Puzzle Box Horror’s book recommendation of the week is Gemma Amor’s “Girl on Fire.” 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’s also co-creator, writer and voice actor for horror-comedy podcast Calling Darkness, starring Kate Siegel. Her stories are feature on the NoSleep Podcast, Shadows at the Door, Creepy and the Grey Rooms podcast.
SYNOPSIS: Ruby Miller is free at last. Free from her past, her tormentor, her shitty family and the even shittier odds she was given at birth. But freedom has a price, and when the young girl hell-bent on starting a new life crashes her cherry red 1989 Pontiac Bonneville on America’s loneliest road, she finds out just how dear that price is. From the Bram Stoker Award nominated author of Dear Laura and White Pines comes a new novella, a searing tale of fire, revenge and redemption, a coming-of-age tale with a bite, because, let’s face it… happy endings are for children, and some girls just want to watch the world burn.
Review by Ben Vicariously 4/5 stars.
This story starts with a bang (literally) and is paced like wildfire, zipping through a tale of a young girl’s burning fury being unleashed upon the world. Ruby’s traumatic past haunts her still, and all she wants to do is see the world burn. She is the girl on fire, and her killing rage is both righteous and overwhelmingly destructive. Unfortunately for those around her it is only going to escalate.
Tritone’s love of horror and mystery began at a young age. Growing up in the 80’s he got to see some of the greatest horror movies play out in the best of venues, the drive-in theater. That’s when his obsession with the genre really began—but it wasn’t just the movies, it was the games, the books, the comics, and the lore behind it all that really ignited his obsession. Tritone is a published author and continues to write and write about horror whenever possible.
Is there anything more complex than religious faith? Faith can be ineffably inspirational and intractably inflexible, a source of hope to motivate some of humanity’s greatest heroes and an excuse to defend some of our most despicable monsters. And when most people talk about the subject, they tend to focus on one quality to the exclusion of the other.
So it’s to the credit of British author C.J. Tudor that her novel The Burning Girls incorporates faith into horror story in a humane and principled manner. The book’s title refers to two young girls martyred in the 16th century for their Protestant beliefs. Today, villagers in their hometown remember “the Sussex Martyrs” as champions, holding memorial ceremonies and constructing twig dolls in homage. And sometimes, the girls’ flaming ghosts appear as omens to those who are in trouble.
The most important troubled person is Reverend Jack Brooks, a vicar who has been moved, along with her fourteen-year-old daughter Flo, to the tiny Sussex village Chapel Cross from her urban parish in Nottingham. Jack brings along her troubled past, including the murder of a young parishioner, her husband’s shadowy death, and a family history that she does not want to discuss with anyone, including us readers.
Despite her increasingly weighty baggage, Jack makes for a kind and engaging lead. Serving as the narrator for the majority of the book’s chapters (Tudor employs third-person voice for chapters focusing on other characters), Jack is quick with a quip and a forgiving aside, without ever feeling like a saint. The mercy she extends to others stems from an awareness of her shortcomings. When she begins judging a colleague for engaging in a sin of omission, she checks herself and thinks, “Who am I to judge?”
This isn’t to say that Jack doesn’t make mistakes. She gives into anger and (like all parents) constantly flubs in her decisions with Flo. But given how easily this smoking, swearing, horror-movie-watching woman of the cloth could become a “cool priest” cliché, there’s something refreshingly real to Jack’s grounded approach to the transcendent, especially to a lifelong practicing Christian like me. The Burning Girls insists that everyone has their demons and fights them their own way.
Despite the certainly admirable quality of this theme, the novel does become laden with tragedy. Everyone from a small-time reporter to a fellow vicar’s wife has a tragic backstory, which can become overwhelming. Given the mundane atrocities that mark The Burning Girls, pyro specters and crooked exorcism blades seem excessive.
The problem is exacerbated by Tudor’s sometimes too-lean prose, which prioritizes snappy dialogue over clearly defined spaces and characters. The book often reads like a script, as conversations between characters can go on for over a page, with little more than a signal phrase to break it up. As a result, the characters feel thin, as we’re forced to construct our mental image of them from the things they say, rather than the physical attributes the narrator allows us to see. This tendency crosses over from frustrating to irritating when the characters indulge in pop-culture references, talking about Evil Dead, Bill Hicks, and (with surprising frequency) The Usual Suspects. Unless you’re Nick Hornby, readers shouldn’t know more about your protagonists’ movie collections than we do about their physical features.
Fortunately, Tudor balances these issues by moving the plot along swiftly. The author shows a deft hand at revealing clues and mysteries, allowing connections between the Sussex martyrs, the disappearance of two teen girls and a local priest, and Jack’s biography, to float into view with satisfying elegance. The reader feels like an active participant in the adventure, never ahead of the characters and rarely trailing behind.
The Burning Girls treads some truly horrific ground, recounting some of the worst things humans can do to one another. And it does not shy away from the fact that religious faith often drives these acts of brutality. But it also shows us how faith can be a healing element, compelling us to care for each other, all the more in the face of such cruelty.
Defining the term “folk horror” and tracing its trajectory throughout history is somewhat of a Herculean task. For a term that sounds so simplistic, it is an incredibly complex and ever-expanding genre. Entire books have been written on the subject (such as Adam Scovell’s 2017 film criticism Folk Horror: Hours Dreadful and Things Strange), and there’s even a three hour long documentary about it titledWoodlands Dark and Days Bewitched: A History of Folk Horror, which itself features over one hundred examples from film.
And while much of the emphasis surrounding the conversation is placed on British movies, there are plenty of overlapping examples in film, TV, and literature from around the world. Not to mention the actual elements that make up the genre are diverse, and range from folklore to the occult to witchcraft.
Simply put, it’s complicated.
To that end, this article is not going to be an exhaustive look at the genre (that’s what the books and documentaries are for), but rather a brief overview of the term, its tropes, and popular examples. Think of it as a primer; a starting place in the shallows of the vast ocean that is folk horror. Ready to wade in?
Origins of the Term
The British music scene experienced something of a folk revival in the 1960s, and that, coupled with the rise in Neopaganism, led to a general infatuation with and exploration of older belief systems. Bands like Black Sabbath and Led Zeppelin explored occult themes in their songs, and the writings of famous occultist Aleister Crowley gained popularity. It wasn’t long before the fascination with folk and occult themes found its way into the world of cinema. And that’s not to say that music was the only vehicle for introducing folk horror, as disillusionment with modernism and outrage at governing bodies engendered in many a desire to return to nature and the simpler, older ways of life. At the same time, our post-industrial life has made us unused to rural life and uncomfortable with isolation.
When cult classic The Blood on Satan’s Claws came out in 1971, the Kine Weekly referred to the film as “a study in folk horror”. The movie’s director Piers Haggard also used this term when describing his film. Later the term received renewed attention in 2010 when writer/actor Mark Gatiss interviewed Haggard during a section of the BBC documentary A History of Horror. These two moments, 1971 and 2010, appear to mark the emergence and then subsequent revitalization of the expression “folk horror”.
Elements of Folk Horror
Though it can be difficult to pin down the exact definition of folk horror, there is a general agreement that it is more of a mood, an atmosphere, than anything else. You know it when you see it, though it may be hard to explain why. Even common tropes can vary widely depending on geographic region and time period, and movies with very dissimilar plots can still fall under the folk horror umbrella. But for the purpose of simplicity, we will highlight what writer and filmmaker Adam Scovell (owner of the Celluloid Wicker Man blog) describes as the “Folk Horror Chain”, or the four basic thematic/aesthetic tenets of folk horror: Rural Location, Isolated Groups, Skewed Moral and Belief Systems, and Supernatural or Violent Happenings.
Rural Location: This was a big one for movies in the 60s and 70s because it saw a move away from filming in studios and out into the natural world. This element typically involves a fascination with pastoral landscapes and locations outside of urban life. Often there is an outsider who stumbles upon or is forced into a rural community, and who usually becomes some sort of scapegoat or sacrifice to traditional/pagan beliefs. Some argue that this element also encompasses ideas of psychography and location being a “state of mind” in more urban communities, such as in Roman Polanski’s filmRosemary’s Baby (1968).
Isolated Groups: This element typically takes one one of two meanings – either an individual is isolated from their normal physical environment or they’re isolated from those who share their same moral beliefs. For example, the characters in David Bruckner’s The Ritual (2017) find themselves stranded in the forest but also in discord with people who worship much different gods than they. This element is a link between the previous one and the next because isolation usually happens in rural environments, and it’s made even more upsetting because the antagonistic forces don’t act or think the same as the protagonist.
Skewed Moral and Belief Systems: InRobin Hardy’s The Wicker Man (1973), Sergeant Howie finds himself in a community whose religious beliefs and practices are at odds with his own. Across other examples there is a common thread of “modern” or “Christian” beliefs finding themselves in direct conflict with occult or pagan beliefs. This collision of morality and religious belief leads into or is specifically connected to the final element of the chain.
Supernatural or Violent Happenings: Folk horror stories are often steeped in, or at least influenced by, folklore of the particular region they’re set in, and this final piece of the chain usually involves either supernatural beings or some form of ritualistic violence (or both) related to that folklore. Invocations of demonic entities, horrific sacrifices, occult practices, and pagan idolatry are all par for the course.
British Folk Horror
The current popularity of folk horror, at least what our primary audience would be familiar with, owes a lot to British cinema, and in particular the Hammer Films production company. A group of films from the 60s and 70s, known affectionately as the “Unholy Trinity,” is what many point to as the birth of the genre. These movies are Witchfinder General(1968), the aforementioned Blood on Satan’s Claw (1971), and The Wicker Man (1973). These three films helped distinguish some common characteristics of folk horror, namely the picturesque landscapes, the isolated communities, and the emphasis on sacrifices and supernatural summonings. And yet, showing how intangible the genre is, these are also three very different movies in terms of plot.
Strong examples of the genre can also be found in British television from the same time period. There was the BBC’s Ghost Stories for Christmas series, which adapted several of M.R. James’s short stories with folk horror elements, such as Whistle and I’ll Come to You (1968), A Warning to the Curious(1972), and The Ash Tree (1975). There was a drama series from the BBC, titled Plays for Today, with standout hits like Robin Redbreast(1970) and Penda’s Fen (1974). And there were still other enduring examples of the genre like Children of the Stones(1977), a miniseries made for children but still incredibly terrifying.
Though the British rise in folk horror began in the 1960s and 1970s, there was something of a resurgence in the genre in the 2010s. Some of these newer British films (and in the UK more widely) took the tropes and themes from decades previous and put their own modern spin on them, while others sought to return to folk horror’s roots, so to speak, with their emphasis on ritual, folklore, and mankind’s connection to nature. While there are many examples to pull from – folk horror appears to be trending right now – several standout movies include David Keating’s Wake Wood (2009), Paul Wright’s For Those in Peril(2013), Elliot Goldner’s The Borderlands (2013), and Corin Hardy’s The Hallow (2015). Another prolific filmmaker in the genre is Ben Wheatley, whose canon of folk horror movies includes Kill List(2011), Sightseers (2012),A Field in England(2013), andIn the Earth(2021).
Most of the common examples in British folk horror are from film, however there are many books from Britain that include plots and tropes from the genre. In fact, as it goes, some of the oldest examples of the genre are found in literature, from authors such as Arthur Machen, Algernon Blackwood, and M.R. James. Some shining examples in more modern literature include Adam Nevill’s The Ritual(2011) and The Reddening (2019), Andrew Michael Hurley’s The Loney (2014) and Devil’s Day(2017), Thomas Olde Heuvelt’s Hex(2016), and Stephanie Ellis’s The Five Turns of the Wheel(2020) – as well as numerous comics, such as Simon Davis’s Thistlebone(2020) from 2000AD.
American Folk Horror
Though the term originated in the British imagination, the evolving genre of folk horror has set roots in American cinema and literature as well. In some cases this involves American filmmakers creating movies very much influenced by the British tradition, such as Avery Crounse’s Eyes of Fire(1983), Robert Eggers’s The Witch (2015), Gareth Evans’s Apostle (2018), and Ari Aster’s Midsommar(2019). These films have strong similarities to their British cousins in regards to their emphasis on British landscapes and lore. The Blair Witch Project(1999) is another movie that could be included in this group, though it doesn’t fit the mold quite as well.
There are also many crossover elements between the genres of southern gothic and folk horror, and these commonalities can be seen in films such as Charles Laughton’s Night of the Hunter(1955). There is also a sub-genre of film called “hicksploitation” or “hillbilly horror” which spawns from the southern gothic tradition and which, upon first glance, may not seem to have much to do with folk horror. Yet, when one applies Scovell’s folk horror chain theory, the similarities begin to arise. Films that would fit in this category include movies like John Boorman’s Deliverance(1972), Tobe Hooper’s The Texas Chainsaw Massacre(1974), and Wes Craven’s The Hills Have Eyes(1977).
In American literature, elements of folk horror can be seen as early as the works of Nathaniel Hawthorne and Washington Irving. Other popular novels and short stories in the genre include Thomas Tryon’s Harvest Home(1973), Stephen King’s “Children Of The Corn” (1977),Shirley Jackson’s “The Summer People” (1984), Raymond E. Feist’s Faerie Tale(1988), Elizabeth Hand’s Wylding Hall (2015), John Langan’s The Fisherman(2016), and Victor Lavalle’s The Changeling(2017).
A Genre Diverse and Divergent
As we continue to reevaluate and redefine what folk horror is, we begin to notice a few common truths: the genre has existed in some form or fashion long before the 60s and 70s, and some version of it can be found in almost every country around the world. Beowulf, Sir Gawain and the Green Knight, early forms of mystical poetry, and even some of Shakespeare’s plays all have folk horror elements. The earliest example in film comes from the Danish-Swedish fictionalized documentary Häxan: Witchcraft Through The Ages(1922). Sweden has Ingmar Bergman’s Hour of the Wolf (1968). Australia has Peter Weir’s The Picnic at Hanging Rock(1975). Japan has Kaneto Shindo’s Onibaba (1964) and Kuroneko (1968). And on and on it goes.
Also the more we explore the foundations and tenets of folk horror, the more we find examples which lie outside of the commonly accepted cannon, but which end up fitting the mold in diverse and interesting ways. Some titles here would include Sam Peckinpah’s Straw Dogs (1971), Bernard Rose’s Candyman(1992), Guillermo Del Toro’s Pan’s Labyrinth (2006), Edgar Wright’s Hot Fuzz(2007), Jordan Peele’s Get Out(2017), Ari Aster’s Hereditary (2018), and even the Paranormal Activity franchise.
As it should be clear by now, attempting to box the folk horror genre into an easy-to-digest definition is simply not possible. We didn’t even get into the various histories of folklore and dark fairy tales around the world and their individual influences and appearances in the genre. We also didn’t get into the overlapping traits in genres such as science fiction and cosmic horror. What we did accomplish, hopefully, is to give you a taste of the world that you will carry with you into your own exploration of this wonderfully diverse genre known as folk horror.
Ben’s love for horror began at a young age when he devoured books like the Goosebumps series and the various scary stories of Alvin Schwartz. Growing up he spent an unholy amount of time binge watching horror films and staying up till the early hours of the morning playing games like Resident Evil and Silent Hill. Since then his love for the genre has only increased, expanding to include all manner of subgenres and mediums. He firmly believes in the power of horror to create an imaginative space for exploring our connection to each other and the universe, but he also appreciates the pure entertainment of B movies and splatterpunk fiction.
Nowadays you can find Ben hustling his skills as a freelance writer and editor. When he’s not building his portfolio or spending time with his wife and two kids, he’s immersing himself in his reading and writing. Though he loves horror in all forms, he has a particular penchant for indie authors and publishers. He is a proud supporter of the horror community and spends much of his free time reviewing and promoting the books/comics you need to be reading right now!
In the world of sci-fi horror literature there are some common names that spring to mind first: Mary Shelley, Harlan Ellison, Philip K Dick, and Jeff Vandermeer. However, there are plenty of lesser known authors, or authors still early on in their careers, who are writing stories just as full of technology and terror as the genre classics. At Puzzle Box Horror we’re all about finding and promoting the best in horror, so we thought we would help shine a light on some of the newer or less known writers who need to be on your radar! When it comes to finding the best sci-fi horror books, you’re going to be glad you broadened your search and gave these authors a chance.
Sci-Fi Horror Authors
Joseph Sale
Joseph Sale is a prolific novelist and editor. His first novel, The Darkest Touch, was published by Dark Hall Press in 2014. He is published with The Writing Collective and has authored more than ten novels, including his Black Gate trilogy, and his love-letter to fantasy: Save Game. He grew up in the Lovecraftian seaside town of Bournemouth. His short fiction has also appeared in Tales from the Shadow Booth, Idle Ink, Silver Blade, Fiction Vortex, Nonbinary Review, Edgar Allan Poet, Storgy Magazine, and numerous anthologies.
1. Tell me a bit about yourself and what got you started in horror writing?
My name is Joseph Sale, but many call me the Mindflayer. I am a writer of horror, fantasy, science fiction, and many things in-between, as well as an editor; two titles I edited last year went on to the Bram Stoker preliminary ballot, and one is on the Nomination list! I love helping writers achieve their vision. As I say frequently, “The aim of an editor is not to point out what is wrong, but to see what the writers intended, and help them achieve that.”
In terms of horror writing, it came slightly later on for me. When I was initially starting out as a writer, I was mainly trying to write sword & sorcery fantasy. They were very hackneyed and derivative, and ultimately, they didn’t really read like “me”. They were Tolkien clones, aping the archaic style (but falling far short of it). But one day, I encountered a little known writer called Stephen King! The first book I ever read by him was The Stand. It blew my mind. I think I felt like King had found a way to translate that fantasy epic feeling into a modern setting. From then on, I became a horror junkie, and I started to write horror. I quickly realized that horror facilitated an exploration of darker themes; it allowed me to take off the shackles of decency and normality and delve into the roiling darkness of my own psyche in a way my previous attempts at swashbuckling fantasy had not allowed. This was a very therapeutic and healing process. Ultimately, in exploring the darkness, which only horror allowed me to fully do, I came to the light, so to speak.
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?
Wow, this is a hard question. I think my first tip would be less is more. I had a tendency to over-write to the nth degree when I started out. I still think that maximalism trumps minimalism in writing, and I prefer over-written to the “stark” and soulless prose of many popular writers today, but too much is very clumsy and ultimately detracts from the very emotional power one is trying to generate.
My other piece of advice would be to listen. By this, I mean to the inner voice. Sometimes, the intellect cannot solve a problem, only intuition and the deeper Muse can. It might sound flighty and poetic, but it is the truth in my experience. We all have this reservoir of knowledge. Our subconscious makes the right decision before we know it consciously. I too rarely listened to my creative intuition back then. Now, I am always waiting for that quiet voice to speak.
Next, structure, structure, structure. Many writers seem to believe they can find their way without understanding the internal structures of narrative (and I certainly used to be one of them). However, now I’ve learned (and teach) the 5-Act structure, it has totally transformed my fiction. I would highly recommend the 5-Act structure for its simplicity, versatility, and clarity (for more information, check out my blog here). However, we all have to find the one that works for us!
Lastly, I highly recommend joining a mastermind group / writer’s sharing group (again, something I never did until recently). The feedback and energy of a group is invaluable. That sense of community, being able to puzzle out problems with others, and also having access to workshops – all of these are so empowering. I am a member of Let’s Get Published run by amazing writer Christa Wojciechowski. It’s been a transformative experience.
3. What is your favorite aspect of the sci-fi horror genre?
Horror and sci-fi have been linked for a long time, Mark Shelley’s Frankensteinbeing a prime example. I often conceive of science fiction arising from a place of anxiety. In the case of Frankenstein, this is certainly true – it’s clear that Shelley was disturbed by the idea of men playing God with galvanization, and, by virtue of doing so, supplanting the woman as the natural mother and giver of life. One need only look to the atomic bomb for further evidence that technology should be viewed with healthy suspicion.
Another way to look at it is that in some ways, sci-fi horror is an oxymoron, and I am always interested in contrasts! Horror is sometimes said to be the only genre defined by an emotion. The aim of horror is to make us feel something: horror, revulsion, disgust, paranoia, perhaps even terror, the list goes on. That is a very raw, potent thing. Science Fiction, on the other hand, is in general more intellectual. It appeals to the left side of the brain. It is imaginative – hugely so – but it comes from a place of trying to logically envision a future, be it dystopian or otherwise. When we blend the two together, we have a recipe for success: the rational science – the logic of humankind – pitted against the irrational horror. In many ways, this is mythopoeic and psychological, it almost seems to describe the battle between our conscious minds with our unconscious fears. It is a marriage made in heaven. And, of course, we all know that logic will never truly triumph over emotion, which makes the presence of horror in a sci-fi universe all the more powerful.
4. What are your top three favorite sci-fi horror books?
Three?! Only three? You are cruel.
Biomeltby Carlton Mellick III has got to be up there. The book is a work of genius. The science fiction is perfectly blended with horror. In this crazy, crazy novel, the overpopulation problem has been solved by people being “combined” in a bizarre scientific procedure that merges their physical matter, experience, and personality. I can’t say much more than that or it will give the game away – suffice to say something goes horribly wrong. This book is overflowing with incredible ideas and characters, including my personal favorite, a serial killer known as Porn Eyes, because he has watched so much holographic pornography it’s been seared onto his eyeballs. Amazing stuff.
To cheat a little, and branch out into the realm of graphic novels, I would also say Grant Morrison’s Nameless. Essentially, an asteroid named Xibala is heading towards Earth, and it’s going to be an extinction event. A group of astronauts is dispatched to destroy the asteroid, Armageddon–style. However, it soon becomes apparent that Xibala is no mere asteroid, it’s a remnant of a cosmic war, fought by Lovecraftian beings, a gateway to a dimension best left unfound. It is a truly harrowing read that effortlessly moves between science fiction, terrifying cosmic horror, and finally, into a universe of dream-language. It is mesmeric and profound. Don’t expect answers to come easy, though!
The last I’d have to recommend would bethe great Frankenstein. Shelley’s prose is so potent. Every time I re-read Frankenstein, I see new things in it, new depths. Its relevance has only increased as time has gone on. Now, we have the capability to “improve” children by “removing” genetic defects – we are, more than ever, a society playing God, and if nothing else that has serious consequences for the psyche.
There have been many attempts to artificially modernize Frankenstein but invariably – at least in my view – they fail because they remove the best part of it: the language. Shelley’s style, and her sense of “what lies beneath”, is what makes the novel the powerhouse it is. The only remotely successful attempt in my view is Junji Ito’s manga-isation, which is a masterpiece (and which also remains extremely faithful to the original). I think the key thing is that for all Victor Frankenstein’s wordy monologuing on science, life, despair, creation, much is left unsaid in Frankenstein, and that is its true power, and a lesson to all horror writers.
If you’re interested in learning more about Joseph Sale, check out his website at www.themindflayer.com. You can also follow the author on Twitter (@josephwordsmith) and Goodreads (@Joseph_Sale). Finally, to purchase books check out the author on Amazon.
Caitlin Starling
Caitlin Starling is an award-winning writer of horror-tinged speculative fiction. Her novel The Luminous Dead won the LOHF Best Debut award, and was nominated for both a Locus and a Bram Stoker award. Her other works include Yellow Jessamine and a novella in Vampire: The Masquerade: Walk Among Us. Her nonfiction has appeared in Nightmareand Uncanny. Caitlin also works in narrative design, and has been paid to invent body parts.
1. Tell me a bit about yourself and what got you started in horror writing?
I started writing really young and never really stopped, though my interests and goals have of course shifted over time. In particular, there was a period after high school until my mid 20s where I convinced myself that professional writing was far too hard and unrewarding a field to pursue. It sounds very cynical, but it was actually extremely freeing. It let me just write what I wanted to, without needing to stress too much about what it was “for”. I wrote a lot of fanfiction and did a lot of text roleplaying back then.
The whole time, I was undeniably drawn to tell darker stories (though not, notably, tragedies – those are way too sad!), but for a long time I didn’t think I liked horror. Really, I thought I was too much of an anxious weenie for it! And yet there I was, sending my characters through hell, always reaching for the most unsettling, fucked up option whenever I needed some details. I wrote so many words about death curses, obsessive research that led to ecstatic oblivion, seances gone horribly wrong, the terror of your identity being changed without your permission… Eventually, around the time I started what became The Luminous Dead, I figured out that I’d been writing horror of some kind all along, and decided to lean into it and start doing my homework so I could make it scarier for everybody.
(There are still times where I wonder if I’m “really” writing horror, and then a reader will offhandedly mention that I’ve made low battery notifications traumatic, and it’s like, yes, okay, I might not be scared of what I write, but everybody else sure is!)
Photo credit: www.ericarobynreads.com
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?
Have fun whenever you can. It gets way harder the more pressure is on you, but no matter what point of your career you’re in (at least up to where I am now!). Stepping back and writing something because it’s fun is always some combination of relief, freedom to experiment, and opportunity to learn without necessarily realizing you’re doing it. Like I already mentioned, I spent so many years writing fanfiction or doing text-based roleplaying with friends, and I banged out more words and tried more approaches with the “fun” writing than I ever managed to with my “serious” projects. Plus it was just enjoyable, and kept me focused on the truth that, no matter how hard it gets (and seriously, it gets hard, it just does) I still just fundamentally enjoy writing.
3. What is your favorite aspect of the sci-fi horror genre?
Technology doesn’t care if it’s good for us (neither do the people who create it, in a lot of cases). Every helpful facet of every tech advance seems to come with either a tradeoff or an unexpected consequence. It’s just really fun to play with, honestly: how can I take this neat invention I’ve created because it’s cool or to solve a plot issue and use it to cause even more plot issues. With The Luminous Dead, Gyre has a suit that keeps her fed and warm and protected from the cave. It carries her gear. It connects her to the surface so she isn’t alone. Great! Now what horrible things also come along with that? How does she get plugged into that suit, and what does it feel like a week on, a month? What happens if the communications feature doesn’t so much stop working as work in a way Gyre doesn’t understand? What’s it like, to be cared for and constrained by the same indispensable object that has no feelings about you either way?
So not only does tech change the landscape of what your characters can do or explore, and not only can it be a weird and surprising new threat, but those two things can be completely linked. It’s elegant and honestly really upsetting sometimes!
4. What are your top three favorite sci-fi horror books?
Annihilation by Jeff VanderMeer, which is a completely intoxicating mindfuck. I feel like it’s what would happen if The Thing and House of Leaveshad a really environmentally-conscious baby.
The Last Astronaut by David Wellington does some extremely cool stuff with expectations of physical scale in space that I really, really loved. Not to mention some great psychodrama.
The Murders of Molly Southbourne by Tade Thompson is just a wild ride, start to finish. The sequel just cranks it up even higher. Clones! Secret government programs! Constant, relentless violence against yourself! It really has everything.
(Also, as a bonus: Leviathan Wakes by James S. A. Corey – first of The Expanse novels, you may have heard of them – isn’t a horror novel per-se, but the horror elements in it? Incredible.)
Scott R. Jones is a Canadian writer living in Victoria BC with his wife and two frighteningly intelligent spawn. He is the author of When The Stars Are Right: Towards An Authentic R’lyehian Spirituality (Martian Migraine Press) and the weird fiction story collection Shout Kill Revel Repeat (Journalstone/Trepidatio). His debut novel Stonefishwas published by Word Horde in 2020. He was once kicked out of England for some very good reasons.
1. Tell me a bit about yourself and what got you started in horror writing?
I’m a Canadian fella from the west coast of British Columbia, so I’ve been steeped since childhood in that weird PNW vibe. Also, grew up in an apocalypse cult, so combine the two influences and you’ve got me and my work: paranoia, things in the woods, ultraterrestrial entities offering bad deals, crumbling “real” realities, compelling false realities, and so on.
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’m pushing 50 now and I know I lost a certain momentum by taking a long break from writing at the turn of the century, which I absolutely should not have done. I’d tell myself to not take that break, basically. Consistency in output is key; it doesn’t have to be good output, even, just make sure you keep at it regular-like. I’m not a “write every day” guy because c’mon, that’s impossible for most, but yeah, be consistent with putting your butt in the seat and your fingers on the keyboard.
3. What is your favorite aspect of the sci-fi horror genre?
I think it speaks to a truth we are increasingly feeling to be relevant to our existence in the 21st Century. Lovecraft warned us of the “black seas of infinity” that surround our species and true to form, we are exploring that void of unknowing and correlating our contents! Will we go mad from the revelation? Seems we’re halfway there already. Sci-fi horror and weird horror are the genres in which we can explore these ideas most effectively, to my mind.
4. What are your top three favorite sci-fi horror books?
If you’re interested in learning more about Scott Jones, check out his website at www.scottrjoneswriter.com. You can also follow the author on Twitter (@PimpMyShoggoth) and Goodreads (@Scott_R_Jones). Finally, to purchase books check out the author on Amazon.
JZ Foster and Justin Woodward
Born and raised in Ohio, JZ Foster moved to South Korea after college and lived there for 8 years, running a small English school, marrying a Korean woman and having a baby. In his time in South Korea, he’s become well versed in Korean politics and has done multiple radio interviews on South Korean and North politics. Since returning to the U.S., he’s launched his writing career and three series.
Justin M. Woodward lives in Headland, Alabama with his wife and two small boys, Nathan and Lucas. He is the author of three novels and dozens of short stories. You can follow him on all social media to reach out to him.
On a space station on Mars, a terrible mistake opens a gate to an alternate reality — and something comes through from the other side. After the station cuts off communication, a crew is sent to investigate, but they’re unprepared for the nightmare that awaits them…
1. Tell me a bit about yourself and what got you started in horror writing?
J.Z. Foster: Like most horror writers, I’ve been watching horror movies and reading horror books since I was a kid. I still have a deep love for the Resident Evil games/books, and the movie Aliens has honestly had an impact on my life. I started writing because I had a hard time trying to find the types of books that I wanted to read. That and I love telling stories. I ran roleplaying games for my friends for years before I ever started writing, so I was telling stories then too.
Justin Woodward: I was interested in horror at a young age. I vividly remember begging my parents for the latest Goosebumpsbook every time we went to the store. I always wanted to create my own stories, even wrangling my babysitter into helping me “write a horror book”. To this day, I’m not sure what happened to that. Unfortunately, I didn’t start actually writing long fiction until I got the idea for my first novel, The Variant, which was more of a sci-fi thriller than horror. It wasn’t until the idea for Tamer Animals came about that I took the plunge to delve deeper into my dark side.
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?
J.Z.: I only started outlining stories recently, and I found out that it helps a lot. I’d definitely recommend new writers do that! Other than that, I’d tell others (and myself) not to be too hard on their own work. Sometimes it’s difficult for writers to judge if their own work is ‘good’ or not, and all it ends up doing is slowing down the writing process.
Justin: Don’t waste time. Don’t second guess yourself. Put the content out there and be true to yourself. Don’t worry about following trends or the market, and don’t depend on anyone but yourself.
3. What is your favorite aspect of the sci-fi horror genre?
J.Z.: Certainly world building. I like creating a unique world for the characters to live in. I feel that in sci-fi, the world and environment needs to be a character itself.
Justin: I think I’m drawn to the fact that most things depicted in sci-fi horror are things that are actual possibilities in the real world, all we need to do is give it enough time.
4. What are your top three favorite sci-fi horror books?
J.Z.: That’s a good question, I’m not sure! Certainly a lot of Lovecraft and the Alien books, along with a myriad of comic books I’ve read in the genre. I can give you three movies though: Aliens, Pandorum, and The Thing.
Justin: Believe it or not, I haven’t read a ton of sci-fi horror. I was always into the genre as far as films go, but I never really got deep into the literature side of it. A few I’ve enjoyed are I Am Legend, John Dies At The End, and 1984.
If you’re interested in learning more about JZ Foster check out his website at www.jzfoster.com You can also follow the author on Twitter (@jzfosterauthor), Instagram (@jzfosterauthor), and Goodreads (@J_Z_Foster). Finally, to purchase books check out the author on Amazon.
Ben’s love for horror began at a young age when he devoured books like the Goosebumps series and the various scary stories of Alvin Schwartz. Growing up he spent an unholy amount of time binge watching horror films and staying up till the early hours of the morning playing games like Resident Evil and Silent Hill. Since then his love for the genre has only increased, expanding to include all manner of subgenres and mediums. He firmly believes in the power of horror to create an imaginative space for exploring our connection to each other and the universe, but he also appreciates the pure entertainment of B movies and splatterpunk fiction.
Nowadays you can find Ben hustling his skills as a freelance writer and editor. When he’s not building his portfolio or spending time with his wife and two kids, he’s immersing himself in his reading and writing. Though he loves horror in all forms, he has a particular penchant for indie authors and publishers. He is a proud supporter of the horror community and spends much of his free time reviewing and promoting the books/comics you need to be reading right now!
While exploring the best of sci-fi horror books we traveled as far back as 1818 and well into the future. Stories set in the speculative genre known as science fiction have always had a thrill and a sense of wonder about them. Technological advancements, adventures on alien worlds or deep below sea, life-altering discoveries – all aspects that incite excitement in the reader. And yet there are some stories that eschew the glossy-eyed outlook and choose to peer into the darker side of it all. What if those technological advancements come at a high moral price? What if those alien planets hold unfathomable dangers? And what if those discoveries alter life in a way that dismantles the construct of our humanity?
There are many science fiction authors who occasionally dwell on the negative consequences of mankind’s headlong rush into the future. Sci-fi greats like Ray Bradbury, Isaac Asimov, Arthur C Clarke, and many others write stories that have a darker side to them. But here at Puzzle Box Horror we lean heavy into the horror side of things, and so in creating this list we sought out books that have sci-fi trappings while also being downright terrifying. The genres of science fiction and horror have many base similarities, and it’s our belief that tales that blend the best of both worlds are pretty much perfect. Read on to see our selection of the very best sci-fi horror books!
Hell on Mars by J.Z. Foster and Justin Woodward (2020)
Scientists have been working for years on a secret project at the Mars Felicity Station. Something to do with opening a gateway to another dimension. Suddenly communications with earth are cut and the station goes dark. The US sends a crew in to investigate, but they are completely unprepared for what they find. What starts as a routine investigative mission turns into war with a new terrifying enemy and a high-stakes fight for survival.
The story follows the crew of the Perihelion as they journey towards the space station. We learn about the characters and their personality quirks, but the closer they get to Mars the more the dread begins to mount. When they arrive building suspense bursts vividly into nightmarish horror. Mixing the fast-paced action of Doom, the grotesque creatures of Dead Space, and the cosmic horror of Event Horizon, Hell on Mars is a gory good time and the first book in what is sure to be an exciting series. An immediate addition to our best of sci-fi horror books list.
Abandoned and alone on a remote planet, Gyre Price descends deeper into the cave. She’s lied about having cave-diving experience, hoping the paycheck from the expedition will be enough to cover any incidents that may happen. Her only connection to the outside world is her handler Em, who controls her body suit from the safety of the surface. Unfortunately, Em is both mysterious and dangerous, and she has her own dark plans for Gyre.
The Luminous Dead is a tense, claustrophobic and psychological thriller. Considering the limited setting, essentially just two characters in a mine, it’s amazing the levels of emotion and suspense author Caitlin Starling is able to provide. Both characters have secrets and ulterior motives, keeping readers guessing as to where each new revelation will lead. While the pace plods some it’s never boring, and it’s punctuated with some truly gruesome and terrifying moments.
This Nebula award-winning book is about a group of female scientists on a mission to explore a place that’s mysteriously appeared on earth known as Area X. There have been numerous previous missions, all met with disastrous results, insanity, and death.This group of women, whose story is narrated by the biologist, are tasked with exploring the area and avoiding contamination. No matter what they expected to happen after crossing the border, what actually transpires is beyond their wildest imaginations.
Annihilation is a bizarre story of psychological terror and cosmic dread. There’s no way to adequately prepare yourself for the strange events that will unfold. The four women are trying to survive in a land that is actively trying to hurt them, but their own secrets and duplicity might just be the thing that tears them apart. The book deals with big questions on life and identity, while mixing weird eco-horror with a healthy dose of cosmic horror in the second half.
A mysterious bioengineered parasite is spreading disease across America, turning the infected into deranged and bloodthirsty murderers. This sci-fi horror story is told mainly from three different perspectives. First, there’s the secret CIA agent Drew Phillips who is searching the country for a victim that’s still alive. Second, there’s the CDC epidemiologist Magaret Montoya who is racing to better understand the disease. And finally, there’s the desk jockey Perry Dawsey who is infected and must fight against his own body to survive. Infected is a glorious combination of gore and thrills that manages to blend nauseating pulp and smart storytelling.
In the near future, a space probe happens to pick up transmissions from a distant alien spaceship. Something is whispering in a strange tongue. An unusual crew is thrown together to go investigate the signals: a warrior who wants peace, a biologist entwined with machinery, a linguist with multiple-personality disorder, and a vampire exhumed by paleogenetic witchcraft. This ragtag group boards the alien ship and what begins as a routine investigation quickly devolves into an unnerving series of discoveries. A heady horror sci-fi adventure, Blindsight blends unforgettable images with philosophical inquiries about communication, consciousness, and what it means to be alive.
Thousands of humans have been living on the spaceship Argonos for several generations, traversing the galaxy in search of other life. Suddenly an unknown transmission captures their attention and leads them to a mysterious yet habitable planet. The planet, named Antioch by the crew, is barren but a group decides to go exploring anyway. They are tired from their aimless wandering of the stars, and they yearn for a new home. Unfortunately, there’s more to this planet than first meets the eye. Ship of Fools engages readers with strong character studies while also striking fear into their hearts as the crew begins to unravel into madness.
I Have No Mouth and I Must Scream by Harlan Ellison (1967)
This collection features seven short stories by science fiction great Harlan Ellison, but it’s the titular tale that has captivated and terrified audiences the most over the decades. In this story, a post-apocalyptic future finds a small group of five people struggling for survival. Human warfare has wiped out most of the population, and now a malicious supercomputer powered by artificial intelligence has imprisoned the remaining few. They are kept alive only to be brutally tortured by the sadistic machine. It’s a disturbingly inventive story, and one that helped create the “A.I. nemesis” trope in the sci-fi horror that followed.
A spectacular shower of comets blinds most of the world’s population, leaving those few left with sight to battle a race of giant, mobile, flesh-eating plants known as Triffids. As society crumbles, our two main characters Bill and Josella, along with a band of other survivors, must find a way to avoid the poisonous stingers of these assailants and rebuild what they can of civilization. Written during a time of Cold War paranoia, The Day of the Triffids anticipates weapons of mass destruction and biological warfare. Not only did the book help popularize the post-apocalyptic genre, but it remains to this day a staple in the sci-fi horror genre overall.
Scientists at a research camp in Antarctica have discovered a frozen alien form that appears to have crash-landed there a long time ago. Misguided by their excitement, the researchers decide to thaw the creature and chaos quickly ensues. The being they have revived can transform itself to look like both humans and animals, and it’s using its shape-shifting abilities to pick them off one by one. Now this paranoid band of men must struggle to survive against a foe who can present itself as a friend. Though this story is better known as the 1982 John Carpenter film The Thing (plus various other movie remakes), it’s interesting to go back and look at the sci-fi horror novella that started it all.
At this point everyone is familiar with Mary Shelley’s story of Dr. Frankenstein and the reanimated being he assembles. Written centuries ago, this story has spawned countless iterations and made Frankenstein’s monster a pop culture horror icon. Though the book features a mad scientist and explores early on the methods used to reinvigorate life, a large part of it focuses on the humanity of the monster and the inhumanity of those around him. While it doesn’t fall into the horror genre quite as squarely as other entries on this list (though there are plenty of horrifying moments), it’s influence on the genre should not be neglected. Frankenstein is definitely one of the best sci-fi horror books of all times in it’s own right.
Ben’s love for horror began at a young age when he devoured books like the Goosebumps series and the various scary stories of Alvin Schwartz. Growing up he spent an unholy amount of time binge watching horror films and staying up till the early hours of the morning playing games like Resident Evil and Silent Hill. Since then his love for the genre has only increased, expanding to include all manner of subgenres and mediums. He firmly believes in the power of horror to create an imaginative space for exploring our connection to each other and the universe, but he also appreciates the pure entertainment of B movies and splatterpunk fiction.
Nowadays you can find Ben hustling his skills as a freelance writer and editor. When he’s not building his portfolio or spending time with his wife and two kids, he’s immersing himself in his reading and writing. Though he loves horror in all forms, he has a particular penchant for indie authors and publishers. He is a proud supporter of the horror community and spends much of his free time reviewing and promoting the books/comics you need to be reading right now!
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