Hollow House re-opened!

A bit of news I’ve been keeping to myself that I am now able to share!

THUNDERSTORM BOOKS in the US is releasing a limited edition of my Bram Stoker Award-nominated novel, Hollow House!

The special ‘Black Voltage Series’ signed and numbered edition will contain Hollow House, plus my novella Torment – and incredible dust jacket artwork by Ben Baldwin.

The book is available for pre-order NOW and is limited to just 52 copies.

Thunderstorm Books has produced amazing limited editions for almost a decade, publishing works by authors including Brian Keene, Bryan Smith, Jonathan Janz, Brett McBean, Ronald Malfi, Tim Curran, David Bernstein and Kealan Patrick Burke. I’m honoured to be part of Thunderstorm’s library of horror!

I’m very excited about this limited edition release and it’s been a great experience working with Thunderstorm’s publisher Paul Goblirsch, so I hope you’ll consider picking up a copy of this special edition.

Thanks for your support!


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Interview with author Jason Franks!

Fellow dark scribe Jason Franks has a new novel out – Faerie Apocalypse from IFWG Publishing Australia. If the title doesn’t make you want to read it then there must be something wrong with you. I tracked Jason down and demanded he told me more about his latest piece of fiction, and what makes him tick…

How was the seed planted in your mind to write Faerie Apocalypse?

The first novel I ever read was The Magic Faraway Tree, so this genre has been dear to me since I first learned to read. I was an adult when Neil Gaiman’s STARDUST came out, and that led me to look again at all these adventures I’d loved as a kid. There are some dark ideas underpinning that sense of wonder and whimsy. The tropes keep it very constrained on story and character, and I had this idea that someone from a contemporary society would have to be quite damaged to want to really travel to a pastoral world full of talking animals and magical elves in order to execute some narcissistic quest. The fairy folk are bound to participate, as either side characters or villains, and I wondered if they understood that, and how it would affect them.

So that’s what I wrote. What might be the outcome of characters taking a modern awareness of the genre tropes into fairyland, and how far would the infection spread?

What can readers expect with Faerie Apocalypse?

Faerie Apocalypse is a series of tales in which human protagonists transition to Faerie Land and have adventures. Each one is looking for something different: the most beautiful of fairy queens, magical power, a wayward father, an escape from reality, revenge, or just some kind of purpose. Most of these quests begin the way readers might expect, but they soon go awry. Things get darker yet when the different quests become entangled.

This book is written in a much more writerly style than my usual work for and I’ve put a huge effort into the language, trying to make it beautiful but still pacy. It’s Cormac McCarthy meets Neil Gaiman and I know it’s not going to appeal to everyone–but I do think it’s quite a different sort of book and I’ve been really pleased with the way my advance readers have accepted that.

Tell us about when and where you write? Does the lighting have to be just right? Do you need background music? A feather quill?

I write in my home office, on a computer. I’ve tried going to cafes and all I do is get self-conscious and drink too much coffee and then fret about what to do with my laptop while I run to the toilet.

I do most of my writing work in the evening, once my toddler has gone to sleep. When I was younger I used to have music on as well as the TV, so there was stuff to listen to or look at, but I couldn’t get too immersed in any of it. Nowadays I mostly write in silence.

I don’t write anything by hand. I don’t keep any notebooks.

Faerie Apocalypse isn’t your first book – what lessons have you learned on your authorial journey?

Faerie Apocalypse is my third book, kind of.

My first book, Phillips Head, was a straight-up horror novel that I wrote while at university. That was all about seeing if I could go the distance. If I could manage a novel-sized story and a large cast of characters. The book resultant book is unpublishable, but that’s how I learned how to work at scale. Not long after it was done I started writing both Bloody Waters and Faerie Apocalypse. I forget which came first. I’d alternate on the two projects day to day, or, if I had a whole day free–I was young, single, and sometimes unemployed– I’d do a session on each. Bloody Waters proved an easier book to complete– it had a leaner style, with a linear story–so that was the one I started trying to sell first while I continued to struggle with Faerie Apocalypse.

I guess the big learning from Bloody Waters for me, from a craft point of view, was not to be afraid to cut. The published version of Bloody Waters is 50,000 words shorter than the biggest draft and contains just as much story.

Faerie Apocalypse was a different experience. I had to find a new voice for the story, as well as a different approach to character, dialogue and storytelling. This is probably not something I can use for other projects, but I think it’s made me a much better writer overall.

Just as important as the craft, though, has been to learn to own the work. When Bloody Waters went live I was terrified that people would think it was awful and see me for a fraud, and I basically buried my head in the sand when I should have been telling people that the book was out. It wasn’t until Narrelle Harris blogged about it that I realized it was all going to be ok. It went on to be an Aurealis Award finalist, but it never really found its audience. So that was another huge lesson: it doesn’t matter if the book is good if nobody knows it’s there.

You’ve dabbled with writing comics and penned novels in the horror and dark fantasy genres. Which one excites you the most?

Whatever is my current first draft.

I can’t say that I prefer one medium over the other because they afford different pleasures. The most exciting thing about comics is the collaboration, I think–seeing your words realized visually; seeing how an artist improves the story. Prose gives you the pleasure–and anxiety–of direct contact with the reader. Everything the reader ingests from prose is the way I chose to express it.

As for genre, I love the SF, fantasy, and crime genres, and I’ve even done a bit of realist fiction (the phrase ‘Lit Fic’ makes me stabby). But I’m a horror writer at heart and I think you can see that inflected in everything I do–including my comedy stuff. I look for the bad side of everything. I like endings that will disturb readers, rather than comfort them.

Favourite book/film/comic?

Today, my answers are:

Earthsea by Ursula Le Guin, Unforgiven by Clint Eastwood, and Uzumaki by Junji Ito. Ask me tomorrow and I might give you different answers.

What’s next for Jason Franks?

Probably the next thing I have coming out is a short (56pp) horror-comedy-SF graphic novel called Gourmand Go, which I like to think of as Cannibal Star Trek. It features beautiful sequential art by Harold Purnell, Laura Renfrew, Gavin Thompson, Matt Kyme, Cristian Roux, Nicole Lawson, Aly Faye and Ben Byrne. The book is all done but for some lettering and colouring.

I am also probably going to self-publish a short novel called Shadowmancy, just to understand the experience. This project actually began life as a comic serial and has a gorgeous cover and interior illustrations by the Nic Hunter.

Otherwise, I am just grinding out the final draft of my new novel, XDA Zai.

How can people purchase a copy of Faerie Apocalypse?

With gold, paper or credit. It’ll be in stores, or you can snaffle a copy online from the following links:

Amazon: https://www.amazon.com/Faerie-Apocalypse-Jason-Franks/dp/0646595881

Kindle: https://www.amazon.com/Faerie-Apocalypse-Jason-Franks-ebook/dp/B0789FGYFM/

Barnes and Noble: https://www.barnesandnoble.com/w/faerie-apocalypse-jason-franks/1127685252?ean=9780646595887

Kobo: https://www.kobo.com/us/en/ebook/faerie-apocalypse

Apple: https://itunes.apple.com/us/book/faerie-apocalypse/id1325957273?mt=11

Book Depository: https://www.bookdepository.com/Faerie-Apocalypse-Jason-Franks/9781925496567

Booktopia: https://www.booktopia.com.au/faerie-apocalypse-jason-franks/prod9781925496567.html


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Midnight Echo Issue 12 unleashed!

Midnight Echo Magazine is back from the dead!

Australasian Horror Writers Association

The new edition of Midnight Echo Magazine is here!

Midnight Echo #12, edited by Shane J Cummings and Anthony Ferguson contains short stories and non-fiction by some of Australasia’s leading horror authors.


The issue features fiction by
Rebecca Fung
Angela J. Maher
Chris Mason
Andrew Grenfell
Matthew J. Morrison
Lauren Butterworth
Simon Dewar
Christine Ferdinands
Matthew R. Davis

Non-fiction by
Anthony Ferguson
Kyla Lee Ward and;

Fiction by AHWA short story and flash fiction competition winners
Rue Karney
Glenn H. Mitchell
J. Ashley Smith
Zoe Downing

The issue is on sale for just 99 cents until January 1, 2018 – so get it while it’s hot people!

Thank you for your continued support of the AHWA

Amazon Australia: https://www.amazon.com.au/dp/B078MGBFM4

Amazon US:

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Seven years later…

They say seven is THE magic number.

So it’s fortuitous then that the sequel to one of my first published works, The Noctuary, has been released exactly seven years to the day since the original first appeared on the scene.

The Noctuary: Pandemonium was hell to write. The original novella, first published by the now-defunct Damnation Books, came about when I was knee-deep in the mentorship program with the Australasian Horror Writers Association. Pandemonium was simultaneously the sequel I’d been putting off and the one I needed to tell.

Pandemonium, which has just been published by Bloodshot Books in digital and print formats, collects the original novella with the sequel and incorporates it. It’s all very meta and writing it nearly sent me mad.

In the original novella, a down and out author named Simon Ryan is summoned by dark forces to be their “scribe”. When he writes he has the power to alter his own reality. If you could change something with the stroke of a pen would you? What are the subsequent ripple effects of that change?

Pandemonium is all about the power of words and the power of the mind. Losing your sanity is probably my idea of hell and I wanted to explore that fear in the sequel and of course, give readers more insight into the creatures that draw their power from Simon’s words.

Fate is the underlying thread. Was it fate that Pandemonium has been published seven years after the original novella? I hope it’s just a coincidence. Will I be writing another chapter in this saga another seven years from now?

I might be damned if I do and damned if I don’t.

Check out these early reviews of Pandemonium and then see if you’re willing to peer into its pages.

Collings Notes

Horrible Books Reviews

There’s also a few videos with excerpts that I made with voice actor Ricky Grove – one from seven years ago and a new one.

The Noctuary: Pandemonium – read it and weep.

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On the Australasian Horror Writers Association

I know I’ve said this before, but I’m going to say it again: I wouldn’t be a published author if it wasn’t for the Australasian Horror Writers Association (AHWA).

Australasian Horror Writers AssociationI happened across the AHWA online way back in 2009, just when I was starting to find I had a penchant for writing dark stories. The AHWA was just what I needed. Not only did I discover that there was quite a large community of horror writers, there was also a burgeoning small press industry dedicated to getting horror into the hands of readers.

What’s more, the AHWA wanted to help fresh authors get their work published. The AHWA’s mentor program was a godsend and I applied immediately and was extremely lucky to make the cut. Paired with Melbourne author Brett McBean, I managed to get my first two novellas published with a small press in the US in 2011 and I haven’t looked back. A chance discussion with another member led me to connect with late author and friend Rocky Wood, who I eventually worked with on Witch Hunts. It also turned out he was president of the Horror Writers Association, so I truly was in the right place at the right time.

After the success of the mentor program, I always wanted to give back to the AHWA for the assistance they gave me, and in 2014 I joined its committee as a general member. As we are all volunteers, it wasn’t always an easy task. The last few months have been particularly tough for the AHWA, but I didn’t want to see it fail.

To that end, I recently decided to taken on the role of President of the AHWA. It’s going to be a massive job to get the organisation back on mission, but I have an incredible group of people on the revitalised committee coming along for the ride. I’d even go so far as to say that the members of the horror community are the some of the nicest people you’ll ever meet (despite their dark predilections). I’ve been absolutely blown away by the support and generosity of the members.

I hope to do my utmost to keep the AHWA growing, but most of all, I hope to see other authors in the future telling people that they wouldn’t be where they are if it wasn’t for the Australasian Horror Writers Association.

A new call for membership in the AHWA will be going out soon. If you are an emerging Australasian horror author I hope you’ll take the next step and join our community. To those who are continuing to support the AHWA I say thank you. With your help, the AHWA will only get stronger.

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It’s the most wonderful time of the year

It’s October. That time of year when I go into full Halloween mode with creepy art and even creepier words.

Being an Australian, (living in a regional city with about a population of about 70,000 people) where Halloween hasn’t really caught on (yet), I feel like I’m the only one getting into the spirit. But there’s a revolution happening.

For the past four years, my family and I have decked out our front yard for Halloween and attracted hundreds of trick ‘r treaters (check out this time lapse from a couple of years ago). Last year we also ran a small fundraiser for the Heart Foundation and we raised about $200. Every year we have to make our display bigger and better so the pressure is on, but I would be lying if I said I wasn’t excited.

Halloween is my Christmas (I love Christmas, but I love Halloween more). I go creatively crazy. It’s the time of year that I just want to write and draw. I’m sure other horror writers feel the same.

I’ve started a challenge to draw a Halloween themed illustration every day in October. So far I’ve done two. Better yet, because it’s Halloween, and I like to giveaway treats, I plan to give one lucky person ALL of the original artwork when they’re done. Yes, that’s right – I’m going to give the artwork away! So keep an eye out on my Facebook wall every day to see what I draw next.

And the Halloween generosity continues. My collection of stories, The End of Halloween is on sale for just 99 cents over at Amazon! The book is also part of a massive giveaway, hosted by my author pal Patrick Reuman (note the giveaway is only open to US residents). Be sure to check out the giveaway and the book online.

Last but certainly not least, my novella, The Last Night of October, has been resurrected in the pages of Halloween Carnival – a five-volume anthology series published by Cemetery Dance and Random House/Hydra. Volume 3 will be published on October 17, but you can pre-order it now. It’s great to be sharing word space with authors such as Kelley ArmstrongKate Maruyama  and Taylor Grant. The novella is regarded as one of my best stories, so I hope you can consider picking up a copy.

If you don’t hear from me I hope you all have a fantastic Halloween! Keep it creepy.




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READ (Small Press) HORROR!

This week I heard the disappointing news that Dark Fuse Press was no more.

This is the latest small press publisher to be forced to close down (Samhain Publishing closed in 2016), but there are still many small presses still producing and publishing fantastic work.

What these publishers might lack in resources when compared to the big publishers, they make up for with passion. Having been published in the small press since my first novella back in 2009 I know how hard the publishers, editors, designers, artists – and authors – of these presses work to share their love for horror with readers.

In the end, it’s the small press that keeps the horror genre’s heart beating. But they need the support of readers, reviewers and all horror aficionados to survive.


So if you can, BUY their books, SHARE their good work on social media and most of all, if you loved a book that came out through the small press LEAVE A REVIEW.

Let’s keep that heart beating!

Here’s a list (in alphabetical order) of just a few of the current small press publishers. If I’ve missed any I apologise, but please feel free to let me know and I’ll add them to the list.

Apex Publications

Black Beacon Books

Blood Bound Books

Bloodshot Books

Cemetery Dance Publications

ChiZine Publications

Cohesion Press

Comet Press

Crossroad Press

Crystal Lake Publishing

Dark Arts Books

Dark Moon Books

Dark Regions Press

Deadite Press

Grey Matter Press

Grinning Skull Press

IFWG Australia


Kraken Press

Lycan Valley Publications

Necro Publications

Night Shade Books

Omnium Gatherum Books

Oscillate Wildly Press


Permuted Press

PMMP Publishing

Postmortem Press

PS Publishing

Raw Dog Screaming Press

Severed Press

Sinister Grin Press

SST Publications

Stitched Smile Publications

Thunderstorm Books

Ticonderoga Publications

Voodoo Press





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