Tag Archives: TTA Press

“The Ballad of Boomtown”


“The Ballad of Boomtown” is now up in its entirety on the Nightmare website. This was originally published in Black Static magazine in 2012. Read it for free here.

Thanks to both John Joseph Adams of Nightmare and Andy Cox of TTA Press.

The entire issue of Nightmare is available to purchase for just $2.99, and an annual subscription is just $23.88/year.


It’s estimated that in 2011 there were 2,881 semi or unoccupied housing developments in Ireland.

There was a time when we put our faith in euros, shares and the sanctity of brick. A time when we bought our books from stores as big as barns and ate strawberries from Andalusia, when only a generation before, they’d been grown on farms up the road.

The wide avenues of Boomtown were named for trees when there was grand optimism for growth. Now nothing booms in Boomtown. It’s bust and broken.

I miss you. You were a lick of cream. I can still taste you.

-The Ballad of Boomtown

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Follycon will be the 69th British National Science Fiction Convention, or Eastercon. It will be held at The Majestic Hotel in Harrogate, from 30 March – 2 April 2018.

Sadly, I won’t be there but I’d like say a big thanks to Roy Gray and TTA who have kindly agreed to put a few copies of  “All the Fabulous Beasts” on the stand. These will be at a special con rate of £10 for the paperback and £16 for the hardback edition.

Even if you don’t like the look of my collection, I’d urge strangers to TTA to check out their stock. If you’ve not read “Skyshine” buy Carole Johnstone, do yourself a favour and buy Black Static Issue 60. It’s a bumper issue that also contains the sterling work of Tim Lees, Stephen Hargadon and Ray Cluley.


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Halloween Reads

One great thing about visiting the dealers’ room at British Fantasy Con (FCon) is that it reminds me how passionate people are who dedicate their time and energy to the small press and how much people still love the printed page.

I’m proud to have had work in TTA Press–  I love it because there’s nothing quite like it publishing short genre fiction in the UK.  Andy Cox, the editor, has an eclectic eye for work and high production values. Interzone, Black Static and Crime Wave win awards, as do the stories that Andy chooses.

As a horror fan, Black Static has contained some amazing stories that have stayed with me, such as “White Rabbit” by Georgina Bruce (British Fantasy Award Winner in the short story category) , “Shark! Shark!” by Ray Cluley (BFA Winner short story) , “When the Moon Man Knocks” by Cate Gardner  (BFA nominated), “Sunshine” by Nina Allan (BFA nominated), “Lullaby” by Steve Rasnic Tem, “Prespective” by Steve. J. Dines,  just to name a few.  It features work by a plethora of talent like Simon Bestwick, Stephen Bacon, Stephen Hardagon, Laura Mauro, Damien Angelica Walters, Kristi Demeester, Helen Marshall, Andrew Hook, Ralph Robert Moore, Gary McMahon, Stephen Graham Jones…

Black Static Issue 60The 60th issue is now out and contains excellent work by Ray Cluley, Stephen Hargadon and Tim Lees.  It also contains the tremendous “Skyshine (or Death by Scotland)” by Carole Johnstone. I become a fangirl after reading her BFA winning story “Signs of the Times”, which was also first published in Black Static. There was a real buzz around “Skyshine” at the conference and I read it when I got home. It’s early to start talking about next year’s awards but I think it would be criminal if this wasn’t nominated. It’s inventive, clever and wry. Oh, and new subscribers can get Issue 60 free by using “B60 FREE” as their Shopper Reference during the checkout.


I read “The Beauty” by Aliya Whiteley, published by Unsung Stories last year. It was a stunning bit of work about men in a post-woman society, that manages to be both body horror and an exploration of gender roles. I wanted to buy everything on the stand at FCon. In fact, I was deeply put out to find Malcom Devlin’s debut collection, “You Will Grow Into Them”, was sold out by the time I got there. It’s already garnering praise – see James Lovegrove’s review in the Financial Times, no less.

Did I also mention their books are also extremely handsome?


Daniele Serra won a British Fantasy Award this year for his artwork. I came home with a copy of “Five Feathered Tales” by Alison Littlewood, which Daniele illustrated. It truly is a thing of beauty and Alison’s stories are delicate and dark. Incidentally, I also bought her new novel “The Crow Garden” after I enjoyed “The Hidden People”.


Black Shuck Books is a relatively new venture from Steve Shaw that launched an HB-Cover-400anthology at FCon called “The Dark Satanic Mills”. It’s the second in his annual collection showcasing British writers (plus an international one), containing original work by Cate Gardner, Charlotte Bond, Paul Finch, Andrew Freudenberg, Gary Fry, Carole Johnstone, Penny Jones, Gary McMahon, Marie O’Regan, John Llewellyn Probert and Angela Slatter. Steve also launched John Lllewellyn Probert’s collection “Made for the Dark”.

Black Shuck’s catalogue is interesting. I’m thinking of Black Shuck Shadows, micro-collections by Thana Niveau, Paul Kane and Joseph D’Lacey.  “A Suggestion of Ghosts: Supernatural Fiction by Women 1826-1897”   is curated by the very knowledgeable Johnny Mains, who has scoured periodicals, archives and collections for work that hasn’t been republished since it was first released.


Another launch that I attended was Titan Books’ New Fears, edited by Mark Morris. It’s a stellar line-up with writers like Ramsey Campbell, Nina Allan, Conrad Williams, A.K. Benedict, Alison Littlewood and Stephen Laws, to name a few.

For an alternative Halloween read, I’d suggest Simon Bestwick’s “The Feast of All Souls”, which pulls off the trick of being a haunted house story, a Victorian gothic novel, flirts with quantum physics and is a study of loss. Another recommendation would be Laura Mauro’s novella “Naming the Bones”. I’ve watched her career with interest as she’s a fine writer.

While at FCon I saw James Everington read from his novel “The Quarantined City”, in which the protagonist’s search for an author takes him deep into the man’s short stories. James Everington’s fiction is quiet and unsettling, having drawn very favorable attention from The Guardian reviewer Eric Brown. I have to mention Kit Power at this point too, who has a very different (set of) voices, all of them convincing, and who is the only person at the convention who could carry off a reading with a hammer in his hand. His collection will be out next year.

“The Doll’s Alphabet” by Camilla Grudova is a truly weird collection, repeating motifs
and ideas. Even the stories that non-plussed me left me pondering their meaning long afterwards. Her dystopic short story “Waxy” was nominated in the short story category of the BFAs this year and was a strong contender. Read The Guardian review which draws comparison with Angela Carter, Margaret Atwood and David Lynch.
I’m going to sneak in a mainstream author here. I’m a big fan of Sarah Hall.  Her new collection “Madame Zero” is pure genre. It contains “Mrs Fox” which won the BBC National Short Story Award, in which a woman is tranformed by pregnancy into a vixen. Elsewhere she explores a wind drenched world, the liberation of sexual appetites and an era where a change in antenatal priorties mean to chose a woman’s life over that of her unborn child is illegal.
She’s been twice nominated for the Booker prize and this book reveals the poet at her heart in the concise beauty of her writing.
Last but not least is Undertow Publications, a Canadian venture run by Mike Kelly. It’s fast gained an excellent reputation for its Year’s Best Weird Fiction and Shadows and Tall Trees, as well as its single author collections, being nominated for Shirley Jackson Awards, World Fantasy Awards and British Fantasy Awards.
Mike Kelly is releasing the range in both hardback (below) and paperback.
I think they’re good looking books too, with as much style as substance. Does that mean I’m shallow?


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Story Acceptance

My thanks to Andy Cox for accepting my story, Inheritance  (or The Ruby Tear) for Black Static magazine. It’s the most traditionally Gothic thing I’ve written and I really appreciate him taking a chance on it.

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Cold Turkey by Carole Johnstone

TTA Press has released the third in its novella series. The first was Eyepennies by Mike O’Driscoll, which was nominated in the novella category of the Cold Turkey by Carole Johnstone from TTA Press  British Fantasy Awards 2013. The second, Nina Allen’s Spin, won the British Science Fiction Award 2013 for Short Fiction.

Having been lucky enough to see an advance copy of Cold Turkey by Carole Johnstone and I’m sure it will garner the same sort of acclaim.

I’m a fan of Carole’s work, particularly after reading Signs of the Times (Black Static 33). Her short stories have appeared in numerous magazines and anthologies. She has been published by PS Publishing, ChiZine Publications, Night Shade Books, TTA Press, Apex Book Company, and Morrigan Books among many others. Her work has been reprinted in Ellen Datlow’s Best Horror of the Year series and Salt Publishing’s Best British Fantasy 2013 and 2014.  Her debut short story collection, The Bright Day is Done, is available from Gray Friar Press and her other novella, Frenzy is available from Damnation Books.


Carole was kind enough to let me collar her to ask her a few questions.

Tell us about Cold Turkey.

Cold Turkey is, on the surface, a story about a man called Raym, who is trying to give up smoking. He’s already a pretty unhappy guy: his parents have just died, he’s never managed to escape his Lanarkshire hometown or his long-term girlfriend, and he teaches at the same school that he used to attend as a pupil.

However, as soon as he tries to give up his pack-a-day habit, his life really begins to fall apart. He suffers nightmares and hallucinations; he starts to inexplicably lose time. And when Top Hat, one of the worst monsters from his childhood, starts stalking and threatening him, and taking a very literal tally of his shortcomings, Raym begins to wonder if he’s losing his sanity as well.

At its heart, Cold Turkey is a very dark comedy about addiction and the demons that we all harbour, but it’s also about how we create them, deal with them, deny them, manipulate them, feed them, need them. And I’m sure that there will be plenty readers who recognise at least a part of themselves in Raym, and who will certainly suffer an empathetic shiver or two at his predicament.


When I read The Pesthouse (Black Static 28) and my personal favourite, Signs of the Times (Black Static 33), I thought Modern Scottish Gothic. Why did you return to Scotland for Cold Turkey? How does it shape your writing?

That’s a great description! And it describes exactly how I feel about both the country and my writing about it. Scotland has a wildness to it, a beautiful bleakness that I’ve never really encountered elsewhere. Even in a city, you’re never very far from space and silence. I’ve lived in the southeast of England for a long time, and the two places couldn’t be any more different. That’s not down only to the Scottish landscape or weather, although both invite vivid and easy description. Scotland is home to me; it has an honesty and immediacy that welcomes anyone and everyone. If it was a character in a story, it would be stubborn yet kind; harsh yet sentimental.

Although I often write stories set elsewhere, I find myself returning to Scotland more and more often, party down to familiarity, I guess – write about what you know and all that – but also because I love and miss both it and the people who live there, and never cease to find inspiration in both.


Top Hat in his tally van is delicious. Tell us more about his evolution.

Thank you, I think he is too! And Warwick Fraser-Coombe’s cover illustration of him was just terrific – exactly how I’d imagined him.

At his most basic, he’s a mash-up of all that frightened me as a kid: the Child Catcher in Chitty Chitty Bang Bang; clowns (Pennywise is definitely in Top Hat); a myriad of Roald Dahl characters.

Top Hat’s most frightening aspect, for me, is his humour rather than his horror. In many ways he’s personable, nearly charming. You almost want to laugh along with him, despite his psychopathy. I was hugely affected by Heath Ledger’s Joker. He was by turns narcissistic, funny, charming, unpredictable, threatening, vulnerable, and incredibly frightening. There is a lot of him in Top Hat – even down to the dodgy make-up!


Cold Turkey balances a plethora of childhood fears with very adult modern day concerns and horrors, such as disease, death and anxiety about where we are in our lives and where we think we should be. What made you think about smoking as a gateway in to all that?

In the life of a smoker, I think that there’s always a moment when you start being afraid of it; a moment at which you think, “shit, I’d better think about stopping now.” It goes hand in hand with that slow-sliding recognition of your own mortality. In your teens and twenties you are nearly completely oblivious; certainly, you give it little thought, and then at some point that denial just stops.

We all go through that transition, but we deal with it indifferent ways. I went through a period of intensely obsessing over how I was going to die, but that kind of anxiety is, I think, unsustainable. I read somewhere once that our evolution into developing a sense of our own mortality was, by necessity, offset by a reflexive and subconscious optimism over which we have no control. That might come as news to pessimists like me, but apparently the only people who see the world as it actually is are those in which this ‘offset’ is unable to work, for example, the clinically depressed. I have no idea if this is true or not, if it is then it’s certainly depressing, but it is true that we have so much to deal with in our lives, so many decisions, so many uncertainties. Being afraid of a monster is easy, it’s passive. Knowing that your own choices are dangerous, but being unable or unwilling to change them is much harder to reconcile. Smoking is just the most obvious metaphor for that. But so are so many other things: staying in a job you hate, a relationship that is wrong or abusive, a mindset that is destructive.


You have an enviable ability to balance your horror with humour and a succinct style (such as “he died parchment thin and raving”). Who, if anyone, influenced the way you write?

Ah, you can interview me anytime, Priya! Most of my writing, even that which could be called mainstream, tends to veer towards the dark, but there is almost always humour in it too. I find that the most engaging, interesting, touching and affecting stories, the kind of stories that speak to me as a reader, a person, almost always embrace both. For me, humour can make the frightening more frightening in a way that relentlessly miserablist or horrific writing can’t. It renders characters more human, situations more believable; I immediately want to invest more of my own emotions into the reading.

It can be hard to get the balance right: you don’t want to come over as flippant or disjointed or just plain confusing, but so many writers that I love – that I basically want to be when I grow up – do that unbelievably well. Stephen King is the most obvious one perhaps, particularly as I spent my teenage years reading him more than anyone else, but I think that Joe Hill does it even better. Horns is an amazing novel. Other examples would be Irvine Welsh, Christopher J Yates, Denise Mina, Michael Marshall Smith, and Graham Joyce among many, many others.


What other work can we look forward to from you this year?

I have a short story collection called The Bright Day is Done coming out from Gray Friar Press in the next month, which I’m really excited about. I also have a story, Catching Flies, appearing in Ellen Datlow’s Fearful Symmetries anthology, coming from ChiZine Publications in May, and my Interzone short, Ad Astra, is being reprinted in Salt Publishing’s Best British Fantasy 2014, coming in June. There are a few other possibilities in the pipeline, but they remain, alas, only possibilities as of this moment, so nothing I can blab about yet!

I am definitely turning towards novel writing as opposed to the short story form though – Cold Turkey is, I guess, my attempt to bridge that gap, although novel-length writing does tend to take you out of circulation a bit.


I understand that you plan to return to Glengower as a setting for a novel? Can you tell us anything about it?

It’s been put on the backburner for the moment because of other projects, but I certainly intend to return to it one day. I was a little leery of turning Glengower into a Castle Rock or Innsmouth, but fictional towns that resemble places and geography that you know as a writer are pretty irresistible. This particular as yet unnamed novel takes place in Glengower over one weekend, and involves a sinkhole, a BB parade, and a badminton marathon – oh yeah, and a few murderous nasties!

Will you ever return to the world of Signs of the Times again? (I ask hopefully).
I love Edinburgh, Leith in particular, as it’s where my mum’s side of the family is from and I know it very well. I guess my Leith is very far from Irvine Welsh’s Leith; it’s very different from Leith full stop: the Leith of my childhood and the Leith of today, but I loved writing Signs of the Times. I loved imagining the place as some eerie last bastion on the edge of the world, the edge of oblivion. When I wrote Signs of the Times, I always felt that it was only a small part of a potentially larger work, and I certainly find myself coming back to it again and again in my mind. So to answer your very kind question, yes! At least I hope so.


You are a physicist- will we see any “hard” science fiction from you in the future, or is this something that doesn’t attract you?
Unfortunately, my knowledge of physics doesn’t extend much beyond the medical and radiation fields. I’m nowhere near clever enough to attempt anything too cerebral or theoretical! I do enjoy reading sci-fi, but struggle to stay engaged with the hard stuff. I love the more character-driven novels of writers like Michael Marshall Smith and James Smythe. I’ve only ever written two sci-fi stories, both for Interzone, and of those, Ad Astra is probably the only one that counts as proper sci-fi: it features a couple exploring the furthest reaches of the solar system in a solar-sail-powered ship, and disliking (very much!) what they discover. I had a blast writing it, but to be honest, the amount of research I had to do was a bit prohibitive. I’d rather stick to fictional Lanarkshire towns and apocalyptic docklands!

Thanks  Carole!

Buy Cold Turkey





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Advent Calendar

TTA Press’ Advent Calendar is something of a tradition. Organised by Peter Tennant, it offers up a daily morsel of flash fiction via links from TTA Press to where the treat is featured. This year there’s work by Steven J. Dines, Henry Szabranski, Robert Mammone, Warwick Fraser-Coombe, Aliya Whiteley, Lexi MacRae and the British Fantasy Award winning Ray Cluley, to name but a few. I’m in at number 21 with a story called “The Dark Ark”.

I’m woefully behind on my reading, so I plan to catch up by gorging on these dainty snacks over the next few days.

Merry Christmas!

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Accolades for Ray Cluley and Interzone

The winners of the British Fantasy Awards 2013 have been announced. Ray Cluley won the short story category with Shark! Shark! which appeared in Black Static (issue 29). It couldn’t have happened to a better story or a nicer bloke, despite some very tough competition.

Interzone, Black Static’s sister magazine at TTA Press, edited by Andy Cox, won the best magazine/periodical category.

A big congratulations to both. I know it’s smug to say this but in a previous post I put my money where my mouth is and stated that Shark! Shark! was my favourite short story of the year. It cleverly deconstructs a whole film genre while managing to be funny and horrible at the same time, which is no mean feat.




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British Fantasy Awards 2013

I’ve just seen the British Fantasy Award 2013 nominees and am really pleased to see that there are two fabulous pieces of work in the short story category:

Shark! Shark! Ray Cluley (Black Static #29) (TTA Press)
Sunshine, Nina Allan (Black Static #29) (TTA Press)

Andy Cox is nominated for TTA Press in the Best Small Press category (the PS Publishing Independent Press Award) and for both Interzone and Black Static in the Best Magazine category.

Previously on this site I stuck my two penneth in and said that Shark!Shark! was my favourite story of the year, so good luck to Ray.

Congratulations to everyone nominated.



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