite my successes – is considerable. I always felt my writing wasn’t good enough, and it probably wasn’t in the early days, but a number of rejections are based on fit or just not to the editor’s taste. Rejection does not mean you wrote a bad story. I didn’t really come round to that idea until a couple of years ago! Be prepared for this. It is a mentally draining and sometimes soul-destroying career. You have to be determined.

Another tip is read submission guidelines. I’ve always followed these but with my editor’s hat on at Horror Tree’s Trembling With Fear zine, the number who send in wrong story lengths (e.g. novellas for a flash market) are considerable. And format correctly. NEVER use spaces to indent or center paragraphs.

3. What are some of your favorite aspects of the folk horror genre?

The setting! The British landscape is a character in its own right and plays a huge part in my stories. It is the idyllic canvas covered with roses and honeysuckle which hides bloody tradition beneath the blooms. I love the juxtaposition of apparent beauty and perfection with evil and death. Subversion of what is assumed about the countryside allows so much scope.

There are also many weird and wonderful traditions in our country which offer a huge amount of material to write stories in this vein. Some of them are in my collection – e.g. “Running the Hood” is based on the Haxley Hood, an ancient “rugby type” game of village against village. Look it up on YouTube. Mummers troupes, May Day celebrations, seasonal fires – there is quite a calendar to pick from.

When I was younger I developed a considerable awareness of the countryside, its moods and seasons. Your eyes are open in a different way than if it was just a day out in the country from the city. The relationship between the people and the land is much more evident. This relationship is something I also like to explore. I do have a dig at those who move from the urban to the rural and then complain about the noise or the smell. I also dislike those from the city dictating to those who manage the countryside about how it should be done with no consideration for the realities or difficulties those folk already face. Perhaps if people think they might end up on one of the pyres lit by Tommy, Betty and Fiddler, they might think again about how they treat country folk.

In addition, the pagan element of so many of our rural traditions draws my interest, these are so strongly linked to the land, the seasons and the reliance of people on nature for food and shelter and the ever-increasing extremes people will go to in the belief it will grant their prosperity and survival. Something very clearly demonstrated in The Five Turns of the Wheel.

Harvest Home book cover with creepy house
The Wicker Man book cover with burning wooden figure
The Ritual book cover with skull in the woods

4. What are your top three favorite folk horror books (and/or films)?

Harvest Home by Thomas Tryon. I read this a few months back and it’s wonderful. It is very much the subversion of the absolute idyll leading to one of the most chilling endings you could imagine.

The Wicker Man (70s film and book). I’ve seen this film a few times and there are two parts which have always stayed with me. The parade of characters led by Christopher Lee as the half-man, half-woman with others dressed as the Hobby, the Fool and the like. If you look at old pictures of real processions, it’s strange how sinister they can appear at a time of celebration and goodwill. That sort of garb hints at evil, despite any other intentions, and I like to use that in my stories. The other part is when Sergeant Howie sees the Wicker Man and understands what is to happen and the emotion in his voice as he prays despite the fire. That gets me.

The Ritual by Adam Nevill is extraordinarily claustrophobic as the group of men travel through the forests (and yes, trees!), trying to find their way out of the Scandinavian wilderness. The element of paganistic discoveries underpinning their journey builds the terror and suspense.

And I know you said three but I’d like to give a shoutout to Kev Harrison, he’s coming up in the world of folk horror which is very niche and demands more readers and writers! His novella, The Balance, is a great new addition with its Eastern European setting and retelling of Slavic folk tradition.

If you’re interested in learning more about Stephanie Ellis, check out her website at You can also follow the author on Twitter (@el_stevie) and Goodreads (@Stephanie_Ellis). Finally, to purchase books check out the author on Horror Hub.

Kev Harrison

Kev Harrison author photo

Kev Harrison is a writer of dark fiction and English language teacher from the UK, living and working in Lisbon, Portugal. His nomadic lifestyle has previously taken him to various cities in the United Kingdom, as well as to Turkey and Poland. He has an unquenchable thirst for travel and is passionate about food, photography, and music, as well as fiction. He is a staff writer for This is Horror and has had short fiction published in a variety of magazines and anthologies. His first novella, The Balance, was released early in 2020, through Lycan Valley Press.

1. Tell us a bit about yourself and what got you started in horror writing?

I’m a British writer of horror and dark fiction, in my forties, living in Lisbon, Portugal. To go straight in with a cliché, I started telling stories when I was very young, whether that be oral storytelling or writing, it was just something I always gravitated towards. The first horror piece I wrote was for a school camp talent show, which ended with tears, nightmares and angry teachers. I stepped away from writing for a long time due to allocating my time to being in various bands, travel writing and some other pursuits, coming back to it in my late thirties. When I did start writing again, I knew it was horror or dark stuff more generally that would be my home.

2. We talk to a fair amount of new writers. What tips would you give yourself if you could go back to when you started based on what you know now?

I would definitely tell myself just to do it and do it earlier. I always thought writing was something other people did. That you needed permission, or something daft like that. If I’d done a bit more investigation, I’d have seen that there are pathways into writing for anybody, as long as you can tell a good story. So don’t wait for the invite – get stuck in as soon as you feel ready.

The Balance book cover with woman in forest
Cinders of a Blind Man Who Could See book cover with monkey statue
Paths Best Left Untrodden book cover with man's shadow

3. What are some of your favorite aspects of the folk horror genre?

I think folklore is likely the pre-cursor to what we now think of as horror. Stories around the campfire, with elements – real and imagined – from the daily lives of the storyteller and the audience. These stories were probably allegorical – don’t go into the woods at night or the monster will get you. Bury your dead properly or bad things will be afoot, etc. So, much as horror is maligned by some foolish individuals, through folklore, we can understand that horror is where it all began. I think, too, that folk horror brings out a location or a population like no other sub-genre. The folklore and the situ are inextricably linked. The rules are there, often known intimately by the population, yet someone transgresses – be that a member of the community or an outsider.

4. What are your top three favorite folk horror books (and/or films)?

For books, I’m going to pick out Stephanie Ellis’ brilliant, The Five Turns of the Wheel. I had the pleasure (terror?) of beta reading the novel and I immediately knew she was onto something special. The way it twists extant British folklore into this monstrous, self-contained world of the Weald is as impressive as it is horrifying.

After that, I’ll plump for Victor LaValle’s The Changeling. LaValle is one of those authors who writes so well, I’d feel obliged to hate him a little bit if he wasn’t such a nice guy. The Changeling takes a folkloric tale that’s thousands of years old and exists in some form or other in so many cultures, and plants it into modern New York. And when the final act kicks off…well, just don’t have anything planned for the rest of that day.

Finally, I’m going to choose Hex by Thomas Olde Heuvelt. Witches are well-trodden ground and something that is so hard to do in a way that is new and different. Heuvelt skilfully builds the folklore of the town of Black Spring around this witch who was put to death centuries earlier, but whose spirit persists. How might a modern Hudson valley town deal with such a thing? Read Hex and find out.

If you’re interested in learning more about Kev Harrison, check out his website at You can also follow the author on Twitter (@LisboetaIngles), Instagram (@mrevilkev), and Goodreads (@Kev_Harrison). Finally, to purchase books check out the author on Horror Hub.

Catherine McCarthy

Catherine McCarthy author photo

Catherine McCarthy grew up in the industrial valleys of South Wales where she went on to teach in primary education for almost three decades. Having been “shown the light” by her mother, who had the tradition of oral story-telling down to a fine art, she quickly developed an insatiable appetite for all things literary. Her first published novel, The Gatekeeper’s Apprentice, is a fantasy, magical adventure for middle grade readers. Her second novel, Hope Cottage, is a dark and mysterious family saga of triumph over adversity, reconciliation and, well…hope. Her most recent publication is a collection of ten portal stories for adults, entitled Door and Other Twisted Tales. Having traded the challenges and rewards of teaching for the hurdles and merits of writing, Catherine McCarthy now lives with her illustrator husband in a two hundred year old cottage in West Wales amidst spectacular, story-inspiring countryside.

1. Tell us a bit about yourself and what got you started in horror writing?

I’m a Welsh author and an ex-primary school teacher who writes dark fantasy and quiet horror in a variety of sub-genres such as folk horror, psychological horror and Gothic horror. My work is more creeping dread than explicit horror. I prefer to hint at the unknown and let the reader draw his or her own conclusions. It’s difficult to say what got me started in horror writing other than I’ve always been very much in touch with my dark side. Even as a young child I was keenly aware of illness, grief, death, and the powerful consequences such states have on us as humans. Writing about the human condition during times of angst helps me come to terms with my own demons, therefore it’s a cathartic act of creativity.

Hope Cottage book cover with stained glass window
Mists and Megaliths book cover with stones
Immortelle book cover with red bird

2. We talk to a fair amount of new writers. What tips would you give yourself if you could go back to when you started based on what you know now?

I’ll give you two: one from a marketing point of view, the other from a practical point of view. When I published my very first book, a middle-grade novel, I was so wet behind the ears! I imagined the book would simply sell itself, and to some degree it did, but that was because the children and parents from my school bought it, not the wider reading community.

So, tip number one…before you even consider publishing, take time to establish a name for yourself. Join groups on social media, make yourself known in the writing community by reading and reviewing other people’s work. Refrain from confrontation and stay supportive and positive towards others. Begin with short stories and submit them online or to anthology calls, even those that only offer a token payment. As with most walks of life, you really must be prepared to start at the bottom before climbing the ladder. However, there is nothing wrong with ambition. Aim high, but do not lose sight of reality! The motto is, be patient.

The second tip I would give is to revise and edit thoroughly and tirelessly, because if you put an unprofessional product on the market you will gain an unprofessional reputation. Remember, you are expecting people to pay for your work and therefore need to offer a product of high standard. If you put stuff out there too soon, before it’s thoroughly edited or formatted, or with a poor quality cover, you are setting yourself up for a fall.

3. What are some of your favorite aspects of the folk horror genre?

Folk horror takes me back to childhood. Not because it is childish, but because it evokes all those wonderful feelings I remember having as a child when reading folktales and fairy tales: the eerie power of rural landscapes, sinister conspiracies and strange customs, rituals and sacrifice concealed from outsiders. Folk horror has a natural tendency towards quiet horror, which I have already said I prefer. Take, for example, the slow-burn psychological tension embodied in The Wicker Man or the perfect blend of Paganism and Christianity that flows throughout Arthur Machen’s work. This type of horror has depth and forces the reader to ask moral questions. Much of my own work incorporates elements of religion gone wrong, remote, rural settings, and the power of nature. It isn’t something I set out consciously to write, instead it stems from the subconscious and finds itself on the page as if by chance.

The White People book cover with statue
The Loney book cover with tree and house
The Balance book cover with forest

4. What are your top three favorite folk horror books (and/or films)?

This is the toughest question of all, because there are so many! Is it even possible to reduce them to three? Okay, as a Welsh writer, I have to say Arthur Machen’s The White People ranks among the best, along with Andrew Michael Hurly’s incredible debut, The Loney. Now, I’m going to cheat and mention two indie folk horror writers who, to me, do it so well. They are Stephanie Ellis (The Five Turns of the Wheel) and Kev Harrison (The Balance).

If you’re interested in learning more about Catherine McCarthy, check out her website at You can also follow the author on Twitter (@serialsemantic), Instagram (@catherine_mccarthy_author), and Goodreads (@Catherine_McCarthy). Finally, to purchase books check out the author on Amazon.

Gemma Amor

Gemma Amor author photo

Gemma Amor is a Bram Stoker Award nominated horror fiction author, podcaster and voice actor based in the UK. Her books include Cruel Works of Nature, Dear Laura, White Pines, Girl on Fire, and These Wounds We Make. She is also co-creator, writer and voice actor for horror-comedy podcast Calling Darkness, starring Kate Siegel. Her stories have been featured on the NoSleep Podcast, Shadows at the Door, Creepy and the Grey Rooms podcast. You can find her in a number of horror anthologies, too.

1. Tell us a bit about yourself and what got you started in horror writing?

Hi, I’m Gemma and I am an author, illustrator and voice actor/occasional podcaster amongst other things. I write genre fiction, contribute to several horror audiodrama fiction podcasts as both a writer and a VO, paint book covers, and have begun to dabble in screenwriting- or at least I have dipped my toes in, which is a start. I’ve been interested in horror from a young age, but my first love was actually fantasy and science fiction- I cut my teeth on Robert Jordan’s The Wheel of Time series. I studied Shelley and the classics at university, then rediscovered my love of the horror genre in my mid-twenties when I was travelling in India and picked up a second hand copy of Cujo by Stephen King (it was the only book on sale in English). I devoured it and was hooked- I loved how he made character driven horror so appealing, and the world-building around Castle Rock was incredibly appealing for a fantasy nerd.

Cruel Works of Nature book cover with monster pulling off face
Dear Laura book cover with hand holding teeth
White Pines book cover with red door in the woods

2. We talk to a fair amount of new writers. What tips would you give yourself if you could go back to when you started based on what you know now?

Oh god, I still consider myself “new” to be honest. I often feel like the greenest berry in the punnet, and I know I have an awful lot left to learn. However, if I had to give myself advice, it would be:

  • Routine is essential 
  • Know when to rest
  • Find people you trust, and stick to them like glue
  • Editors are the difference between a shite book and a good book, so respect them
  • Also understand your own boundaries, not just in how you write but how you conduct business 
  • Make playlists
  • Go for lots of walks 
  • Don’t worry about writing well, not to begin with- you can always polish a turd, but you can’t polish a non-existent turd (yikes, I need to work on my mottos) 
  •  Always have a notebook on hand
  • When in doubt, do some research – it works like a treat to unblock any creative snarls 
  • Its okay to ignore all the rules and write whatever feels good, natural and authentic to you.

3. What are some of your favorite aspects of the folk horror genre?

For me, growing up in England, I think I have a healthy respect for history, and that history includes a rather big chunk of folklore, depending on where in the country you grow up. It’s also important to define what I mean by folklore. Personally, I don’t think it is simply a case of regurgitating fairy tales, myths and legends. Folklore is exactly that to me: lore of the people, history passed down over the years. It’s culture and heritage, gifted to us, an oral and written tradition that locks our unique heritage in place within history.

Our countryside is liberally littered with cairns, castles, stone circles, forts, processional ways, henges, long barrows and chambered tombs, not to mention old mines and agricultural archaeology from the Palaeolithic to the 20th century, and its enormously evocative to grow up amongst all of that, scrambling over ruins, imagining long-dead knights and druids and children no different to me living out their days in the misty past. Additionally, I grew up in a very flat, agricultural part of the country called the Fens, which is heavy in pre-history and ripe fodder for horror- lots of steely skies, reed beds, marshes, squealing terns and sea birds, mud and bleak (but beautiful) coastline.

Folk fiction, and folk horror in particular, taps into that very specific part of my brain that hungers for stories rooted in the countryside and history surrounding me, which includes witches, faeries, magic and dark, evil curses, sure, but also includes every day people carving out an existence: tribes, hunters, fishermen, farmers, the creatures that live in the seas, forests rivers and skies.

I also love how symbolism and geometry come into play in a lot of folklore and in rituals enacted by ancient cultures. I’m obsessed with the notion of sacred geometry and how that can be tied up with telling and re-telling stories across thousands of years. It’s all extremely exciting to think about as a writer, because there is both so much we know, and so much we don’t know, and those two things can create a wonderful environment to write within – mystery and legend, balanced with a little evidence-based fact.

I tried to include a lot of these ideas in my novel White Pines, which is set in the Scottish Highlands, and blend folklore with geometry, body horror and a sense of legacy and heritage, because these things sang to me so much while I was up there researching the book. I’ll be leaning heavily into folk in the next book I have lined up to write, and I’m extremely excited about it. 

Kwaidan movie cover with multiple people
The Only Good Indians book cover with deer antlers
The Bloody Chamber book cover with birds and flowers

4. What are your top three favorite folk horror books (and/or films)?

Folk horror is one of my favourite things, but the representation in films is sadly lacking when you compare it to other subgenres like slashers and so on. I adore the staples like The Wicker ManBlood on Satan’s Claw, and Midsommar, but the stories that draw on actual mythology are perhaps my absolute favorite of all, and so in that respect I’d have to say something like Kwaidan (1965), directed by Kobayashi, really hits the spot for me. It’s a horror anthology film that draws directly on Japanese folk tales, and it’s a real trip, aside from being gorgeous to look at. Ben Wheatley is also doing incredibly exciting things with folk horror at the moment, and I’m not sure how firmly Kill List or A Field in England slot into the folklore niche, but I loved them anyway.

In terms of literature, we have more scope. Adam Nevill has a firm grip on folk, and wields his understanding of how the land can influence a story incredibly well. The Only Good Indians by Stephen Graham Jones is also an incredible example of a raw story rooted in heritage and steeped in the supernatural. And of course, Angela Carter’s The Bloody Chamber is a collection of visceral, sexy, alluring fairy tales retold and reclaimed in her mesmerizing, inimitable style – extremely influential for me, and I absolutely adore it. 

If you’re interested in learning more about Gemma Amor, check out her website at You can also follow the author on Twitter (@manylittlewords), Instagram (@manylittlewords), and Goodreads (@Gemma_Amor). Finally, to purchase books check out the author on Amazon.

A.J. Vrana

AJ Vrana author photo

A. J. Vrana is a Serbian-Canadian academic and writer from Toronto, Canada. She lives with her two rescue cats, Moonstone and Peanut Butter, who nest in her window-side bookshelf and cast judgmental stares at nearby pigeons. Her doctoral research examines the supernatural in modern Japanese and former-Yugoslavian literature and its relationship to violence. When not toiling away at caffeine-fueled, scholarly pursuits, she enjoys jewelry-making, cupcakes, and concocting dark tales to unleash upon the world. Her published works include The Chaos Cycle Duology: The Hollow Gods (2020) and The Echoed Realm (2021) from The Parliament House Press, and a short supernatural horror story, “These Silent Walls” (2020), printed in Three Crows Magazine.

1. Tell us a bit about yourself and what got you started in horror writing?

I’ve been drawn to horror for as long as I can remember. As a kid, I ate up Goosebumps and Are You Afraid of the Dark, and my favourite films always had horror elements. I was pretty obsessed with the first and second Terminator films (don’t ask how I got away with watching those at a grade schooler) and the apocalyptic horror of them. Things hidden and unseen always fascinated me, and this followed me through life. 

Now, I’m working on a PhD that examines the supernatural in fiction and its relationship to violence, and although I started dabbling in fiction eons ago, I didn’t write seriously with the intention of publication until my academic research took off and I had fodder for inspiration. One chapter of my dissertation focuses almost entirely on folklore, and this chapter in particular inspired a lot of the horror in my novels, The Hollow Gods and The Echoed Realm. 

The Hollow Gods book cover with large black bird
The Echoed Realm book cover with weeping willow tree

2. We talk to a fair amount of new writers. What tips would you give yourself if you could go back to when you started based on what you know now?

I’d give myself two pieces of advice: First, time is your friend! Letting a manuscript sit for a few months is a totally acceptable (and advisable) thing to do. Taking 2-3 months off before editing will be more productive than diving right into editing and then having to re-edit for the next 2 years because you can’t get perspective on your work. You’d be amazed at the stuff you’ll detect when you’ve let things lie for a while!

Second, it’s okay not to take everyone’s feedback! This is one I still struggle with. You don’t want to seem stubborn or stuck up, so you try to take every bit of feedback you to heart, but in truth, I really think there are only two types of feedback that matter. If someone gives you a piece of critique that excites you and makes you think, “Oh, yeah, that’ll make my story better!” then it’s a good piece of feedback to take. Or, if it’s something you keep hearing over and over again from a qualified editor or beta-reader, then it is definitely something to consider! Who you take feedback from is also pretty crucial; not all opinions are made equal, and you want feedback from people who know the difference between personal preference and critical feedback tailored to the author’s vision.

3. What are some of your favorite aspects of the folk horror genre?

I think folk horror, despite being associated with the past and the pre-modern, is really such a modern phenomenon, which means that most modern people have at least a passing interest in it. 

Folklore studies in most parts of the world only cropped up with the advent of modernity, and folk horror as a genre is inseparable from the academic discipline of folk studies. For example, Jacob Grimm didn’t just record creepy fairy tales; he was a scholar who was deeply concerned with the role of folk culture and folklore in German nationhood and identity. The same could be said about Vuk Karadzić in the Balkans and Yanagita Kunio in Japan. Incidentally, all three of these scholars were in loose contact with one another; Grimm took ideas from Karadzić, and Yanagita took ideas from Grimm. 

So, while I wouldn’t quite say that folk horror and folk studies are a universal phenomenon, they are definitely transnational in that modernizing nations were interested in the power of folk culture to define regional or national identity. And this is one of the things I find most fascinating about folk horror! It isn’t just some quirky genre that incorporates folklore to scare its audience; it’s tapping into something collective and deeply rooted in our cultural heritage and our shared history. 

In Ghostly Japan book cover with skeleton
Kwaidan book cover with monster

4. What are your top three favorite folk horror books (and/or films)?

Oh, that’s a tough one! I’m not going to lie, I think Japan is the master of folk horror. Japanese cultural productions are just so good at using folklore as a kind of kinetic mythology and reincorporating old tales into new productions. I think some of my favourites come from Japan! Off the top of my head, some of the stories that still get me include Sakaguchi Ango’s “In the Forest Under the Cherry Blossoms in Full Bloom” (seriously creepy), Ryunosuke Akutagawa’s short story “Hell Screen” (based on an old Buddhist folk tale), and really anything recorded by Lafcadio Hearn (Check out In Ghostly Japan and Kwaidan). There are so many others, and it’s sometimes difficult to pinpoint because Japan does such a brilliant job of weaving folk horror into daily life and non-horror genres! 

If you’re interested in learning more about A.J. Vrana, check out her website at You can also follow the author on Twitter (@AJVrana), Instagram (@a.j.vrana), and Goodreads (@A_J_Vrana). Finally, to purchase books check out the author on Amazon.