Nightmare Magazine

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Editorial

Editorial: February 2020

Be sure to read the editorial for a run-down of this month’s spine-tingling content. Plus that’s where we share all our news and updates, which you wouldn’t want to miss!

Author Spotlight

Nonfiction

Media Review: January 2020

This month, reviewer Adam-Troy Castro takes a look at the new novella “In the Tall Grass”—written by father and son horror giants Stephen King and Joe Hill. But first, he watched the Netflix film adaptation. So how do the two compare to each other?

Author Spotlight

Nonfiction

The H Word: Picture a House

Picture a house. It’s an old house. Stately, with two quarter-moon windows perched above a balcony, or a rundown farmhouse far out in the countryside, overlooking a bent, ancient tree. It’s something with history to it, history that’s not your own, but that doesn’t matter: the keys are in your hand. You own it. You are going to build a life there. You bring your family inside, and fill it with what is yours, and claim every room, every hallway. Except the attic

Editorial

Editorial: January 2020

Be sure to check out the editorial for a run-down of this month’s skin-crawling content—and to get all our news and updates.

Author Spotlight

Nonfiction

Book Reviews: December 2019

This month, Terence Taylor talks about the role of setting as he reviews the novella The Monster of Elendhaven, by Jennifer Giesbrecht, and the novel Genocide on the Infinite Express, by Kevin Sweeney.

Author Spotlight

Nonfiction

The H Word: What We Talk About When We Talk About Horror Endings

When the middle section of your story’s a meat grinder, as it always is in horror, chewing up characters and hope and anything good—blood on the wall, teeth on the floor—then staging an ending that saves those characters or suggests the possibility of hope, or just anything even good-adjacent, it’s a real trick, isn’t it? Really though, gore and transgression and mortal stakes aside, happy endings are a trick in whatever genre or mode you’re writing in, just because that’s the job of the second act: to make the third seem impossible.

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