Horror Promotion on The Ginger Nuts of Horror Website Hey folks, The Ginger Nuts of Horror is always looking for new ways to maximize horror promotion for horror books, horror movies, and more, going beyond the traditional review medium. Recently, I’ve been contemplating a wild idea that I believe might … Horror Promotion on The Ginger Nuts of Horror WebsiteRead more
Check Out These Great Horror Articles
Fawn – The Devil Knows Her Name by C.N. Vair’s Debut Is Appalachian Feminist Horror at Its Sharpest
C.N. Vair’s debut folk horror novel The Devil Knows Her Name follows Tess Wynne, a century-old witch bound to her Appalachian land by a devil’s bargain, running a wildlife sanctuary against every threat the community and the devil himself can bring. Precise, slow-burning, and built on a genuine ecological and feminist argument, this is Appalachian horror at its most assured. Full review at Ginger Nuts of Horror.
Jeff Strand’s Fun Times at the Bloodbath: Horror Comedy Review
Jeff Strand’s Fun Times at the Bloodbath is horror comedy with teeth, a video game horror novel about a playtest no one can quit. The Bram Stoker Award winning author weaponises the attention economy and folds extreme horror into his sharpest comic engine yet. Here is why it gets under your skin.
The Red Sacrament by Sara Hinkley: A Vampire Coven in 1869 Paris
Sara Hinkley’s The Red Sacrament is historical vampire horror with a sharp political edge, set in a midnight Paris theatre in 1869. My review digs into the slow dread, the gorgeous gothic prose, and the way this queer vampire novel turns the Anne Rice tradition toward class, labour, and the coming Paris Commune.
Marion by Leah Rowan: A Feminist Horror Remix of Psycho
Leah Rowan’s debut Marion reimagines Psycho with one savage swap: the woman in the shower fights back and kills Norm. My review digs into this feminist horror standout, from its dark humor and dual-POV craft to its themes of female rage, sisterhood, and surviving domestic abuse.
Blood in the Bricks: Urban Folk Horror That Crawls Out of the Pavement
Blood in the Bricks proves folk horror doesn’t need fields or standing stones to unsettle you. Neil Williamson’s anthology hauls the genre into the underground, the surgery ward and the skate park, with standout urban horror short stories from James Bennett, Dan Coxon and Ray Cluley. A bleak, brilliant collection that finds the uncanny in the everyday city.
Daggermouth by H.M. Wolfe: Dark Dystopian Romance With Teeth
H.M. Wolfe’s Daggermouth is being sold as dark dystopian romance, but it reads like social horror with the safety off. In New Found Haven, love outside your ring is a death sentence, feminine rage is a survival skill, and a forced marriage becomes a cage. Here is why this enemies-to-lovers opener to The Heart duology belongs on any dark fiction shelf.
Sara Hinkley on The Red Sacrament: Vampires Who Microwave Fish
Costume designer Sarah Hinkley spent years dressing other people’s stories on the sets of SVU and Monsterland. Now she’s written her own: The Red Sacrament, a debut vampire novel set in a starving, besieged 1870 Paris. We talked queer vampire fiction, the long shadow of Interview with the Vampire, and why her immortals are petty, risk-averse, and far too tired of each other.
Nothing Tastes as Good by Luke Dumas: Body Horror Review
Luke Dumas follows A History of Fear and The Paleontologist with Nothing Tastes as Good, a body horror novel that drops Emmett Truesdale into the Obexity weight-loss trial and watches the miracle curdle into cannibal cravings. My review digs into how Dumas turns fatphobia, diet culture, and the Ozempic moment into the year’s most quietly devastating horror.
The Past Wears a Mask: A Conversation with E. L. Chen
Slasher Summer drops seven friends, each named after a slasher icon, back into the cabin where a cult ’80s film was shot. E. L. Chen talks to Ginger Nuts of Horror about the Final Girl, slasher tropes, the nostalgia economy, and writing diverse horror into a canon that killed people like her first. From Sweetside Motel to a Final Girl she keeps marching back onto set, Chen is the literary slasher’s sharpest new voice.
Queens of the Crone Age by Tracy Fahey: The Finest Irish Folk Horror
Tracy Fahey’s Queens of the Crone Age (PS Publishing, 2026) wakes the Cailleach, the Hag of Beara, and threads standalone tales into one long incantation. My review digs into why this feminist folk horror collection, steeped in Irish mythology and the power of older women, is some of the boldest work of her career.
Camp Review: Avalon Fast’s Girl Horror Refuses Every Box
Avalon Fast’s Camp takes the bones of a summer camp horror and grows something stranger from them. This sapphic, witchy coming-of-age tale follows Zola Grimmer’s grief-stricken Emily into a coven of damaged young women, trading slasher mechanics for melancholy magic. Here’s why this girl horror lingers.
My Top 5 DNF Horror Books I’ve Lied About Finishing
Every reviewer lies about the horror books they didn’t finish. This is my DNF confessional, five abandoned novels, the page I quit on, and the daft personal reasons I never made it to the end. Folk horror, slashers, and one book that made me put the telly on.
Stephanie Campisi’s The Unfinished Business: A Cosy Ghost Story
Stephanie Campisi’s The Unfinished Business is a cozy middle-grade ghost story that treats grief and letting go with rare honesty. I dig into the craft, the comedy, and why this spooky middle grade ghost story for kids about found family and the dead we carry sits out in front of where the genre is heading.
The Backrooms is Just a British Backshift With Better Lighting
“Liminal horror” has become a hipster buzzword, so here is what it actually means and where it actually lives: the back of the shop. From Skinamarink, The Exit 8 and Vivarium to Edinburgh’s Hunter’s Tryst and the council-house terror of Ghostwatch, this is the case that the Backrooms are just a British backshift, and that British working-class horror beats the American liminal void at its own game. The Americans get the empty void. We get the void plus a supervisor.