Page 47 - Reader's House Magazine Issue 52

them back. The offer of such a miracle is what drives the couple, even though they know it’s wrong and will put someone else in danger. Cou- pled with guilt, their grief had made them selfish, had taken away their ability to think rationally, and had made them willing pawns in a sinister, twisted plan.
Where did the idea for the vengeful creature come from in ‘Retribution’ The Birth of a Horrifying Urban Legend, and how do you approach creating suspense and tension in your narratives?
The idea for it came from a short story I was writing for a competition. It was about an ancient yew tree growing in the middle of a cemetery and it was the ending I gave it that inspired me to write the novella. I liked the short story so much that I included it in the book to give the reader more context of the creature’s origin.
With most of my stories the suspense and tension is usually introduced early on to grab the reader’s attention and I strive to build on that throughout the book with each chapter adding more depth and detail.
I was thrilled to receive a 5-star review and gold award from Literary Titan for it, and even more so to be endorsed by Shaun Hutson, the godfather of gore. A writer I have admired for a long time.
Paul J Jackson masterfully crafts engaging, spine-chilling stories with impactful characters, proving his remarkable skill in the horror genre.
How did Shaun Hutson come to endorse your work?
struggled to continue and ended up shelving Pulp Fictional.com for the time being.
However, I am extremely proud of what we all achieved and believe ‘Fictional Reality’ is the best writing competition anthology out there today.
Your collection ‘A Pound of Flash’ features 50 stories, each under 1,000 words. What are the unique challenges and rewards of writing flash fiction compared to longer works?
Well, the first drafts of my flash fiction stories often exceed 1000 words and I find the main challenge then is to edit them down without ruin- ing their structure or plot. I like stories to have a beginning, a middle, and a satisfying end, so the reward is getting all that to work in 1000 words or less. It certainly feels like an achievement when I end up with something I’m happy with.
With longer stories I can afford to include more detail and not worry about the word count as much. That said, I’m not keen on long chapters either, so I’m still mindful to some degree.
Just to let you know, I created the cover for
‘A Pound of Flash’ with a pack of steak and two, bloody livers that I cooked in a stir-fry after and ate.
‘Weekend Escape’ presents a plot where a planned murder in the woods takes an unexpected turn. What challenges do you encounter when writing plot twists, and how do you ensure they are both surprising and believable?
I think the best plot twists are the ones you don’t see coming and the challenge is to hide them from the reader for as long as possible,
or to decide when to reveal them that best suits the story without ruining the plot and losing the readers interest in it.
It can be tricky to get it right at times and I have found that the best way to keep my plot twists surprising is to have more than one if pos- sible or to make sure the main story is gripping enough to prevent the reader from guessing the ending. Weekend Escape, for instance, keeps the reader focussed on Marcus as he is chased back to a cabin in the woods and hopefully prevents them from jumping to a conclusion too soon.
‘Carbon Copy’ features a wrongfully accused inmate seeking revenge. What research did you undertake to accurately portray the psychological aspects of your characters?
I try to base a lot of my character’s psycho- logical aspects on my own experiences, or those experienced by close family and friends. Fears, phobias, and unsettling situations tend to leave longer lasting psychological impressions on us all and I try include those in my stories. Claustro- phobia for instance, or the fear of death, can trigger powerful emotions and this futuristic story contains both those elements.
Being a massive horror fan also helps with character observations, and I’ve probably seen them all, but real life experiences are much easier to relate to and easier to explain to the reader if you’re familiar with the feeling you’re describing.
‘The Séance’ introduces a terrifying
“Paul J Jackson delivers spine-chilling brilliance with Down a Dark Path. Each tale explores harrowing twists, sinister foes, and supernatural dread. Immersive storytelling, perfect for horror enthusiasts. Highly recommended for a thrilling escape!”
demon targeting an unborn child. How do you balance supernatural elements with psychological horror in your stories?
I think a fair balance between the two elements consists of a good description of the supernatural element, so that the reader understands the threat, coupled with the thoughts of those affected by
it. We all know that horror fiction often depicts supernatural beings and situations that simply don’t exist in the real world, but getting a good balance between both elements gives the reader a fuller picture and enables them to imagine the scene more clearly.
After being long-listed and short-listed in two competitions, as well as being published in their anthologies, I decided to run my own writing contest and created Pulp Fictional.com. Both my short story and flash fiction competitions were
‘The Leonids’ involves a sinister plan during a meteor shower. How do
you incorporate real-world events or phenomena into your fiction to enhance its realism?
I’ve always been a bit of a stargazer, thanks largely to walks at night with my father when
I was a lad, and it was he who told me about several meteor showers that occur annually after we saw a shooting star. It turns out that every 33 years or so The Leonids shower intensifies into a meteor storm and I set the story during one that had been well documented in 1833. I liked the timeline of that, and the idea of mixing old and new concepts, and kept the realism of that time by describing items used back then, like flintlock pistols and oil lamps.
As an author known for your gripping tales, what advice would you offer to aspiring writers aiming to craft compelling horror and thriller narratives?
I would say, try to keep your characters as believable as possible and imagine yourself being in the situation you have put them in. Think
how you would react in that situation, what you would do, or say, and how others around you would react. Realistic behaviour and dialogue
in any fictional world you dream up, no matter how farfetched, encourages the reader to be more inclined to accept it and get drawn in.
a great success and the quality of the work I received from around the world was outstanding. Having such talented new writers entering my contest I knew I needed a VIP judge to choose the top three stories from each to give them the prestige they deserved.
Cheekily, I approached Shaun Hutson who
was delighted to be asked and agreed right away, much to my utter amazement. He not only chose the winning three stories from both contests, and wrote brief reviews for each, but he also sent me two of his own unpublished stories for the anthol- ogy I had planned. It was such an honour. He then later endorsed my work and sent me quotes to use on my books.
The anthology ‘Fictional Reality’ is the result of that competition for which I created the cover for, edited, and also have two stories in. Unfortu- nately, the contest had taken up way more of my time than expected and, being self employed, I
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