Just a quick one – High Moor 3: Blood Moon Release Date

•March 12, 2014 • 1 Comment

I’ve noticed that there have been a few search terms on this blog lately looking for an official release date for High Moor 3. Well, I posted this on the books Facebook page a couple of weeks ago, but I can officially announce that High Moor 3: Blood Moon will be released on 16th July 2014.

As we get closer to the date I’ll start posting excepts and cover art, however the most up to date information is usually to be found on the books Facebook page.

Right, back to the writing I go.

The art of selling books.

•December 30, 2013 • 1 Comment

moneybookI think I promised to write a blog post on how to sell books way back when I first launched High Moor. So, yeah, its a bit late, but hopefully I’ve learned quite a lot more since those early days and the post will be a lot more useful.

So, lets make the assumption that your book is as good as you can possibly make it. Professionally edited. Ebook created and checked for formatting errors. Professionally made cover. Blurb that really nails the book and intrigues the reader to want more. If not, go away and do those things, then come back to me…done? Great, then lets get on with the rest of the post.

1: The Book Launch.

This is a very important part of your books lifecycle, because Amazon have a Hot New Releases list. And you really want to be on it. So, the idea is to hit the ground running with sales and reviews on day one.

How do you do this?

Advance Review Copies. You should be sending these out 4-8 weeks before you actually hit the publish button. Send them out to review blogs that cross post to Amazon. If you are doing a paperback, then if you do it through LSI with a future publication date then it will allow pre-orders through Amazon. Don’t just hit publish. Set a date, start building anticipation.

Do a giveaway of the paperback on Goodreads – 5 copies is sufficient. Do an ebook giveaway on Librarything for 100 ebooks. This will generate some initial reviews and, as I’ll explain later, reviews are crucial. It will also get your book on hundreds of peoples TBR piles on those sites. Which their friends can see. Which might mean that their friends add your book to their own TBR piles.

On your launch day, unless you already have an eager fan base waiting for you, publish it at $3.99, then immediately drop the price to $0.99. Hold a launch party on Facebook. Give copies away. Offer signed paperbacks for ebook purchases or Amazon gift cards, as long as people share their purchase on their FB and Twitter accounts. The key here is volume. You need to be shifting as many copies of your book as you can in the first few days. Why? Because you want to be ranking high on that “Hot New Release” list.

If you can get 5 good reviews sorted out prior to launch, then you can hit phase 2 at the same time as your launch party, or at least in the week immediately following it. That is a paid promotion with Bookblast. There are a lot of smaller paid promo lists like Bookblast out there, but to be honest, I think that they have almost the same subscriber list as each other and Bookblast is best value for money. With any luck, you’ll get a decent number of downloads going, and after a few days – week tops, stick the price back up to $3.99 to take advantage of your nice, high sales rank.

2: Pricing is a tool. Nothing more.

I see so many ebooks out there, dying on their collective arses because the publishers got greedy and set the price too high. A lot of people complain that by reducing the price, we are devaluing the market. Well, guess what? If everyone else is doing it, then you had better be doing it as well. Because royalties on an individual book sale are not important. What is important is volume. Would you rather sell 30 books at $10 or 300 at $3? The answer is the 300 books, because that will improve your sales rank and get more people reading your book and writing reviews, and that will then go on to generate more sales.

$3.99 seems to be the sweet spot for novels. It’s cheap enough that people will make impulse buys, and its expensive enough that a quick $0.99 fire sale will look like a bargain, as well as differentiating you from the perma $0.99 crowd and sitting you nicely in the 70% royalty bracket. I put out a charity box set earlier this year with 8 complete novels and novellas including the first High Moor book and Whisper by Michael Bray. It’s currently priced at $5.99. And it hardly sells anything. This, despite the fact that the books within it go for between $2.99 and $3.99 individually and all sell well at that price point. There is no point in complaining about devaluing the product and pricing it the same as a paperback or hardback. That is not how the ebook market works. Consumers are not prepared to pay more than $4.99 for an ebook, apart from the really big names. And even then, they begrudge doing it. Set your price point appropriately, if your sales rank nose dives then drop the price to $0.99 for 24 hours to give it a boost.

3: Free works…if you do it properly.

A few years ago, doing a free promotion with KDP Select was a goldmine, because Amazon would take a proportion of those free downloads and convert them into a paid sales rank. They don’t do that anymore, and a lot of people are saying that free is a waste of time.

Those people are generally wrong. However, just slapping your book on free and spamming your facebook friends list isn’t going to achieve much. To have an impact on a free period, you really need to get a Bookbub promotion.

Now, Bookbub are the 900lb gorilla of ebook marketing. I did one earlier this month for Whisper by Michael Bray and we gave away 43000 copies over 5 days. That is a lot of books by any reckoning. OK, so it gets the authors name out there, but we’ve just potentially given away free copies of our book to our entire reader base. Right?

Wrong.

Again, its about visibility on Amazon’s lists. Having that many downloads means that we get the book on a lot of other books “people who bought this book also bought…” lists. And that means that you get a big boost on your paid sales after the promotion ends. To date, in December, we have sold 1000 full price copies of Whisper off that back of that free promotion. And our reviews on Amazon.com have leaped from 20 to 77 in three weeks.

There is a catch, of course. Bookbub is not easy to get into. You really need 15 good reviews before they will even consider you, as well as a compelling blurb and good, eye catching cover. If any of those criteria are not met, then you have no chance of getting in. Book your listing for a month after the date you send them an email, and if you don’t get in, then wait a month and try again.

Yes, its tricky to get into. Yes, its expensive. But those sort of sales figures have been consistent every time I’ve done a promo with them, and paid sales have at least doubled for 4-6 weeks afterwards.

4: Stop trying to sell to other writers.
I see so much of this and it beggars belief. Yes, writers tend to be voracious readers, but they are not the only readers in the world. Infact they make up a very small proportion of them. Relentless spamming of your book on FB and Twitter is going to achieve one thing. It’s going to piss people off and get you blocked, or at least have you vanished from news feeds. I’ve seen interesting Facebook groups abandoned because all discussion ended and they degenerated into a list of self published authors relentlessly spamming their work (and not even bothering to read the other spam posts, incase you were wondering, let alone buy any). Use social networking to be visible and accessible to people. Post funny things. Be a person (even if its an online persona instead of the real you) . Don’t be a dick, refrain from too many extreme views, and post about your stuff no more than a couple of times a week. It’s the same with writers organisations like the HWA and the Stoker awards. Awards do not sell your books. 99% of your reader base have no interest in these awards or even know that they exist, so expending too much effort along these lines is counter-productive as you will end up getting dragged into all of the associated nastiness that goes along with these things. Concentrate your time on writing more, being entertaining via social media and selling your books to actual readers instead of other writers.

5: Keep up to date with the market.
This advice is what is currently working for me. There is no guarantee that this will work in six months or a years time. You need to keep abreast of what is going on in the digital book marketplace. And the absolute best way of doing that is to read the Writers Cafe on Kboards. There are people on there who sell tens of thousands of copies a month. Tens. Of. Thousands. You’ll pick up lots of tricks and tips, and if someone comes across a little loophole in Amazon’s algorithms that will boost your short term sales, then that is where it will end up first. It is an absolute goldmine of information. Join up, be a part of the community and learn. Your bank balance will be glad that you did.

OK, that’s all you are getting from me this year. Happy New Year to you all, and I hope that you have a brilliant 2014.

Graeme

Goodbye 2013 – You’ve been a complete bastard and I love you.

•December 30, 2013 • 2 Comments

Werewolf3

2013 has been a year of complete contrast for me.

In many respects it’s been a year that ripped my heart from my chest and stomped it into the ground. I lost not one, but two of my beloved cats (one on Valentines day and the other on my other half’s birthday) and had to spend months working away from home in a job that I hated, which really didn’t help my frame of mind.

I walked away from my reviewer job at Starbust Magazine because, well, they weren’t paying me and their attitude stank. I also quit the HWA and withdrew High Moor 2 and all of my future works from Stoker consideration because I was not prepared to put up with the bullshit that goes with being on that list. I won’t go into details about what happened there, because the person involved seems to get very upset and threaten legal action if I say things, however those wanting to read a comedic children’s story that was not remotely inspired by my falling out with the HWA should check out “Reba the Evil Chipmunk and the Gold Star” in the stories section :)

So yes, in many respects, 2013 has been hideous. However, there have been some incredibly positive things happen this year.

Firstly, High Moor 2: Moonstruck finally made its way into the hands of an eagerly awaiting public in March. And promptly sold 800 copies in the first month. The reception that this novel had has really blown me away. It made the best novels of the year list on Gingernuts of Horror, and at the time of me withdrawing it, had the second highest number of recs in the Stoker awards, just behind Joe Hill’s NOS4R2.

The success of Moonstruck allowed me to move forward with my long term plan, because all of a sudden I had money in the imprints bank account. In July I purchased the rights to Horrific Tales first third party novel, Whisper by Michael Bray. With a new cover and a pretty extensive edit by Simon Marshall Jones at Spectral Press, we relaunched the book at the end of September to what can only be described as massive success. The book really took off and has sold more than 1600 copies in the last three months. As you can imagine, this has made everyone involved really rather happy, especially Michael who will probably earn his advance back in the next week or so.

One of the more positive things that happened in 2013 was the release of Great British Horror Volume 1. Eight British Indie horror authors – Greg James, Iain Rob Wright, Ian Woodhead, Craig Saunders, Matt Shaw, Willie Meikle, Michael Bray and myself put a complete novel or novella from our back catalogue forward for a box set of books, with every last penny of the proceeds going to Centrepoint, which is a UK charity supporting homeless children. We even managed to get a foreword from New York Times bestselling author, Tim Lebbon. We launched the book at the end of August, and so far its earned close to £500 for charity. It feels great to be involved in such a worthy cause and while we were originally only going to keep the book on sale for a short time, we have collectively decided to keep it available indefinitely.

And finally, the audiobook of the original High Moor was released in October. Chris Barnes of Dynamic Ram Productions did an astonishing job with this, coming up with a proper performance that is as close to a movie version as we are likely to get for a while. Fans of the book really should check it out because he knocks it out of the ball park.

So…what lies ahead for 2014?

Well, Horrific Tales Publishing is going from strength to strength. We will be releasing our next novel, Of A Feather by Ken Goldman on 2nd January – it’s an amazing book. One of my favourite reads of the last year, and I can’t wait for you all to read it. One advance reviewer called it a cross between Carrie and The Birds, which isn’t far off the basic premise, but doesn’t come close to capturing how engaging and gripping a story it is.

Chris Barnes is returning to the recording studio on 6th January to begin work on the High Moor 2 audiobook, which I honestly can’t wait to hear. That one should be out around May.

High Moor 3 is getting there, and should be out in either March or April. It’s taking me a little longer to get this one finished than I would have liked, because there are a lot of plot threads to tidy up. Rest assured, it’s on its way and I think that fans of the original two books will love the way that the trilogy is going to finish. If you haven’t signed up to the books Facebook page yet, I recommend that you do so. It gets updated more often than this blog does and has a couple of little snippets from High Moor 3 on there to whet your appetite.

High Moor Novel FB Page
Graeme Reynolds FB Author Page
Horrific Tales Publishing FB Page

We also have the contracts signed for “Art” which is a collaborative novel between the brilliant Matt Shaw and Michael Bray. Art is a serial killer tale, with Matt writing the killer and Michael writing the detective hunting him. It has some of the most disturbing imagery that I’ve ever read in it. We are working together to iron out the structural and flow issues now before it goes off to the editor in late January. Hopefully that one will be out around the same time as High Moor 3.

Beyond that…well, Michael is working hard on the sequel to Whisper which I’m hopeful we can bring you over the summer, and there may be one or two other books out later in the year, and I’m already talking to one or two authors about tentative 2015 release slots.

So, all things considered, 2013 has been a transitory year for me. It’s been difficult, but the groundwork has been laid for bigger and better things in the years to come. 2014 is going to be busy, and its going to be stressful. But it’s shaping up to be a hell of a ride, and I hope that you’ll join me on it.

Great British Horror – Guest Blog – Michael Bray – How do you write a good story?

•August 22, 2013 • Leave a Comment

Great British Horror Volume 1The launch day is upon us, and Great British Horror Volume 1 is not only out now, but it’s free for the next 5 days.

As part of the launch festivity blog tour, I have the pleasure of hosting Michael Bray, the fantastically talented author of Meat and Whisper.

I’ll shut up now, and let Michael let you in on some of his story telling secrets.

How do you write a good story?

The title of this blog is a question that I have been asked a hell of a lot over this last year or so. A lot of people who ask are just genuinely interested; a few are looking for some kind of ‘magic bullet’ or formula for success. Although I’m not an expert, I like to think that I can talk a little bit now about what works for me as far as storytelling goes. It might not work for everyone, and that’s fine. The fact is that writing is a subjective thing, and all writers have a different style and way of doing things to the way I do them, and thank god that’s the case, otherwise we would have a world full of identical books.
For me, the answer to writing a good story comes from reading good stories. There are tons of brilliant writers out there who know how to craft a hell of a tale. By reading as often and widely as possible, little snippets of how other writers compose their craft begin to resonate with you. You keep those things in mind when you sit down to commit words to paper of your own.
The other key to making a story pull the reader in, is characters. It may not be an opinion that everyone shares, but for me, without good characters, you don’t have a good story. I don’t care if you have the most exciting, twist filled plot in the world, if nobody gives a damn about the people living in the story, you have wasted both your own time and that of the reader.
So, how do we make our characters interesting?
There are a few ways we can go about bringing our protagonist to life and giving him those little traits which resonate with the reader. First up, try to avoid clichés. Don’t be tempted to fall into the trap of writing ‘easy’ characters that have little to no depth. Make these people multi layered beings. Give them personality traits, give them flaws. Give them real world problems that they struggle with just like everyone else.
Let’s try an experiment. Let’s say the protagonist for our story is called Billy. He’s a hard-ass. A former navy seal with a reputation for cracking heads. A loner, a man who will stop at nothing to get the job done. Cue worldwide disaster. Chaos. Billy grits his teeth and tools up, a one man wrecking machine determined to set the world to rights.
Not bad, but there is a familiarity to it. We know the type of character Billy is. It will be hard to empathise with him, harder still to emotionally attach ourselves to his story. Billy, frankly, is boring.

Let’s push reset for a second. Let’s see if we can rebuild Billy into someone with a few more layers. Firs toff, he’s not a beefcake or former navy seal. He’s a stick thin weakling. Maybe he is a shy, withdrawn computer programmer. He is afraid of heights, and because of a drinking and gambling problem, he is in debt up to his neck. Maybe his boss at work, who is much younger than poor Billy, is giving him hell, making him feel pathetic and worthless. When he gets home form the job he hates, his wife is much the same, treating him with resentment. He suspects that she is having an affair, and that’s okay, because he is too, but won’t say anything because of his kids – who he loves dearly and are the only thing keeping him going. Billy will of course still go on to save the world at the close of our story, but he will have to grow into the role. He will be afraid, he won’t know what to do, and at times, he will be tempted to just give up and save his own skin, but something in him, a glimmer of some deeply hidden determination to do whatever it takes to survive grows within him. He will go on this journey, one of self-discovery, and to do that, he will have to take us with him.

I don’t know about you, but I know which story I would prefer to read, and I’m pretty sure i know which one would draw me in and make me keep turning those pages. If you combine these deep, complex characters with a good plot and a well-paced story, then I do believe you have the answer to the question at the start of this blog.
Don’t be afraid to mix things up. Experiment and try different things, different traits. Look at people around you in the real world. Look at how they react. How do they behave in conversation? How do they stand, what kind of sense of being can you get from them? Use the world around you to shape the people who inhabit the stories, and right away you will find the entire process much more satisfying.
I hope this has helped those who might be struggling to make their characters stand out. If anyone has any questions, I’m always reachable via my Facebook page at http://www.facebook.com/michaelbrayauthor.
Feel free to stop by and say hi. 

200Michael Bray is a Horror author based in Leeds, England. Influenced from an early age by the suspense horror of authors such as Stephen King, and the trashy pulp TV shows like Tales From The Crypt & The Twilight Zone, he started to work on his own fiction, and spent many years developing his style. In May 2012, he signed a deal with the highly reputable Dark Hall Press to print and distribute his collection of interlinked short stories titled Dark Corners, which was released in September 2012. His second release was a Novella titled MEAT which was initially self-published before being picked up by J. Ellington Ashton Press. His first full length novel, a supernatural horror titled Whisper was also initially self-published, and following great critical acclaim, was optioned for a movie adaptation and sold to Horrific Tales publishing – his first Advance paying sale.

 

 

You can download Great British Horror by clicking on the links below.

http://www.amazon.com/Great-British-Horror-Volume-ebook/dp/B00E3D6CH0/

http://www.amazon.co.uk/Great-British-Horror-Volume-ebook/dp/B00E3D6CH0/

“I could not put it down”

•August 16, 2013 • Leave a Comment

I don’t often make posts offering writing advice, but given that today is the fourth anniversary of my blog, and from my Amazon reviews from High Moor and Moonstruck, a recurring theme is that the reader “could not put the book down”, I figured I’d share what little I’ve learned in the hope that it might be of some use.

The reason that the High Moor books keep getting comments like that is fairly simple. I write the books with that in mind. It’s absolutely deliberate.

If you are like me, you will have lost whole weekends to watching box sets of TV series at some point. For me, “24″ was probably one of the worst culprits for making me lose two whole days, finding myself at 3am knowing that I need to go to bed, but I just had to watch one more episode.

Why does that happen? Because the bastards ratchet up the tension, increase the stakes and end every single episode on a cliffhanger. And for the most part, I try to do the same thing with my writing.

I remember reading an article a few years ago, that said a scene is basically structured the same way as a book. Look at them as the macro and micro. You start a scene, you create conflict within it, move the story forward, resolve the conflict (or at least change the dynamic of it) and then set up the next scene. I write each scene as if it were a short story in its own right. Infact, I’ve removed scenes from the books and turned them into short stories. And the prologue of Moonstruck was originally a short story I published on this blog. It replaced the original prologue a few weeks before I published the novel because it worked better. You can read the original prologue Here

The key here is conflict. That doesn’t necessarily just mean werewolves ripping each other apart. It can take the form of an argument, or something internal such as a character struggling with a decision. But each and every scene needs to have it, otherwise it’s a dead thing, taking up space in your book and in all likelihood, boring the piss out of your reader.

The other thing that Moonstruck especially was praised for was the structure of it’s action scenes. I had an email this evening, asking for some advice from someone who was writing a werewolf book and found that having their two beasts biting and clawing at each other was getting quite repetitive. I know the feeling, because it’s something I’ve wrestled with myself.

The most important thing to remember is that a fight scene is something dynamic. It shifts and moves like a living thing in it’s own right. And the environment is just as vital to the story as the antagonists. Two werewolves tearing strips off each other is going to get old, pretty damn quickly. Sticking those werewolves in a burning building, however, adds an additional threat. Something that’s out of the antagonists control. And when that building starts collapsing around them, it sets a clock ticking, which adds tension. Throw in some injuries to the one that your reader is rooting for, making him slower and less effective than the other one, and that cranks up the tension again. Add some sharp wooden spikes from collapsed roof beams, and maybe a hunter outside of the burning building, with a gun loaded with silver bullets and the tension goes through the roof.

No one wants to read a story where it’s too easy for your protagonist. A book being written by a member of my writing group suffers from that problem, His characters are overcoming everything that’s thrown at them and are coming off as invincible. You need to pile on the pressure. Keep making things worse and worse, until the reader just can’t see a way out for your character.

Then, if you are a bastard like me, you end the chapter and shift the focus to one of your other characters. Preferably one who’s in equally dire straits.

And then you repeat the process. That, my friends, is how you write a book that the reader can’t put down.

High Moor 2: Moonstruck – Deleted Scene

•August 2, 2013 • 3 Comments

HM2800_600I realise that things have been a little quiet around here for a while. Rest assured that I’m working away in the background on a whole bunch of projects. We have Great British Horror Volume 1 coming out in less than three weeks, the audiobook of the first High Moor novel is getting close to completion and we are putting the new cover and edits together on Horrific Tales first publication that isn’t werewolf related – the fantastic “Whisper” by Michael Bray. And of course, I’m working away on making High Moor 3 as good as it can be, although we are still a little way off finishing that one.

In the meantime, I thought I’d share a deleted scene from Moonstruck. This was originally going to be the prologue and shows a scene from the original novel from Marie’s perspective instead of John’s. When I started writing Moonstruck, I fully intended to do 1/3 of the book as a childhood flashback from Marie’s perspective, covering her childhood as a werewolf and leading back up to the start of the first novel. Unfortunately there was just too much story to do justice, so it was shelved. For now.

Enjoy.

Graeme

 

High Moor 2: Moonstruck – Deleted Scene.

23rd June 1986. Marie’s House, High Moor. 08.00.

Marie laid in her bed and stared at the ceiling. Sunlight twinkled around the edges of her curtains and danced across the walls, but she made no move to open them and let the daylight in. She couldn’t if she’d wanted to. Michael’s transformation and death the previous night had left a gaping wound in her heart, the enormity of which threatened to swallow her whole. She couldn’t believe that both of her brothers were dead. She’d not yet fully come to terms with the loss of David, and still walked into rooms expecting  to see him sitting there, with a cheeky grin on his face. Now Michael was gone as well, and the loss was more than she could bear.

She heard shuffling from downstairs, and knew that her mother was up. She’d spent the night in Michael’s room, sobbing. Marie didn’t think that she’d slept at all, but then, neither had Marie. Her Father had not said a word since they’d returned from the hospital. When her mother told him what had happened he got up from his chair, took a bottle whiskey from the sideboard and had gone into the dining room, closing the door behind him, leaving Marie and her mother alone in the kitchen with their grief.

Her mind turned to John. She’d heard the noises coming from his house during the night. Muffled, as if someone had left the television on in a different room, but unmistakable. Furious snarling and the sounds of things being broken. They’d stopped at around 4.30, when the first fingers of the dawn had broken the horizon. She hoped that he was alright, and that he hadn’t hurt anyone. John was the only person she had left.

She had to know that he was OK. Had to see him. Talk to him. She pushed back the sheets and leaped out of bed, then went downstairs.

Her mother was in the kitchen, making breakfast in a faded dressing gown. Her eyes were sunken, red-rimmed orbs and she moved about as if she were sleepwalking. “I’m making breakfast, love. Do you want any?” she said in a voice barely above a whisper, as if the effort of speaking was almost too much for her.

Marie shook her head. “No thank you. I’m not hungry.”

Joan Williams turned to her daughter and gathered her up into her arms. “It will be alright, Pet. I know it’s hard, but…” her voice cracked and for a moment she could not get the words past the lump in her throat.”But we’ve still got each other. I won’t let anything happen to you. You’re my little girl. My baby.”

Grief bubbled up from within Marie and she couldn’t speak. She held her mother tight and let the tears flow until she had no more to shed. She felt raw inside as the emotions tore at the fresh wound and reopened the old one again.

Joan released her grip and stood upright. “You should really have some breakfast, love. Will you eat something? For me?”

Marie nodded, knowing that it would make her mother feel better. “Mam, can I go and see John after breakfast?”

Joan’s face hardened. “No, love. I told you the other day that I don’t want you seeing that boy again. He’s not right. Did you hear the carry on over there last night? I want you to stay in today. You need to be with your family. I need you.”

“But Mam, I need to see him. To tell him about Michael.”

Her mother shook her head. “No. You can see John at school, and his Mam and Dad will tell him about your brother. Go and get dressed while I make breakfast, and please, Marie, don’t be difficult. I…I can’t handle that at the moment. Not today.”

Marie felt the pressure of fresh tears building within her, and she walked from the kitchen without another word, not wanting her mother to see her cry again. As she reached the bottom of the stairs, she could hear her Father’s guttural snores from the dining room and felt a hot coal of anger ignite within her. At least that bastard managed to sleep last night. Then she stomped up the stairs, back to her bedroom and slammed the door closed behind her.

She heard voices outside and the sound of car doors closing. She walked to the curtains and pushed them aside, to see John’s father loading suitcases into the boot of their car. After a few minutes, John was ushered out by his mother and bundled into the back seat. Then John’s parents got into the vehicle and started the engine.

The realisation that they were leaving hit her like a hammer blow. She put her hand against the window and her eyes locked with John’s as the car picked up speed.

“John, don’t leave me. You’re all I have left.”

John couldn’t hear her though, and after a few seconds the car turned the corner and vanished from site. Her last friend was gone. She was alone in the world apart from her overbearing mother and her drunken abusive father.”

The tears came again, and she fell onto the bed as her grief consumed her.

Eventually her tears subsided, and she lay on her bed, feeling numb. First David, then Michael, and now John had been taken from her, all within the space of a few short weeks. She would never again get angry with David for calling her “squirt”, or get into a fight with Michael. Never tell John how she felt about him. That she loved him.

Then she felt it. Deep inside, past the pain that constricted her throat and numbed her mind. Past the gaping hole where her heart used to be.  A presence. Something inside of her that was somehow separate. An entity in its own right. She looked at the crusted scabs on her arm, where Michael’s fingers had torn her skin the night before. And she understood. Michael had given her something when he changed last night. Something terrifying and wonderful.  She opened herself to the presence and felt it grow, whining like a new-born puppy in the back of her mind. Despite all of the pain she felt, she managed a small smile. She wasn’t alone. She’d never be alone again.

High Moor by Graeme Reynolds

•July 17, 2013 • 2 Comments

graemereynolds:

Another great review of the first book in my Werewolf series :) I especially like the comments at the end

Originally posted on Grrr42 Reviews:

If you are like me… Would never hurt a living thing but, find violence and gore highly entertaining (in fictonal context of course!). Read this book!!

Stick Twilight up your ass! There is no pathetic love story in this, High Moor is a brutal beasting of a Werewolf novel… As it should be.

A lot of the book is set back in the 80′s, and I found this captured very well. I found myself reminiscing about being a kid back then. The interaction between the main characters as children, the way they cope with home life, bullies and all the crazy death going on around them is spot on.

There are unexpected twists and turns all through this book that keep you interested. I really didn’t want to put it down!

About the last 3rd of the book is set in 2008, when the kids have all grown up. This…

View original 171 more words

 
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