“Noir, Supernatural Noir, and The Black Lands”
Night Time Logic is the part of a story that is felt but not consciously processed. It is also the name of this interview series here at Cemetery Dance and over on my YouTube channel.
Through in-depth conversation with authors this column explores the night time part of stories, the strange and uncanny in horror and dark fiction, and more.
My short story collection with Cemetery Dance is titled The Night Marchers and Other Strange Tales in homage to Aickman and his kind of stories that operate this way. It can be found here.
I spoke with Ian Rogers in early October 2024 about his new novel from Cemetery Dance, Sycamore. Our conversation is available on YouTube.
We begin our conversation today catching up with some of Ian’s 2024 publications before diving into Sycamore and the Black Lands.Continue Reading
Cartoonist Marco Finnegan’s love of film noir and pulps led him to creating Calavera, P.I., about an undead murdered detective who comes back on Dia de los Muertos. Not only will Detective Juan Calavera have to solve a new crime, he also needs to find out who killed him. Finnegan spoke with Cemetery Dance about the use of Mexican folklore in the graphic novel, his horror influences, and what he would like people to take away from his newest work.
Cemetery Dance is proud to present this special review/interview combo from Bram Stoker Award & 6x International Latino Book Award winning author 
Dracula: Book II — The Brides by writer Matt Wagner and artist Kelley Jones is the sequel to Dracula: Book I — The Impaler, and 
Writer Jeff P. Jones is coming out with a graphic story collection titled Bloodshot World. Markosia Books is publishing it for readers in the UK, and a current 
Everyone’s a critic these days, but within the literary universe, the art of critiquing is no task for the meek. Dissecting the nuts-and-bolts of what makes a story work — or not — takes a trained eye. There are miles of distance between a one-star stinker and a five-star phenomenon, and recognizing those differences requires the work of the assertive; those unafraid to flay the flesh from characters and dig deep into the viscera of influences and motives, or to call out those narrative plot holes big enough to drive a truck through. It’s the business of Rick Hipson and the like, shored up by chops that take decades of commitment to develop. Or 