Category Archives: Horror

Flashes of Halloween

As a token of appreciation for our readers and fans, we present a series of flash fiction stories to entertain and scare you. We hope you enjoy them, as does that ghostly figure reading this over your shoulder…


 

Steaks

Guy Anthony De Marco

Bob hated driving ‘cattle’ trucks. He liked the cargo, but the other drivers drove him mad. Soccer moms cutting him off on their way to the hairdressers and belligerent teenagers flipping him off all contributed to Bob’s loathing of city dwellers. He held his tongue for years, biding his time.

On Bob’s final run, the day he’d retire, he made a detour towards the old Quonset hut on his property. He would butcher and freeze this load to keep him in steaks for months, maybe years.

As he turned the crowded schoolbus into his driveway, he began to drool.


Once in a Lifetime Opportunity

Pamela K. Kinney

 

“Want a unique experience?” asked the woman in a tight mini dress and stiletto heels.

The man grinned. “What do you have in mind?”

“Something I know you never had done to you before and can only be done once.”

He followed her down an alley. They stopped beneath a sickly yellow light.

The man said, “I’ve done every sexual position you can imagine.”

“This is not about sex.”

The prostitute vanished, replaced by a monster. Before he could escape, it ate him.

Costumed as the human woman again, the monster patted her belly. “Now, you experienced being my meal.”


Troubles

Guy Anthony De Marco

 

“All right, you horrible jerk.”

The Mrs. is pissed off at me again. I rack my brain, trying to think of what she could have discovered. My mistress died suddenly, so she couldn’t have squealed about our affair. Nobody saw me hit the crippled guy with my car last year.

She’s not crying, so it has nothing to do with the jerk she was having an affair with while I was at work. I killed him too.

“Okay, I give. What did I do this time?”

She held up a severed, partially gnawed woman’s hand.

“I thought you were on a diet, dear?”


 Trick Or Treat

Frank Morin

He hated Halloween, with all those grasping, selfish children.

This year he prepared a special treat.  The children would gobble them down, not even tasting the ricin.  They’d die painfully in a few days, and no one could ever trace the source of the deadly toxin back to him.

Halloween night, he hosted a party of dear friends, but when he went to fetch the bowl of poisoned chocolate, he found it filled with different candy.

His wife called, “Give the brats the cheap stuff.”

“Where are my chocolates?”

“Gone,” she laughed.  “They were the hit of the party.”


After the Crossroads

Mary Pletsch

I am sorry, my friend…but you are a mother too.  You will understand—I couldn’t leave my daughter alone.   You often said how you couldn’t comprehend what I was going through, watching my little girl wither away.

You would not have laughed at me if I had told you that in my desperation I had gone down to the crossroads with four black candles and a Club Pack of chicken breasts, $4.99 per pound on sale.  You would not have made fun of my sacrifice.  You would have known that even at that price, I would be skipping meals for the rest of the week.

You, if anyone, would have held my hand as I invoked Him.  You would have reassured me.  You would have told me there was no fault in trying.

The next morning my daughter drank from the bottle He gave me in exchange for the soul of the head of the house.  My friend, I am so sorry…  On my way to the hospital I walked past my own door and drew the mark on yours.

I will watch over your sons as you would have watched over my daughter, had the situation been reversed.


Vultures

Guy Anthony De Marco

The lines were longer than expected. It took a while to dock with the geosynchronous auction house, where robotic transports shuttled bidders to the main deck. The inner wall of the doughnut-shaped vessel displayed flashes of upcoming items; the outer gave the occupants a view of incoming ships.

Hun-Rey appreciated the attention to detail provided by the auctioneers. Disposable holo-vids of the major pieces, organic foods, and many intoxicating beverages — the house expected to pull in big numbers.

Most of the elite stopped by, pumping each other for inside information. Hun-Rey greeted each one, and divulged misinformation with a smile. He was a professional, a bidder with clairvoyance and charm.

A small bell tolled three times, and the auction began.

“Today we have a rarity. One certified dead world, with many antiquities intact. We will start with item one, a tubular underwater vehicle with all sixteen nuclear weapons unfired…”


Leftovers

Kristin Luna

The tabby strolled down the steps, weaving between the banisters. She hadn’t been fed for days, and her short hair began to suck to her body to display her ribs.

When she reached the ground level of her domicile, she peered into the kitchen and sat on her haunches. She stared at her owners sitting still in their chairs. She approached the youngest one that usually had bits of leftover breading from chicken fingers or cheese or cookie bits stuck to her fingers. She smelled the little fingers, but there was only the smell of acrid pickles. All the same, she rubbed against the little fingers and the rope end that dangled from the girl’s wrists.

She quickly passed by the one with the slick, black shoes that kicked her often and went straight for the one in the slippers and nightgown who poured her cat food every morning. She rubbed against the slippered feet, but again, was given no pats or rubs in return.

Demanding as she was, the feline jumped up to the table, as the action demanded attention in the past. But no one batted her away or placed her back down on the floor. Her presence unprotested, the cat sniffed a puddle of a strange liquid, and paused. She looked at the pool as if considering. But after a moment had passed, the tabby bent her head farther and drank from it anyway. At first slowly, the reddish brown coagulations catching on her tongue, and the sharp flavor different from water or milk. But the tabby was hungry, and this red milk would have to do.


The Semi-True Story

I gave a copy of Fossil Lake:  An Anthology of the Aberrant to my parents with a proviso attached:  it’s not autobiographical.

fossilThe assumption would be easy enough to make.  My contribution to Fossil Lake, the short story “Mishipishu:  The Ghost Story of Penny Jaye Prufrock,” is set at a summer camp for kids.  The name of the camp in the story, Camp Zaagaigan (the Algonquin word for “lake”) is fictional; so is Lake Mishipishu (I actually checked on the maps and found a Mishibishu Lake…)  My parents, however, would be able to name the real camp and the real lake after they read the story:  from the cabin line to that infamous H-dock, the layout of Camp Zaagaigan mirrors its real-world counterpart, and they drove me there often enough to recognize it.

From there it’s just one step further to wondering how much more of the story is real.

I’m often asked whether the characters in my story are “me,” or whether the events are “real,” and all I can ever say is that I write semi-true stories.  Semi-true in that I’ve never been able to take a person, event, or revelation and transcribe it into fiction word-for-word.  As a writer friend of mine says, real life doesn’t have to make sense, but fiction does.  Even if I’m starting with something “inspired by a true story,” in order to make event or character coherent, I have to add things here, or take things away that might have happened in real life, but don’t add anything useful to the tale I’m telling.  Sometimes changes to the story make it more dramatic, more compelling, or more satisfying; and so the events “inspired by a true story” move ever farther away from a faithful reflection of reality.  After all, I’m writing fiction—I’m not required to report on reality.  I’m required to tell an engaging and powerful tale.

And semi-true in that I do my best to write characters who feel real:  who behave in realistic ways, who are recognizable and relatable, who are emotionally honest.  When I write them, I put myself in their position and see the world through their eyes; and yes, to an extent, I feel what they feel, and try to express that emotion in the words I’m writing.  Often this emotional connection is informed by my own real-world experiences.  I do know what being bullied feels like.  I do know what doing something I know is against the rules feels like.  I don’t know what it feels like to drown, but I do know what it feels like to not be able to breathe, so I write about that…and imagine one step farther, based on research and my own ideas.  These characters aren’t me, but they have pieces of my emotions inside them.

So no, I was never bullied at that summer camp you sent me to,  Mom and Dad.  No, I never snuck out of the cabin after hours.  No, I was never a suicidal twelve-year-old, and no, I’ve never lost sight of the line between reality and imagination.

…or at least, I’ve always found it again in time.

About Mary: 

Mary Pletsch is a glider pilot, toy collector and graduate of the University of Huron College, the Royal Military College of Canada and Dalhousie University. She is the author of several previously published short stories in a variety of genres, including science fiction, steampunk, fantasy and horror. She currently lives in New Brunswick with Dylan Blacquiere and their four cats.

The Intricacies of Zombie Decomposition

Kids ask the darnedest questions, am I right? Maybe. But when it comes to strange questions, writers got kids beat. The sheer breadth of oddities a writer needs to research to pull off a convincing story is staggering, which is why you occasionally hear from writerly types who get worried that their Google search history might land them on a terrorist watchlist. They may have to look up information about how to make bombs, or how fast bullets travel, or how long it might take for a person’s blood supply to pump out of a slashed carotid artery… I’m telling you, it can get dark.

Google’s great and all, but it’s nice to be able to rely on a flesh-and-blood specialist sometimes. Like a medical doctor, for example! A few years ago, I wrote the following email to a doctor friend:

I have a gruesome question for you. Basically, I have a character who was shot in the chest with a rifle and died five days ago in story time. Now that character makes a reappearance, possessed. I’m trying to describe the appearance and general condition of this individual, but I’m just not sure what kind of decomposition is reasonable to expect after five days. Potentially a relevant story point is that the being who possesses my character can only occupy the dead body for a short time before it completely breaks down biologically, therefore rendering it an unsuitable host. Do you have any general guidelines for me?

Because of course someone with a medical degree will have an answer to this question. I’m sure the intricacies of zombie decomposition are among the first things a medical student has to learn.

But, you know, this particular question was unavoidable. It hadn’t occurred to me until I got to the scene in question that I really didn’t have any personal frame of reference to know how quickly a human body decomposes. And there wasn’t any way for me to effectively pull off the scene without this information. This was a case where my best guess just wasn’t good enough.

My friend acknowledged that his particular field of medicine didn’t bring him into contact with these kinds of bodies (disappointing), but despite his general ignorance on the particulars of neglected corpses, he was able to drop the following knowledge bomb:

By that point the body would have started to expel gases from anaerobioc metabolism; you’d see some changes to the skin, like sloughing, and loss of hair. The eyes would be sunken and there may be some insect activity. There would be rigor mortis, and the wound itself would show some more advanced decomposition than the rest.

If you’re a writer, that short but fantastic paragraph really fires the imagination. I got a lot of mileage out of that description.

So during your wanderings out in the real world, keep your eyes peeled for police officers, medical doctors, paramedics, people who work in forensics (not the accounting kind), etc.—and be extra nice to those folks. You never know the next time you’ll need to hit them up with a gruesome question of your own. After all, sometimes it’s best to keep your darker imaginings off Google’s radar.

Evan BraunEvan Braun is an author and editor who has been writing books for more than ten years. He is the author of The Watchers Chronicle, whose third volume, The Law of Radiance, was released earlier this year. In addition to specializing in both hard and soft science fiction, he is the managing editor of The Niverville Citizen. He lives in Niverville, Manitoba.

How I Learned to Write Horror by Working in Haunted Houses

NosferatuShadow

In ’07 and ’08 I worked in a haunted house. This wasn’t an historic house with spectral residents. No, I worked in one of those maze of horrors attractions that pops up every October. I know. It seems like the only way there would be any parallel between horror stories and a cheesy maze is if they had someone dressed up as an iconic character scaring the guests. I won’t say you’re wrong. There’s plenty of that. However professional haunted house organizers and scare aficionados know that it takes more than a guy in a Jason mask to really terrify. It’s a series of psychological manipulations.

Long before the first guest walked through the front door the layout of the maze and the contents therein were carefully planned. The main goal was for the guest to leave terrified but with their trousers unsoiled (because no one wanted to clean that up) and we definitely didn’t want anyone to die of a heart attack. To accomplish that we started the maze with mild scares like a room full of creepy dolls or a Gypsy fortune teller that only predicts death, and then gradually worked up to the really big final scare. However doing one scare after another doesn’t work. In fact it tends to decrease the efficacy of the subsequent scares. In order for the bigger elements to have full affect the guests needed periodic breathers so they could finish processing the previous scare and catch their breath before screaming for the next.

Any of this sound familiar?

That’s right. I’m talking about pacing.

Normally pacing is used to keep the reader from getting bored or psychologically overwhelmed. The latter is certainly the most pertinent point for horror but there are other reasons and pitfalls that other genres may not have. For instance in both fiction and haunted houses the number of breathers that you should include will mostly depend on the length and intensity of the work. A short story won’t need any low points since it’s over by the time the reader reaches their limit. In a longer work you do need to give your audience periodic breathers so they don’t wet their trousers but you need to be sure that those breathers still move the story. You also don’t want to be predictable. Horror readers are clever. If you fall into a pattern — medium scare, breather, big scare, etc — they’re going figure it out pretty quickly.

Horror readers are expecting, even daring you to scare them. They know the tropes and common tricks and can spot plot device faster than you can say Cthulhu. You can have the most original concept and unique scares but if you fall into a predictable pattern it will undermine everything. Be unexpected. One year we had a creepy undertaker measure guests for coffins before they even walked in the door. Another year we had a guy with a chainsaw (sans blades for safety) jump out from behind a bush after guests exited the maze. Some of our scariest rooms were where we took things that people found mildly creepy — porcelain dolls, dentists, spiders — and turned it up to 11.

You can also use the same breathers I mentioned earlier to increase the potency of a smaller scare. My last year at the haunted house was right after the Weeping Angels debuted on Doctor Who. The show hadn’t yet reached the level popularity that it has now so we were able to borrow the idea without the guests catching on to what we were up to. We, the angels, were in a hall between two scare rooms. The room after us was a medium scare (a knife-wielding maniac).

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(Photo courtesy of Takara Zavala.)

(That’s me on the right.)

In full light our costumes don’t look much like the original; in fact they looked as inexpensive as they were but in in the dim light of the maze it was chilling. The low light made our skin look like it was the same color as the toga and wings — completing the statue effect — and the eye holes in the masks turned into dark, bottomless caverns that sent shivers down many spines. We stood next to the wall, motionless, in a praying pose that gave guests a false sense of security. As they passed we would follow them into the next room. Some would notice us right away and walk faster to the next room. Others wouldn’t notice us until they were in the next room, which was actually better because we blocked the way back. They couldn’t run past the threats they already knew about. They had no choice but to face the unknown scares beyond. The overall affect was enough to make frat boys scream like little girls.

The same thing can be done in fiction. After a big scare you can slow down the pacing or remove the threat enough to give that false sense of security, that moment to catch their breath before the character and readers realize that they aren’t safe at all. Because of the big scare that preceded the break is still fresh in the reader’s mind if you put a mild scare after that, the moment will feel much larger than it really is. Having a short break like that is also a great trick because not only does it makes the story less predictable, you don’t lose any of the tension and fear that you’ve carefully built. 

See Kim May’s bio page.