Welcome to the world of Allie Nighthawk, corpse whisperer and badass zombie
hunter.
“If you raise deadheads, you’d better be able to put ‘em down. Nobody
said it was pretty. But in this day, when vampires aren’t just for
breakfast anymore, and the dead are disposable pawns for
necromancers, someone has to ante up. Looks like I won the lotto.
Imagine my delight. You should thank me, really, because the world is
batshit crazy.”
When the zombie population spikes and no one knows why, it’s up to
Allie
to solve the mystery. But there’s a hitch. She’s stuck
babysitting Leo Abruzzi, a zombie-bitten gangster who’s turning
state’s evidence. But the mob and a powerful necromancer will stop
at nothing to take Leo and Allie down.
Allie Nighthawk is Anita Blake on steroids, with a fondness for leather
and
Jack on the rocks. She has a healthy dose of Stephanie Plum and
Rachel Morgan in her, too, though she’d never admit it.
The battle between good and evil just got wicked fun.
H.R. Boldwood is a writer of horror and speculative fiction. In another
incarnation, Boldwood is a Pushcart Prize nominee and was awarded the
2009 Bilbo Award for creative writing by Thomas More College.
Publication credits include, “Killing it Softly,” “Short
Story America,” “Bete Noir,” “Everyday Fiction,”
“Toys in the Attic,” “Floppy Shoes Apocalypse II,”
“Pilcrow and Dagger,” and “Sirens Call.”
Boldwood’s characters are often disreputable and not to be trusted. They are
kicked to the curb at every conceivable opportunity. No
responsibility is taken by this author for the dastardly and
sometimes criminal acts committed by this ragtag group of miscreants.
There aren’t many good reasons for raising the dead, but there are plenty of bad ones — greed,
revenge, and absolute lunacy top the list. I’m Allie Nighthawk and raising the dead happens to
be my only talent. People are willing to pay for it. Go figure. I’m also one of the few corpse
whisperers who puts the “toys” away when clients are finished playing with them. Away, as in
hermetically sealed back in their coffins, with their disease-ravaged brains neutralized. That’s
shop talk for scattered, smothered, covered and chunked. The last thing we need is zombies
clawing up through the dirt like demented whack-a-moles, and gnawing on the residents of
Cincinnati.
I was born a corpse whisperer, twenty-six years and too many zombies ago to count. It’s a
genetic thing, like blonde hair or blue eyes, except that it’s … raising the dead. Yeah. Okay. It’s
not exactly the same. It involves different genetic markers.
Buy a vowel, people. The concept’s the same.
The supernatural abilities that come with this gift have increased with each generation. That
makes me very good at what I do. And a little dangerous. If you raise deadheads, you’d better
be able to put ‘em down. Whisperers like me take care of business.
I can remember a time when you never saw biters shambling in the streets. But things have
changed. Vampires aren’t just for breakfast anymore, and the dead have become disposable
pawns for necromancers. Someone had to ante up. Looks like I won the lotto. Imagine my
delight.
You should thank me, really, because the world is batshit crazy.
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It’s
always the end of the world when you break up with someone. This time
it really is… Everyone on the planet has mysteriously disappeared,
leaving exes Greg and Polly. They’ve survived the apocalypse, yet
shouldn’t have. Battling each other and a malevolent entity that
teases them with their fate, how long can they remain ahead? Even
more terrifying than everyone else on the planet disappearing is
what’s about to take their place…
Mark
Kirkbride lives in Shepperton, England. He is the author of two
novels, Game Changers of the Apocalypse and Satan’s Fan Club, both
published by Omnium Gatherum. His short stories can be found in Under
the Bed, Sci Phi Journal, Disclaimer Magazine and Flash Fiction
Magazine. His poetry has appeared in the Big Issue, the Morning Star,
the Mirror and Horror Writers Association chapbooks.
Polly caught his arm, held him back. “Greg, Greg, talk to me.” In the underground passageway,
her voice had a slight stuck-in-a-drainpipe quality to it. “What are we doing down here?” She
relaxed her grip a little. “I know we’re looking for something. It’d just be nice if you actually
told me what.”
He panted.
He’d been running around at street level trying to find the way down and, resting only in
the stinking lift, which, bizarrely, like the electronic signboard, worked, he’d been running
around this maze of concrete corridors deep under the Trocadero. He’d battered down one
wooden door with an empty gas canister he’d found up the corridor only to be confronted by
another door that had required similar treatment.
He’d just dumped the canister back in the passageway. As he tried to move forwards
again, her fingernails dug into his arm.
Burning up, sweating, he gulped, coughed. Trying to get his breathing under control, he
bent over. “Okay, okay…” He straightened up. “In Trafalgar Square… before we found each
other… I think someone was watching me.”
She looked at him with one eyebrow looping downwards, the other upwards, as per
quotation marks.
“A CCTV camera followed me across the square.” Her head tipped backwards
fractionally as he pulled her with him. “This is the control room. And look.” He pointed. “The
lights are on.”
Hands out, upturned. Those ironic eyebrows. “Yet no-one’s home.”
Strictly speaking, the lights weren’t on. The wall of plasma screens was.
The locations they showed included Oxford Circus, Oxford Street, Piccadilly Circus,
Trafalgar Square, the Queen’s Walk. The lack of movement of any kind meant that at first he
thought these must be stills but interference on a patch of Thames in the latter revealed itself to
be wavelets. This was live video feed.
“So what are we looking for?” Her head jerked next to his. “They all look pretty deserted
to me.”
Was she really going to make him state the obvious? He gestured at the screens. “It’s all
places we’ve been.”
She tutted, laughed. “Well, that’s because the area they show is the area we’re in.”
He nodded in the direction of the main monitor. “Look, there’s that supermarket.” He’d
only just recognized it.
He maneuvered round the pulled-out chair and applied a little sideways pressure to a
joystick. More of the plaza at the center of the arcade slid into view. Back and up a bit and there
was the sign over the entrance to the store: Tesco Metro.
He pulled the chair up to the back of his knees and lowered his backside.
He’d no sooner made himself comfortable than he shot upright in the seat. “Christ.”
Polly gripped his wrist on the armrest. “What?”
“It’s warm.”
She took her hand away. “What is?”
He shifted, squirmed. “This seat.”
“Urm… so?”
“Someone’s been down here…” He pointed at the seat, then the ceiling. “Watching us up
there.”
“Who? How?” He glanced past her at the broken doors as she turned, gestured, this way,
that way. “We would have bumped into them, heard them at the very least. The doors were
locked, remember? And there’s no-one out there.” She indicated the telescreen showing the
entrance they’d used on Wardour Street – just another empty backlot.
“Try it.” He jumped up.
Slowly, she sat down.
He put his hand on her shoulder. “See, it’s warm. Isn’t it?”
She nodded.
He patted her shoulder. “Thank you.”
“From you.” She stood up.
He stared at her. “What?” He sighed. “Well, why was it warm when I sat on it?”
“Listen, if you’d said we were down here to rewind the video, I’d be taking this a lot
more seriously.”
Rewind? Of course, if they rewound the video far enough back, they’d find out what had
happened to everyone. Brilliant!
He jumped back on the chair.
If the seat was warm now, he didn’t notice. He perched on the edge of it.
His hands scrabbled at the controls.
The monitor showing the outside of the supermarket stopped, played the other way. Apart
from an initial picture jerk as the camera snapped to its original position, everything looked the
same backwards as it had forwards. He speeded things up. The screen went dark. He snorted
when, daytime having come round a third time, a red Golf reversed in a loop around the square
and stopped outside the supermarket. A man and a woman got out. The streak of auburn that
followed could only be foxes chasing their own tails. The couple scooted in the supermarket with
bulging bags, emerged with empty ones. They got in the car and backed out the way they’d
come. He increased the speed, rewound faster and faster. Days strobed. His and Polly’s cheeks
drew closer as they leaned towards the monitor. She put her hand up to her neck. Back and back
in time they went. Any second now there would be an explosion – of people.
“Oh, hell.” He crumpled in the chair.
They’d reached the end, or the start. The video didn’t go far enough back.
He should come down here the day he’d spotted the camera on Trafalgar Square. If he
had, he would know exactly what had happened to everyone.
Or maybe it was better not knowing. He slowly got to his feet.
He might not have solved the main mystery but at least he knew what the seat meant.
You’re getting warmer.
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the tour HERE
for exclusive content and a giveaway!
Four
best friends, young, talented and ambitious try to find their own way
in a reality where people can’t speak and even think freely.
Laura
Danco is a young talented designer who returns to the city after
studying and working in the UK. Friends tell Laura about new
controlling institution, the Department of Censorship. All media
sources are under control, government opposition is destroyed
completely, minorities are under threat. Everyone who resists is
obliterated.
Laura tries to live an ordinary life of every young
person in a big city–friends, relationships, travels,
parties…Everything is changing when a reputable design company
employs her as an assistant to a dangerously attractive, scandalous
architect and designer, Daniel Polanskiy, whose ambitious and
outstanding projects don’t comply with the government views and its
dictated taste. Daniel’s colleagues believe he is insane, the press
calls him “Russian Gaudi”, the Department of Censorship
watches his every movement.
The situation becomes even more
complicated, when Laura meets her Uni-mate from the UK, Mark Evans.
Completely lost between two absolutely different
characters–friendly, amiable Mark and sophisticated, bad-tempered,
but ingenious Daniel–she struggles to whom to give her heart.
The
future looks bleak for Laura, as the company gets into trouble, when
the Tax Office conducts a detailed financial audit, the Department
gives Daniel the final warning, and one of Laura’s friends is killed
by his boyfriend. The plot leads characters through many
challenges–from love to betrayal, from revenge to a murder. The
story which starts like a comedy is turning into a tragedy. Will
friends find their way to follow?
This
is book 1 of the duology. Laura and friends are back in book 2,
“Angels of Zion”.
L.
Salt is an emerging, multi-genre writer from the UK. She studied
History of World Culture and did Master’s Degree in Art Expertise
at the St. Petersburg University of Culture and Arts.
She
was born in Belarus and has lived for many years in Ukraine and
Russia, then finally settled down in the North of England, where she
currently lives with her husband. L’s interest in writing dates
back to her teenage years. Apart from creative writing, she has a
passion for travelling, arts, history, and foreign languages.
Her
debut novella “His Personal Reich” was release on April, 26 by
Crazy Ink Publication. Her novel “The Ways We Follow”, a
futuristic urban drama inspired by the glorious city of St.
Petersburg, where the author has lived for almost ten years, was
released on May, 25 by Wild Dreams Publishing. Her short stories
appeared in different anthologies.
An
Uber driver is expected to be courteous and attentive, both to their
passengers and to those on the road. They are not expected to accept
an invitation to a swinger party, flee the scene of a fatal accident,
nor are they expected to be a convicted felon on
probation.
Unfortunately,
this Joe Schmo is not your everyday Uber driver.
As
most Uber drivers do, Joe began sharing rides with the audacious hope
to one day escape the legal and financial road blocks stalling his
merger onto the freeway of creative success. But when a typical shift
U-turns into a series of detours involving Android ordered lovers,
herpes ridden riders, sexy sorority sisters, a botched bachelor
party, and blundering bank robbers, he arrives (at gunpoint) miles
from his desired destination.
“Rideshares,
Wrecks, and Sex: Confessions of a Convicted Uber Driver” is a
narrative nonfiction based upon actual events that transpired over
the year Joe covertly drove for Uber while on intensive probation. He
confesses outlandish details in a highlight reel of wrecks (both car
and train) and sex, effectively answering the question every Uber
rider has begged to know from their driver: “What’s your
craziest story?”
Joe
F. N. Schmo, a 30-something latent child prodigy, is on a quest to
obtain free Rockstar for life and plans to use it to obtain his Ph.D
in Upsetting the Status Quo. Once earned, he hopes to use his written
works as a vehicle to turn underinformed perceptions on their thick
skulls (among other abhorrently selfish goals).
After
completing over 1,000 rideshares for Uber while on intensive
probation, Joe has encountered it all (save for alien abductions and
spontaneous combustion) and is über qualified to write a
confessional with such a titilating title.
Prior
to his salacious adventures, Joe earned his B.A. in Film and Media
Production where he wrote, produced, directed, and edited several
short films. This experience sculpted him into the kind of asshole
who quotes from random films and includes obscure pop culture
references into his written works.
Joe’s
masterpiece, “Rideshares, Wrecks, and Sex: Confessions of a
Convicted Uber Driver” is a culmination of his of film
background, sharing rides with Uber, and myriad adverse experiences.
It was NOT written to please those stiff, literary types, but to
appeal to the haughty neophytes who attest e-books are superior to
the printed page.
Currently,
Joe is working on his encore, “Jackpot,” which, much like
“Rideshares, Wrecks, and Sex, was written with the intention to
be adapted into a feature film (as it is his narcissistic goal to
direct his own film adaptations).
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