C.M. Saunders's Blog, page 13

The Colour out of Deathlehem: An Anthology of Holiday Horrors

Season’s greetings, come all ye faithful and all that jazz. Christmas is supposed to be about giving, a sentiment that often seems to get lost in these capitalist, consumer-driven times. It just feels good to do things for other people. Sometimes.

Anyway, back last year, I was about 700 words into this cool little Christmas horror story I was writing about a dude that finds an old Santa suit, puts it on, and then finds he can’t take it off. It starts to grow on him, fusing with his skin. Not only that, but his behaviour starts to change. He’s not the man he used to be. For starters (sorry) he’s hungry all the time. No matter how much he eats, he’s still hungry. He eats, and he eats, and he eats. The story was going well. Right up until the point where I realized I’d subconsciously nicked the plot straight from the Eli Roth film Clown (2014) and just replaced the clown suit with a Santa suit.

Bugger.

I posted in a horror writing group on Facebook complaining about my wasted efforts, prompting Michael McCarty to PM me suggesting what he called a ‘quick fix,’ which between us we adapted into a killer twist. The resulting collaboration, Finders Keepers, can be found in The Colour out of Deathlehem, the latest charity release from Grinning Skull Press. By my reckoning, this is the eighth volume of holiday horrors they have published to benefit the Elizabeth Glaser Pediatric AIDS Foundation.

The Colour out of Deathlehem is out now on paperback and ebook.

The Colour of Deathlehem: An Anthology of Holiday Horrors for Charity

Season’s greetings, come all ye faithful and all that jazz. Christmas is supposed to be about giving, a sentiment that often seems to get lost in these capitalist, consumer-driven times. It just feels good to do things for other people. Sometimes.

Anyway, back last year, I was about 700 words into this cool little Christmas horror story I was writing about a dude that finds an old Santa suit, puts it on, and then finds he can’t take it off. It starts to grow on him, fusing with his skin. Not only that, but his behaviour starts to change. He’s not the man he used to be. For starters (sorry) he’s hungry all the time. No matter how much he eats, he’s still hungry. He eats, and he eats, and he eats. The story was going well. Right up until the point where I realized I’d subconsciously nicked the plot straight from the Eli Roth film Clown (2014) and just replaced the clown suit with a Santa suit.

Bugger.

I posted in a horror writing group on Facebook complaining about my wasted efforts, prompting Michael McCarty to PM me suggesting what he called a ‘quick fix,’ which between us we adapted into a killer twist. The resulting collaboration, Finders Keepers, can be found in The Colour of Deathlehem, the latest charity release from Grinning Skull Press. By my reckoning, this is the eighth volume of holiday horrors they have published to benefit the Elizabeth Glaser Pediatric AIDS Foundation.

The Colour of Deathlehem is out now on paperback and ebook.

The Night Visitor and the Siren’s Call

My 16th short story of the year, the Night Visitor is published and free to read in the latest edition of Siren’s Call, those purveyors of edgy fiction. This is one of the first stories I remember writing, though it didn’t see the light of day until 2010 when it was included in a magazine called Fantastic Horror. I later included it in X2: Another Collection of Horror.

This is what I said about it in the afterword of that book:

“The idea for this story also came from a dream I had once when I was staying at my parent’s house in New Tredegar, South Wales. In the dream, I was the one sneaking into people’s homes at night. Not to steal anything or inflict harm or anything, but just to watch people sleep. How creepy is that? I knew there was a story in there somewhere. The challenge then lay in developing that flimsy concept into a something with a beginning, a middle, and an end.”

I was writing a lot of trippy, subtle fiction at the time, and this is a pretty good example. I’m delighted to see it find a whole new audience courtesy of Siren’s Call.

RetView #53 – Flatliners (1990)

Title: Flatliners

Year of Release: 1990

Director: Joel Schumacher

Length: 114 mins

Starring: Kiefer Sutherland, Julia Roberts, William Baldwin, Kevin Bacon, Oliver Platt

If Lost Boys was director Joe Schumacher’s Highway to Hell moment, Flatliners was his Back in Black. The 1990 blockbuster produced by Michael Douglas (yes, that one) and Rick Bieber, and distributed by Columbia Pictures, took its inspiration from a Jack London short story originally published in 1899 called A Thousand Deaths, which was about a patient being deliberately killed and resuscitated by a mad scientist. Propelled by an uber cool Brat Pack cast, on its theatrical release Flatliners was a smash hit, instantly claiming the No 1 slot at the Box Office and raking in a cool $10 million-plus on its opening weekend.

When medical student Nelson Wright (Sutherland) convinces a bunch of his classmates to help him discover what lies behind the veil of death, you know it’s all going to go wrong. They help him flatline (hence the title) and he ‘returns’ to verify that there is indeed something there. The classmates Joe (Baldwin), David (Bacon), Randy (Platt) and Rachel (Roberts) all decide to follow suit, and each have very different, but invariably harrowing experiences. After the experiments, they begin to suffer what they think are hallucinations, all related to some unresolved issue in their past. One-by-one the students confront the demons of their past, with some coming out of it better than others, eventually allowing them to move on with their lives. The overriding message here seems to concern coming to terms with the more tragic side of life, and learning how to learn and move on from it. Joel Schumacher was intrigued by the spiritual and horrific aspects of Flatliners, and enthused about the possibilities of creating a visually exciting film. He said: “[This] is a story about atonement and forgiveness involving these students who, in a sense, violate the gods and pay a price. I think we would all like to know what’s in store for us after we die. There have been thousands of reports from all over the world from those who have encountered ‘near death’, and most of them have reported pleasant experiences. Our movie, however, is saying that you’re not to tamper with death.”

Despite boasting a stellar cast, the movie has always proved divisive. As with many films of the era, in occasion it falls victim to being more about style than substance and for some reason never quite tapped into that all-forgiving nostalgic vibe. On Metacritic it’s score currently stands at a modest 55% from ten ‘mixed or average’ critical reviews, while on the same site its user rating is a much more healthy 9.2/10. The New York Times said, “Flatliners is a stylish, eerie psychological horror film laced with wit, a movie that thrives on its characters’ guilty secrets and succeeds on the strength of the director Joel Schumacher’s flair for just this sort of smart, unpretentious entertainment While at the other end of the spectrum, The Orlando Sentinel said, “Far-fetched as the premise is, I was willing to give the film the benefit of the doubt for the sake of the impressive cast. But as Flatliners rolled along, its pretentiousness became increasingly toxic.”

A perfect example, if ever there was one, of not being able to please all the people all the time.

In 2017, a new version was released, confusingly with the same name, which functions as both a remake and a stand-alone sequel. Repeating the pattern of the first film, reviews were generally negative, the general idea being that the movie once again failed to live up to an interesting premise. Despite this, again it proved to be a moderate Box Office success. Interestingly, a deleted scene from the movie establishes Kieffer Sutherland’s character Dr. Barry Wilson to be an older version of Nelson Wright having changed his name and begun living under a different identity.

Trivia Corner:

Though they are all supposed to be approximately the same age, in actual fact Kevin Bacon was many years older than the rest of the main cast having made his film debut 12 years earlier in National Lampoon’s Animal House which, ironically, also starred Kiefer Sutherland’s father, Donald.

SHORT STORY: Twitch by C.M. Saunders

A free-to-read short story guaranteed to make you squirm or smile, or your money back!

Meghan's Haunted House of Books

Twitch

It started with a twitching left eyelid. Nothing major. More annoying that anything else. She’d had similar afflictions before, but they usually petered out after a while. This one didn’t.

It just kept getting worse.

The eyelid developed a life of its own, fluttering away seemingly at will. One spasm led to another, then another, until eventually she lost all control of her facial muscles.

The condition spread to her limbs, and all she could do was lie on the floor covered in her own vomit, drool and excrement, her entire body convulsing and contracting.

Demonic possession is no joke.

Boo-graphy:
Christian Saunders, who writes fiction as C.M. Saunders, is a freelance journalist and editor from south Wales. His work has appeared in almost 100 magazines, ezines and anthologies worldwide including Fortean Times, the Literary Hatchet, ParABnormal, Fantastic Horror, Haunted MTL, Feverish Fiction and

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Painted Nails require No Anesthetic!

“We want Extreme horror stories,” the publisher said. “Think Wrath James White, Edward Lee, Shane McKenzie, or J.F. Gonzalez. If you can write a story that will churn our stomachs or make us fear what’s behind the shower curtain, send it in and we’ll read it and decide if it is Extreme enough for our anthology.”

And extreme they got. Check out the awesome cover art.

Sometimes when I finish writing a story I look back on it and think I might have overdone things a bit. It happened with Subject #270374 and it happened again with with Painted Nails, which is about a drug addict who wakes up to find a foreign object stuck in his dick. Don’t worry, it isn’t erect or anything, but it just get worse for the poor guy from there. Especially when he realizes that there’s something in his bathroom.

We’ve all woken up in the morning and not quite been 100% clear about what might have happened the night before. Painted Nails takes that to the next level. On reflection it explores some of the same themes as Grower, published last year in Brewtality, and I wrote both stories at around the same time. I have no idea what issues I was trying to iron out. Fun stories, though. Grower maybe traded on the humorous angle a bit more than Painted Nails which is flat-out brutal.

Painted Nails, wounded penis and all, is my 12th published short story of the year and is included in the anthology No Anesthetic (note the American spelling) out now on Splatter Ink publishing.

Sleepless over 101 Words

You might think that the longer the story, the harder it is to write. But that’s not always the case. When you have limited space, it can be quite a challenge fitting in a beginning, a middle, and an end, while simultaneously making sure the story says what you want it to say. Over the past couple of years, I’ve taken a liking to drabbles (100 word stories). Several have seen the light of day including Coming Around, Hitori Kakurenbo, Naughty Step and Louie’s Room. 101 Words puts a new spin on the drabble formula by, you guessed it, adding an extra word.

The idea for Sleepless came from this article I read a while back about an American teenager called Randy who stayed awake for over eleven days. Eleven days! That’s impressive enough, then I started thinking… what if Randy had a job? A very responsible job, where a lot of people’s safety and/or welfare depended on him? Things could get decidedly messy.

Check out Sleepless, and some other incredibly concise 101-word stories, HERE

The Wailing

My latest short story The Wailing is now up, and free to read, on twentytwotwentyeight, who you may remember published another of my stories, Those Left Behind, a while back. This is, I think, my tenth published short story of the year with a couple more scheduled to come before 2021 is out. That’s something of a landmark for me because I don’t think I’ve ever got into double figures before. Let’s call it a pandemic perk.

The Wailing is a re-working of a folk tale someone told me when I was living in China, so I can’t take complete credit for it. As far as I’m aware it’s a bona fide chunk of folklore and as we all know, folklore usually contains an element of truth.

I was working at a university campus in Xiangtan at the time, a beautiful place deep in the countryside of Hunan province which looks a lot like this:

The funny thing is, one night after I first heard this story I remember being in bed at night and hearing the sounds of a baby crying somewhere off in the distance. That was especially strange because as I said, I lived on a uni campus and there weren’t any babies there as far as I know. Weird.

The Wailing is free to read now.

And you can check out some other free stories HERE.

RetView #52 – Shutter (2008)

Title: Shutter

Year of Release: 2008

Director: Masayuki Ochiai

Length: 83 mins

Starring: Joshua Jackson, Rachael Taylor, Megumi Okina, David Denman, John Hensley, Maya Hazen

“From the executive producers of THE GRUDGE and THE RING,” the poster screams, in reference to Takashige Ichese and Roy Lee, who were indeed responsible for at least the US remakes of those movies (only Ichese was involved in the Japanese originals). And it shows. This film, a remake of a 2004 Japanese/Thai movie of the same name was just a little too eager to jump on the A-Horror bandwagon which was then running out of control and really could have gone awfully wrong. But it didn’t. Instead, despite some early mixed reviews, the US version of Shutter was a huge commercial success, grossing almost $48 million from a measly $8 million budget. That’s some achievement. And the numbers are justified. Though derivative at times, like a lot of Asian horror movies tend to be, Shutter is a truly exceptional piece of work.

Newlyweds Ben (Jackson) and Jane Shaw (Taylor) leave New York and head for a new life in Japan. Ben, a photographer, has lived there before. While driving through the countryside, Jane runs over a girl standing in the middle of the road and crashes their car into a tree. However, when they come to their senses and go looking for the body they find nothing, not so much as a drop of blood. After the emergency services come and clean up the mess, they try their best to put the whole sorry episode behind them. But from then on, all the pictures the couple take are ruined by some weird white mist. Ben’s assistant Seiko (Hazen) identifies the photographs as examples of spirit photography and introduces Jane to her ex-boyfriend who works on a spooky magazine. It turns out the paranormal is big in Japan. Who knew?

From there, things deteriorate further for the couple. The white mist begins to morph into what looks like a ghostly figure, Jane suffers nightmares, and Ben experiences physical pain in his shoulder, which he attributes to the car crash, that makes him a virtual hunchback. Both feel the ominous sensation of being stalked. Matters come to a head when Jane has a close encounter with the ghost. There are many kinds of supernatural entities in Japanese mythology and folklore, which we in the West group together as ‘ghosts’ for our convenience. This particular kind of ‘ghost,’ which has died a violent death or is motivated by revenge or sorrow, is known as Yurei. Jane learns that the yurei’s name was Megumi Tanaka (Okina). Furthermore, as with a lot of married couples, it turns out Ben and Jane have a few secrets from one another. Ben knew Megumi from when he worked in Japan. Intimately. When confronted, Ben admits being in a relationship with her but claims he broke it off when Megumi became too clingy, doing a runner with the help of his ex-pat friends Adam (Hensley) and Bruno (Denman). In despair, Migumi commits suicide. Hence the rather pissed-off yurei. She first targets Adam and Bruno, for reasons which become crystal clear later on, then goes after Ben and Jane who run back to New York. Little do they know, their nightmare isn’t over and the small matter of 6,500 miles isn’t going to put a damper on Migumi’s pity party. There’s one more sting in the tail. Several, actually. And at the very end, we see the real cause of that phantom pain in Ben’s shoulder. That scene alone cements Shutter’s place in the RetView series.

Shutter packs a lot into its 83 mins (90 mins unrated cut) running time. True, it features many of the classic triggers and tropes we’ve come to expect from Asian (and in particular, Japanese) horror movies; unrequited love, revenge, folklore, technology gone bad, and wraps them all together in a slick little bundle ripe to be consumed by Western audiences. It works. I think the reason Shutter was no negatively received by critics is the fact that it came so soon after Hollywood remakes of The Ring, The Grudge, Dark Water, Pulse and others. In 2008 alone, Shutter arrived arm-in-arm with a slew of comparable efforts such as The Eye, Mirrors, The Echo and One Missed Call. By then, the backlash was beginning, and Shutter perhaps fell victim to that. In the cold light of day (or even better, in the dead of night) Shutter is essential viewing.

By the way, if you’re a fan of the genre you might like to check out what happened during my J-Horror movie marathon.

Trivia Corner:

Shutter does a great job of picking up actors better known for their comic ability and brought them kicking and screaming over to the dark side. Joshua Jackson made his name as Charlie Conway in the Mighty Ducks trilogy, while David Denman is best known for playing Roy Anderson, Pam Beesly’s fiancé (before she got together with Jim Halpert) in the US version of The Office.

Introducing the Books of Horror Community Anthology Volume 3!

You can find my short story The Delectable Hearts in Part 1 of the third Books of Horror Community Anthology. Books of Horror is one of the biggest and best-established horror-centric Facebook groups around, and it’s always a good place for readers and writers to hang out and get to know each other. If you take a glance at the tables of contents in this two-book set it’s like a who’s who of horror fiction, and I’m very proud to be included.

The Delectable Hearts (which i still think would be a great name for a pop punk band) is about a jaded music hack who is always on the look-out for THE NEXT BIG THING. Unfortunately for him, this time he may have found it. I spent a lot of time following bands around in my youth, and then later as a music journo, and this story evolved from those experiences. I saw a lot of weird shit, though admittedly never any demon worship!

This is a reprint, having first been included in the anthology Legends of Urban Horror: A Friend of a Friend Told Me on Siren’s Call publications (2012).

The Books of Horror Community Anthology Volume 3, Part 1 is out now.