Cirque Du Freak: Sons of Destiny
PUBLISHED BY: Little, Brown and Company
PUBLISHED IN: 2006
ISBN: 0-316-15629-9
Pages: 240
Ages: Teen & Up

In this 12th and final installment of the Cirque Du Freak series, the time has finally come for Darren to fight his ex-best friend, Steve Leopard. Darren reunites his nephew with his sister, Annie. He learns that Mr. Tall was Mr. Tiny’s son. In addition, even shocking news is that Darren and Steve are half-brothers. Their really father is actually Mr. Tiny. In addition, Mr. Tiny is the father of Evans.

One last fight occurs and Steve stabs Darren and kills him.  Darren finds himself in the lake of souls.  He has been turned into a little person just like Harkat.  Darren is given a chance to go back in time to the night he first saw the Cirque Du Freak perform. Will he change his destiny?

It is hard to describe the final book. There are many twists and turns thrown in that at times make it confusing.  I thought it was a little silly to have Mr. Tiny have several children. Despite its flaws, the ending is bittersweet.

Cirque Du Freak: Lord of the Shadows
BY: Darren Shan
PUBLISHED BY: Little, Brown and Company
PUBLISHED IN: 2005
ISBN: 0-316-15628-0
Pages: 220
Ages: Teen & Up

Darren Shan returns to his home time.  He learns that his parents have moved away.  His sister is now grown and has a child of her own.  He runs into and old friend, Tommy, who is later murdered.  He soon learns that the Lord Vampanese, Steve, in is in town after more murders occur.  Steve now has a child named Darious.

Debbie and Alice Burgess is town too.  They are helping the vampires build their army.  Darren, Harkat, and the women go to the Cirque Du Freak.  Vancha March later joins them.  Mr. Tall, the owner of the Cirque Du Freak, told them no matter who won the war, an evil dictator known as the Lord of the Shadows would rise, rule and destroy the world.

Two of Steve’s men, R.V. and Morgan James, attack the Cirque and kills several of Darren’s friends.

This is one of the better sequels.  I am glad to see that the author brought back Darren’s sister.  I must warn you that a few characters die in this installment, leading up to the shocking cliffhanger.

Cirque Du Freak: The Lake of Souls
BY: Darren Shan
PUBLISHED BY: Little, Brown and Company
PUBLISHED IN: 2005
ISBN: 0-316-15627-2
Pages: 265
Ages: Teen & Up

This is the tenth and longest book in the series.  After the murder of, Mr. Crepsley, Darren and Harket return to the Cirque Du Freak.  Darren sends Debbie and Alice Burgess to Vampire Mountain where they can be safe from Steve and his army of Vampanese.

Mr. Tiny tells Darren it is time for him to help Harket find out who he is. They journey to a barren waste world to discover Harket’s previous identity.

 This book could be written in less than fifty pages but instead is dragged out to two hundred and 265.  I found it hard to get through. There are a few twists and turns to keep you interested, but I do not recommend this book.  It is the worse in the series.

Cirque Du Freak: Killers of the Dawn
BY: Darren Shan
PUBLISHED BY: Little, Brown and Company
PUBLISHED IN: 2003
ISBN: 0-316-15626-4
Pages: 208
Ages: Teen & Up
Reviewed by Billy Burgess

Picking up where the previous book left off, Darren, Mr. Crepsley, Vancha and Harket on the hunt of the vampaneze through the cities tunnels. The police and an angry mob are also hunting them.

The police chief inspector, Alice Burgess briefly integrates Darren. Then she is kidnapped by the vampanese.  Darren and friends must battle the vampanese and their lord, Steve.

The first half of this book is boring. The action picks up in the second half leading to another cliffhanger. I did not care for the ending.

It’s late at night and I’m attempting to get this new Halloween post written as I have almost completely forgotten about it. Today’s post will be a short review on the 1993 Point Horror Classic by R.L. Stine, one of the most best-selling writers of children books. I first read the book back in middle school, but somehow, somewhere, I have misplaced the book. Over the years, thanks to thrift stores, I have obtained not only one copy, but two. The cover features a creepy jack-o-lantern, which is completely different than the cover I found online to use with this post, with a butcher knife sticking out of it, reminding me of the beginning credits of the horror movie, Halloween 5: The Revenge of Michael Meyers. 

With Halloween several days away, teenager Brenda Morgan is planning a Halloween party with her friends, Traci and Dina, but they are also planning on something much deadlier - murdering Brenda’s cousin, Halley! Her cousin moved in with Brenda's family because her parents are going through a nasty divorce, but she keeps interfering in Brenda’s life, stealing away Brenda's boyfriend, Ted, and she keeps borrowing the car without asking first. Of course, the girls aren’t really planning a murdering Halley. Their just using her name for a character in a murder mystery short story for class, at least that is what they originally planned.

Strange things begin to happen to Brenda as Halloween nears, blood is smeared on her bedroom wall, a headless bird is left in a pumpkin, and chunks of rotten meat are left in her bed. Is Halley responsible for all this?

Halloween Night is a sweet, quick read. The plot is well written and the bitterness Brenda has for Halley is believable, reminding me of how I felt about a few relatives at the age. There are several twist and turns throughout the book, including a stabbing at the party. It’s a great read to get you into the Halloween mood.

In the center of the city square, between the tall buildings and the Seine River stands the guillotine. Its wooden scaffold is tall—more than three feet higher than Henri’s head. A set of stairs lead up to the scaffold. Perpendicular to the base of the tall frame lays a six foot long plank where the condemned are forced to lay. Two sets of leather belts, attached to either side of the low plank, are used to tie them down to prevent them from escaping. A large basket stands on the opposite side of the platform to catch the heads when they fall. The basket and the scaffold surrounding the frame is painted red with the victims’ blood, and the large bloodstain on the triangular blade is a gruesome symbol of revolutionary justice.
The guillotine’s frame and heavy blade is visible to all. Any person looking out of his or her fourth-story apartment within the surrounding area can easily see the blade rise and fall each day.
Henri seethes when he sees a group of women set up wooden chairs around the guillotine’s scaffold. Well, Citoyen Robespierre is preparing for another mass murder and those old bitches can’t wait to see that cursed instrument be put to use.

I wonder what it would be like to be inside a revolutionary tribunal in France at that time...

The large chamber is filled with people to the point where no empty seat is to be found. Most of the people are Jacobin members; but a small number of peasants, tradesmen, merchants, and even priests, who had renounced their Catholic faith, are present. The wives of Jacobin members are the only women permitted to sit in the hearing of the trials. All of these women express their denunciations of the accused by spitting on them and shouting “Off with their heads.” One woman even carries a miniature guillotine and shows it to her group of friends. She rises and drops the tiny blade while laughing and mocking the imminent fate of the accused. “May the traitors burn in hell forever,” she shouts over and over again. Wooden guillotine earrings dangle from a number of the women’s ears.

All of the Jacobin members are clad in the revolutionary uniform—the men in blue and red carmagnole coats, plain white cotton or flannel shirts, and red and white striped slacks. All are wearing the familiar red night cap. The non-Jacobin members are clad in plain off-white flannel shirts, brown or beige trousers and frayed cotton stockings. These people, including the women, all wear a fist-sized blue, white and red cockade attached to their shirt or dress bodice. A large tri-colored ribbon extends across the entire tribunal, hung from the marble pillars on either side of the room which separates the audience from the judges and the condemned. The same ribbons also adorn the pulpit of the chief revolutionary judge Antoine-Quentin Fouquier-Tinville. Beside him on the left hand side sits Robespierre, while Robespierre’s most powerful colleagues, Citoyens Camille Desmoulins, Pierre-Gaspard Chaumette, Georges Danton, Georges Couthon and Louis de Saint-Just are seated beside the pulpit.

The large room is quite dark as it has narrow, medium sized windows situated close to the ceiling. The thick dust on the windows acts as a barrier to the daylight and since they are always closed, no fresh air enters the room to clear it of its musty smell. It is no wonder why many victims stutter or faint when they are seated before the cold and malicious Fouquier-Tinville. The loud jeers of the spectators also make the atmosphere of the tribunal room very hostile and terrifying even to the most confident and head-strong victims.

Visit Deanna Proach's at http://desstories.blogspot.com/ and http://www.deannaproach.com/.

October is the month of scary fun with Halloween marking the start of the slow decline into the dark and cold of winter. With this in mind, it is worthwhile considering what it is that fear actually is. What do we fear? Why do we fear it? How can this knowledge help a writer produce a better horror story?

Speaking purely as a physiologist, I will start by stating the obvious. Fear is a physiological reaction caused by perfectly understandable responses in our bodies to external stimuli. Certain stimuli present in the environment will trigger the secretion of particular hormones which stimulate or suppress the actions of various organs and systems. Its purpose is to allow us to recognise danger so that we may take an appropriate action – either fight or flight. This response has been more or less unchanged for millions of years. The physical bit of it, anyway. What has changed has been the psychological bit – what we are actually afraid of.

Now, the classics never change. Darkness, spiders, snakes... the common phobias will probably always get some people, darkness especially. Darkness is really a fear of the unknown, of not knowing what might be lurking out there ready to kill us and eat us. It’s an old mammalian fear from the days when we hid in holes lest the big scary monsters came to get us and human imagination takes that fear and paints on it any number of strange and wonderful images – a pile of clothes becomes the head of a monster, a coat hanging on the back of a door becomes a man waiting to attack you, the sound of the wind rustling in the trees outside takes on a sinister note. These are tropes that writers and film-makers have made much use of over the years and they work well because they speak to a deep, instinctive part of the human psyche which still thinks it should hide in holes. As a writer the fear of the unknown can be an effective tool. The best forms of horror are not the ones which go in for explicit description or gory imagery but those which are light on the description and allow the reader’s own imagination to fill in the gaps. This minimalist description is not as easy as it looks, it is not just a case of not describing something but rather of tracing in some hints of what is there and giving just enough detail to stimulate the imagination. Once you have that, the reader will do all the rest of the work themselves.

Other things that lurk in our fears do change, however. They change as we age, for example, and there are also changes in what society considers frightening. With age, there is a move away from childish fears – the ghoulies and ghosties And long-leggedy beasties And things that go bump in the night as the Scottish (or Cornish) prayer goes – to more mature things. Adult fears are more subtle and elaborate and often don’t wear such a blatant face as a warty old witch. Adults also fear more ephemeral things – war, particular nuclear war, financial troubles and the like. Things that carefree children have no fear of. As Terry Pratchett’s Death comments in Hogfather, you have to start out believing the little lies (the Tooth Fairy, Father Christmas) as practise for the big lies (truth, justice and mercy). Therefore, you can also argue that to prepare you for the big fears you have to practise on the little ones.

As for changes with history there is one example I would give for this which, I think, demonstrates how society as a whole can influence how we interpret ‘the darkness’ – what picture we paint on it to attempt to make sense of it. That example is the Succubus.

The Succubus is, as I am sure you are aware, a demon. In particular it is a demon which takes on the form of a highly eroticised female form, seduces men into having sex with them and, mid coitus, sucks out their soul. There are examples of this in literature the world over though my favourite has to be the character of Juliet in Mike Carey’s Felix Castor series of novels (http://www.amazon.co.uk/Devil-You-Know-Felix-Castor/dp/1841494135) mainly because she is such a modern and interesting character for a several millennia old demon. I am also fond of Erica Hayes’s portrayal of Succubi in her novel Shadowfae (http://www.shadowfae.net/). You can even, at a stretch, consider the typical sexy female Vampire to be an example of this – though they drink blood rather than souls there is little difference to the recipient. Of course, if being fair, I cannot neglect to mention something for the ladies in the form of Incubi – the male equivalent of the Succubus which manifests as a sexy looking man. Again, quite a few urban fantasy novels of late have used Incubi, including Shadowfae again.

What is interesting about Succubi and Incubi is one of the theories of their possible origin. Imagine this: a monastery, late at night. It’s dark and you are in a tiny cell. Because of the rule of chastity, you are not allowed any sexual release and you have been told that any sexual release is evil and will have you taken to hell. Being a young man, you of course have a healthy sexual appetite which has not been satisfied for a long time. Naturally, you are going to have erotic dreams and these dreams are going to be coloured by your religious teachings which could, feasibly, cast the images of your desire into a more sinister and evil form. Now, there is a condition called Sleep Paralysis (http://en.wikipedia.org/wiki/Sleep_paralysis). One version of this condition leads to the sufferer being conscious but unable to move and subject to ‘terrifying hallucinations (hypnopompic or hypnagogic) and an acute sense of danger’. It is not impossible to imagine our poor monk, coming to consciousness in the middle of an erotic dream, unable to move while images of a demonic woman play through his head and what sort of terror this may induce.

In the modern day, however, there are rarely any reports of Sucubbi attacks and they seem to be limited to the bookshelves yet sleep paralysis is still a condition that many suffer from. What has changed is what images the human mind plays in that situation and these days it is more likely that someone who wakes in the middle of the night unable to move will report an alien abduction rather than a demonic attack. The cause of the physiological response – the paralysis – remains the same but the hallucinations have changed to fit with what society as a whole sees as a threat.

So what can the above teach a writer about fear? Well, the fact that fear changes is an important lesson to learn. What was scary to those in the medieval period may no longer be scary today. Indeed, some of the things that past generations found terrifying are now sometimes seen as ludicrous. Bram Stoker’s Dracula caused chills and thrills to his contemporary audience but now teenage girls all want to marry Vampires that sparkle. A writer needs to be aware of the zeitgeist of horror to be able to judge what can trigger those primal responses. While some things never change – our fear of the dark, for example – other things do change a lot with exposure and interpretation. Thinking carefully about what fear is and what causes it is very worthwhile.


Author Bio:

D.A Lascelles is a former clinical scientist turned teacher and part time writer. He is the author of Gods of the Sea, a short story in the Pirates and Swashbucklers Anthology from Pulp Empire (http://pulpempire.com/mag/ ), and Transistions, a paranormal romance novella due out in 2012 from Mundania Press (http://www.mundania.com/) as part of the Shades of Love Anthology.

When developing characters; some authors create detailed character sheets, others use a loose outline and follow their ‘muse’. I use a combination of these, but the main method I use for creating my characters is; I talk to them. Like a crazy person, I sit in my office and talk to my characters. Ask them questions about their lives, reactions and feelings. Thankfully only my cat is witness to this lunacy, otherwise I’m sure I would have been locked up a long time ago.

I thought it appropriate, when Billy asked for a guest post in honor of October and Halloween, that I share with you my version of an “Interview With A Vampire”.

The vampire I’m interviewing is Bektamun. She is 3000 years old and narrator of “Vampires Revealed”.

RH: Hi Bektamun, thanks for agreeing to an interview. I hope you’re comfortable and not hungry at all.

B: It’s my pleasure Rebeka. No I’m not hungry, I fed earlier.