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About Tim Waggoner
Tim Waggoner’s first novel came out in 2001, and he’s published close to fifty novels and seven collections of short stories since. He writes original fantasy and horror, as well as media tie-ins. His novels include Like Death, considered a modern classic in the genre, and the popular Nekropolis series of urban fantasy novels. He’s written tie-in fiction for Supernatural, Alien, Grimm, the X-Files, Doctor Who, A Nightmare on Elm Street, and Transformers, among others. His articles on writing have appeared in Writer’s Digest, Writer’s Journal, and Writer’s Workshop of Horror. He’s won the Bram Stoker Award and been a finalist for the Shirley Jackson Award, the Scribe Award, and the Splatterpunk Award. In addition to writing, Tim is also a full-time tenured professor who teaches creative writing and composition at Sinclair College.
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Titles By Tim Waggoner
Like Tim Waggoner’s Bram Stoker Award-winning Writing in the Dark, a manual for how to write horror fiction, this workbook covers a wide variety of topics, ranging from monster, idea, and plotline creation to avoiding clichés and developing the art of suspense. The workbook, however, foregrounds practice over discussion to help writers master these concepts. Both texts stand on their own while working together to provide you with the direction and tools you need to maximize your own authorship.
The wealth of examples, exercises, and tutorials in Writing in the Dark: The Workbook are designed to inspire and stretch the imagination. Waggoner draws from his own experiences in addition to other professional writers, among them Laird Barron, Maurice Broaddus, Nadia Bulkin, Ramsey Campbell, Mort Castle, Tananarive Due, Christopher Golden, Grady Hendrix, Daniel Kraus, Joe R. Lansdale, Elizabeth Massie, Graham Masterton, Seanan McGuire, John Shirley, and many others.
Featuring an introduction by Michael A. Arnzen, Writing in the Dark: The Workbook will resonate with young authors who are just getting started on their careers as well as veterans of the horror genre and craft.
Waggoner covers a wide range of topics, among them why horror matters, building viable monsters, generating ideas and plotlines, how to stylize narratives in compelling ways, the physiology of fear, the art of suspense, avoiding clichés, marketing your horror writing, and much more. Each chapter includes tips from some of the best horror professionals working today, such as Joe Hill, Ellen Datlow, Joe R. Lansdale, Maurice Broaddus, Yvette Tan, Thomas Ligotti, Jonathan Maberry, Edward Lee, and John Shirley. There are also appendices with critical reflections, pointers on the writing process, ideas for characters and story arcs, and material for further research.
Writing in the Dark derives from Waggoner's longtime blog of the same name. Suitable for classroom use, intensive study, and bedside reading, this essential manual will appeal to new authors at the beginning of their career as well as veterans of the horror genre who want to brush up on their technique.
Minutes after Laurie Strode, her daughter Karen, and granddaughter Allyson left masked monster Michael Myers caged and burning in Laurie’s basement, Laurie is rushed to the hospital with life-threatening injuries, believing she finally killed her lifelong tormentor.
But when Michael manages to free himself from Laurie’s trap, his ritual bloodbath resumes. As Laurie fights her pain and prepares to defend herself against him, she inspires all of Haddonfield to rise up against their unstoppable monster. But as a group of other survivors of Michael’s first rampage decide to take matters into their own hands, a vigilante mob forms that sets out to hunt Michael down. Evil dies tonight.
A brand-new Supernatural novel that reveals a previously unseen adventure for the Winchester brothers, from the hit TV series!
Sam and Dean travel to Indiana, to investigate a murder that could be the work of a werewolf. But they soon discover that werewolves aren't the only things going bump in the night. The town is also home to a pack of jakkals who worship the god Anubis: carrion-eating scavengers who hate werewolves. With the help of Garth, the Winchester brothers must stop the werewolf-jakkal turf war before it engulfs the town - and before the god Anubis is awakened...
Soon the brothers are on a trail that leads from mad scientists and biotechnology to a centuries-old alchemists, walking corpses, and an ancient and malevolent power.
Venture, a direct rival to the Weyland-Yutani corporation, will accept any risk to crush the competition. Thus, when a corporate spy "acquires" a bizarre, leathery egg from a hijacked vessel, she takes it directly to the Venture testing facility on Jericho 3.
Though unaware of the danger it poses, the scientists there recognize their prize's immeasurable value. Early tests reveal little, however, and they come to an inevitable conclusion. They need a human test subject...
ENTER ZULA HENDRICKS
A member of the Jericho 3 security staff, Colonial Marines veteran Zula Hendricks has been tasked with training personnel to deal with anything the treacherous planet can throw their way. Yet nothing can prepare them for the horror that appears--a creature more hideous than any Zula has encountered before.
Unless stopped, it will kill every human being on the planet.
Bram Stoker Award-winner for Superior Achievement in Non-Fiction!
Nightmares come to life in this comprehensive how-to guide for new and established authors…
Book two in Crystal Lake Publishing’s The Dream Weaver series picks up where the Bram Stoker Award-nominated Where Nightmares Come From left off.
It’s Alive focuses on learning the craft in order to take your story from concept to completion.
With an introduction by Richard Chizmar and cover art by Luke Spooner. Featuring interior artwork from horror master Clive Barker!
Table of Contents:
- Introduction by Richard Chizmar
- Confessions of a Professional Day Dreamer by Jonathan Maberry
- What is Writing and Why Write Horror by John Skipp
- Tribal Layers by Gene O’Neill
- Bake That Cake: One Writer’s Method by Joe R. Lansdale and Kasey Lansdale
- Ah-Ha: Beginning to End with Chuck Palahniuk and Michael Bailey (Discussing the Spark of Creativity)
- They Grow in the Shadows: Exploring the Roots of a Horror Story by Todd Keisling
- Sell Your Script, Keep Your Soul and Beware of Sheep in Wolves' Clothing by Paul Moore
- The Cult of Constraint (or To Outline or Not) by Yvonne Navarro
- Zombies, Ghosts and Vampires─Oh My! by Kelli Owen
- The Many Faces of Horror: Craft Techniques by Richard Thomas
- Giving Meaning to the Macabre by Rachel Autumn Deering
- The Horror Writer’s Ultimate Toolbox by Tim Waggoner
- Sarah Pinborough Interview by Marie O’Regan
- Conveying Character by F. Paul Wilson
- Sympathetic Characters Taste Better: Creating Empathy in Horror Fiction by Brian Kirk
- Virtue & Villainy: The Importance of Character by Kealan Patrick Burke
- How to write Descriptions in a story by Mercedes Yardley
- “Don’t Look Now, There’s a Head in That Box!” She Ejaculated Loudly (or Creating Effective Dialogue in Horror Fiction) by Elizabeth Massie
- Point of View by Lisa Mannetti
- What Came First the Monster or the Plot? In Conversation with Stephen Graham Jones by Vince A. Liaguno
- Building Suspense by David Wellington
- Conveying Horror by Ramsey Campbell
- Unveiling Theme Through Plot: An Analysis of Nathaniel Hawthorne’s “The Birthmark” by Stephanie M. Wytovich
- Interview with Clive Barker by Tim Chizmar
- World Building (Building a terrifying world) by Kevin J. Anderson
- Speak Up: The Writer’s Voice by Robert Ford
- Writing for a Better World by Christopher Golden
- Shaping the Ideas: Getting Things from Your Head to the Paper or on Screen. Interview with Steve Niles, Mick Garris, Heather Graham, Mark Savage, and Maria Alexander by Del Howison
- On Research by Bev Vincent
- Editing Through Fear: Cutting and Stitching Stories by Jessica Marie Baumgartner
- Leaping into the Abyss by Greg Chapman
- Edit Your Anthology in Your Basement for Fun and Profit! . . . or Not by Tom Monteleone
- When It’s Their World: Writing for the Themed Anthology by Lisa Morton
- Roundtable Interview by John Palisano
- The Tale of the Perfect Submissions by Jess Landry
- Turning the Next Page: Getting Started with the Business of Wri
In Echo Hill, Ohio, the dead begin to reappear, manifesting in various forms, from classic ghosts and poltergeists, to physical undead and bizarre apparitions for which there is no name. These malign spirits attack the living, tormenting and ultimately killing them in order to add more recruits to their spectral ranks.
A group of survivors come together after the initial attack, all plagued by different ghostly apparitions of their own. Can they make it out of Echo Hill alive? And if so, will they still be sane? Or will they die and join the ranks of the vengeful dead?
FLAME TREE PRESS is the imprint of long-standing independent Flame Tree Publishing, dedicated to full-length original fiction in the horror and suspense, science fiction & fantasy, and crime / mystery / thriller categories. The list brings together fantastic new authors and the more established; the award winners, and exciting, original voices. Learn more about Flame Tree Press at www.flametreepress.com and connect on social media @FlameTreePress
As the only survivor of what was meant to be humanity's final stand against the undead hordes, Alice must return to where the nightmare began—Raccoon City, where the Umbrella Corporation is gathering its forces for a final strike against the only remaining survivors of the apocalypse. In a race against time Alice will join forces with old friends, and an unlikely ally, in an action packed battle with undead hordes and new mutant monsters. Between regaining her superhuman abilities at Wesker's hand and Umbrella's impending attack, this will be Alice's most difficult adventure as she fights to save humanity, which is on the brink of oblivion.
MY NAME IS ALICE. THIS IS THE END OF MY STORY.
A brand-new original novel set in the Grimm universe.
Upon the legendary fields of Valhalla, the spirits of Viking warriors do eternal battle in service to their god, Odin. By night they feast and toast the fallen, but at dawn the dead are restored to fight until the end of times.
When SG-1 find themselves trapped in this endless battle, prisoners of Odin, they must discover the strange truth about Valhalla before it is too late — and then confront the giant, Surtr, a terrible and immortal enemy bent on revenging himself against his god.
In order to defeat Surtr, Sam Carter suggests using a naquadrium power cell Jonas Quinn has developed on his home world, but when she and Colonel O’Neill arrive on Langara they realize their problems have only just begun…
“So we’re talking what?” O’Neill said. “A boatload of Vikings who got really lost on their way to pillage Britain?”
“Not exactly,” Daniel said. “As I said, the artifacts contain Norse runes — on the outside. But on the inside of one of the artifacts — specifically, this scabbard — I discovered writing from another language: Asgard.”
Teal’c frowned. “On the inside, Daniel Jackson?”
Daniel leaned back, looking suddenly sheepish. “Yeah, well, when I was examining the scabbard I, uh, sort of dropped it.”
“And let me guess,” O’Neill said. “It sort of broke. Didn’t they teach you not to drop priceless ancient artifacts back in Archaeology 101?”
Daniel pursed his lips in irritation, but he took hold of the scabbard and lifted one side of it away from the other. He held up the split piece and turned the inside toward the others so they could see the runes etched within. “On the inside, written in Asgard, is a gate address — one previously unknown to us. The address is accompanied by a single word: Valhalla.”