C.J. Dotson’s These Familiar Walls is a dual-timeline suburban horror novel that burns through the haunted house tradition and builds something sharper from the ashes. Following Amber Walker across 1998 and 2020, it is a psychological horror novel about the stories families tell to survive, the secrets buried in familiar walls, and the terrifying possibility that you deserve to be haunted. For fans of T. Kingfisher, Catriona Ward, and Cassandra Khaw.
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Writing horror as an act of resistance, Amy Jane Stewart unpacks how her debut Hex House uses Scottish folklore to confront violence against women.
Brides In the Dark Review: Jacob Steven Mohr’s horror novella blends Gothic dark fairy tale and harpy lore into a tense fable of hidden truths.
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Camilla Bruce’s The Temptation of Charlotte North is a dark gothic fantasy that understands atmosphere is not decoration but a character with its own pulse. Set on a remote island in 1910, the novel follows Charlotte North, a rebellious young woman who discovers that a violent spirit released from an ancient tower might be the leverage she needs to escape a predetermined life. With three carefully woven points of view and prose that balances elegance with restraint, Bruce has written her most confident, unnerving novel yet.
YA science fiction horror sits at the crossroads of dread and discovery. These aren’t just scary stories for teenagers. They’re nightmares wearing spacesuits.
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Neena Viel’s second novel, I’ll Watch Your Baby, follows two timelines, Lottie Turner’s 1974 Chicago schemes and Bless’s 1994 robbery gone terrifyingly wrong, through a Southern Gothic haunted house that has earned every one of its ghosts. A socially sharp, historically grounded Black horror novel with a Publishers Weekly Starred Review, it is one of the most significant releases of 2026. This is our full review.
Stephen Jones doesn’t just edit a horror anthology; he curates a conversation between generations of dark fiction writers, and Volume III continues that vital tradition.
The fear isn’t the monster under the bed. It’s the face in the mirror that looks back a moment too long.
Some authors spend years perfecting the art of the jump scare. They study the rhythm of suspense, the geometry of the dark, the precise moment a door should creak. Richard T. Wilson has spent forty‑odd years doing something harder. He has helped teenagers feel seen.
