Getting The Most Out Of Scream Time

Vent those inner anxieties by pairing screams to a perfect screaming place.

There’s a difference in places like there’s a difference in screams. Trust me. When you’ve got your victim in the right place, the scream they make will reward you — in a good way! I know great screams when I hear them — and I’ve tried many places to get the perfect one from every victim.

Oh, did you come here thinking this was a story about releasing your own frustrations in a safe, therapeutic way? (How selfish of you!) You’re half right. Some of us use other people to make the sound while we provide them with the anxieties to make it.

The trunk of my car used to be my favourite spot to hear a scream — but I was young and dumb — frankly, I’d never tried anywhere else. (How was I to know?) And I wasn’t such an aural connoisseur back then. The business of concealing the attack was way more important. I’d stuff a thick sock in their mouth right away. Duct tape maintained the silence so I never knew what I was missing.

One day, I took someone under a bridge. I hadn’t planned the encounter — and it was a real struggle getting the victim back to the car. My sock, tape and trunk felt like they were a million miles away. The bitch screamed many times and then I was surprised by what I heard. There were echoes. That sound aroused me in ways too devious to describe — totally surprising. It had a lot to do with the bridge. Those large concrete surfaces produced a sound bounce that elongated the scream. It was absolutely beautiful and I couldn’t get the sensation out of my mind. It got me thinking: Are there better places to hear a blood-curdling scream than the trunk of my car or under a random bridge?

After thirty years of experience, I feel it’s the right time to share with you my top five favourite screamy places of all.

  1. The desert. Obvious right? There’s no one to hear a scream. Its isolation allows them to run free. Enjoy way more scream time! Save duct tape and socks too. (Unfortunately, no exquisite echoes either. Boo-hoo.) Just take a shovel. Done!
  2. Two inches underwater. It’s a bubbly scream, not as loud but it has a very interesting effect. It’d be for those who’d like to be more creative with their kills.
  3. Upside down. The pitch changes. Yes, it does! Go figure! (Hint: Record a scream right side up and then compare it to the upside-down version. Yep, that’s a whole tone or two higher! Weird eh?)
  4. In an empty bucket. Pop a large bucket over the victim’s head and then listen to how the scream drops. That’s because the victim’s ears get the sound first and it’s bloody painful. Alternatively, if they keep screaming at the top of their lungs, watch their body flinch at the pain they cause themselves. It’s a wonderfully masochistic type of scream.
  5. A Cathedral. Oh my God, this is it. This is where it all happens — so stirring. It’s the most heavenly way to experience screams. It just rings and rings forever. Imagine a demon raping an angel — that’s the sound you’d get. Forget about finding a bridge. Go straight to Church and wallow in the surround sound of a scream delivered in a Holy Cathedral.

Now, I can’t guarantee you’ll get the same results as I do, but what I offer here are foundation stones on which to build ideas. You can mix it up by using two or more of my suggestions in one scenario. For instance: Take a victim to a Cathedral-sized cave and hold their head under two inches of water. Bubbly screams with some echo overlays is what I predict. (I haven’t done it myself (yet) by I can imagine the rewards would be worthy of testing.)

What about inverting the victim on a vertical turntable in the middle of Nowhere Desert and then fixing a bucket to its head? If the turntable rotates automatically by way of a small motor, you can sit back and listen to the ever-changing pitch as they go from right side up to upside down and back again. You can have fun finding ways to keep them screaming while figuring out what causes the pitch to change.

What keeps them screaming, you ask?

Anything you like.

Happy hunting.

-M

Five women’s bodies are discovered after the nights of thunderstorms. Their spouses are suspected of the crimes, but it becomes clear that someone else is responsible. There’s no blood and few clues. A storm photographer who specializes in taking pictures of lightning may be the only witness.

ORDER NOW

The Perfect Happy Ever After Story Can Be Found Inside This Dark Fiction

Everyone loves a happy ending. Even the darkest of stories have one if you know where to look for it. It’s a time when villains become heroes and it’s cool for them to do evil deeds. The trick in locating the dark fiction HEA is to skew your head sideways. Conventional thinking won’t help you locate it in the obvious places. You must first allow the darkness to flow over you so it can smother out orthodoxy and open up your mind.

There are millions of authors on social media who write vanilla HEA’s for traditional HEA fans. HEA comforts readers. Fans know that by the close of the book, any crazy world made inside it will always end in one place, happy. It makes HEA fans feel safe — like pulling up a cosy blanket on a cold Winter’s night.

It got me thinking, I write HEA’s too. My evil narratives end in happy places! Sure they do.

Stop laughing.

It’s a fact. My characters flounder like any HEA character. They doubt themselves. They love, hate, inspire-to-do-better, fail and succeed — just like any HEA character would do. There are winners and losers. And every dark story I’ve ever written comes with a profound, life-affirming resolution at its conclusion. Yes, I know, I offer readers a scratchy HEA blanket, but who said all blankets are soft?

evil eye

A criminal’s version of happy-ever-after would be different to yours and mine. It’d be no less important (to them) but it would be a new challenge to create a good one as a writing exercise. Taking their viewpoint would allow a writer to explore their life goals, their hurdles, ups-and-downs, and all the foibles that come with living their kind of life.

For instance, not going to jail would be one of the criminal’s best HEA’s, right?

This type of HEA would be a hard-sell to those who firmly believe bad people should be punished. Jail time or a death sentence is the only satisfactory outcome for those who commit heinous acts on others.

Remember TV’s Dexter?

Now there’s a likeable bad guy who managed to get millions of fans on-side. The show was one part psycho-killer, three parts Equaliser. Dexter killed people but his victims were evil people too. They were paedophiles, murderers, etc — the worst of the worst. We liked watching our deranged, yet well-controlled killer, police society’s filth with his sharp knife and oodles of transparent plastic film taped to the walls and floors of his home. He became a judge, jury, and an excellent executioner. It’s an unconventional HEA.

See? It can be done.

This writer’s greatest challenge is to create new narratives using the HEA as a starting point — and then to develop them from evil’s perspective. I invite readers to experience them, so they too can become dark HEA believers by The End — the perfect HEA for my kind of adult fiction.

Michael

Five women’s bodies are discovered after the nights of thunderstorms. Their spouses are suspected of the crimes, but it becomes clear that someone else is responsible. There’s no blood and few clues. A storm photographer who specializes in taking pictures of lightning may be the only witness.

ORDER NOW

Genetic Fingerprinting Wasn’t Always A Reliable Tool For Fighting Crime. DNA’s Transitional Period Was Incorporated Into This Dark Fiction Narrative.

Today’s crime-solving is easy. You take a swab of some icky stuff left at the scene of a crime, do something science-y with it, and a mystery gets solved. A bad guy goes to jail. Everyone sleeps at night. Perfect. It’s the happy-ever-after we expect for crime events.

We assume that DNA sequencing has been with us forever but it hasn’t. In fact, there are countries in this world where DNA science doesn’t exist at all. Technology and knowledge aren’t equally shared around this globe of ours.

And then there’s that wonderful moment in history when DNA science arrived in our own country and city. It was brand new but not yet perfected. At that point, genetic sequencing was super expensive, time-consuming and didn’t always yield the same results twice. It was unreliable. We liked what it promised to do but couldn’t trust it. A hair follicle, saliva, or semen, wasn’t enough to convict a criminal in court. This meant some of them got away with murder.

I wrote a novel where one criminal committed a heinous crime before the process of DNA matching became a perfected science. They lived well after it’d been accepted into Criminal Law. Someone else finds some good, DNA evidence on an old love letter and then makes a threat to reveal a long-hidden truth by sending it to a crime lab. It’s blackmail by DNA — a different angle on the DNA component of crime narratives. (My story isn’t exclusively about DNA. The cover of the book confirms this.) This transitional period when DNA science didn’t exist, and then did, is an alluringly grey area for this writer. It intrigues me a lot. It makes me wonder how many real-life criminals are out there just waiting for a knock to come on their door for something they did pre-DNA science.

SEETHINGS could be seen as a true murder story as its details feel alarmingly real. If that’s the case, then we’ve something to genuinely fear about the normal citizens of this world. Such a criminal could be your neighbour or the person sitting opposite you in a coffee shop. You couldn’t tell if they’re a killer by looking at them. You’d have to take a sample of their genetic fingerprint to a lab, and then run it through an unsolved crime database, to know for sure.

Now here’s a twist of an idea: Take a sample of your own DNA to that lab. Wouldn’t it be funny if your DNA profile matched one that appears in an unsolved crime? That’d shock you, right? You’d deny it, of course. You didn’t do it. After all, like my protagonist, you’re a decent, kind person. And you’d remember committing such a crime, wouldn’t you?

What if you’d genuinely forgotten about committing it? First, you’d have to be convinced you did it. Let’s assume you are already convinced, the next thing you’d want to know is why and how you came to forget. What was so traumatic that you failed to remember committing murder?

Is someone setting you up or are you simply going mad?

That’s also SEETHINGS.

-Michael Forman

Five women’s bodies are discovered after the nights of thunderstorms. Their spouses are suspected of the crimes, but it becomes clear that someone else is responsible. There’s no blood and few clues. A storm photographer who specializes in taking pictures of lightning may be the only witness.

ORDER NOW

Choosing The Perfect Graphic For A Book Cover Before Sending It To Print

People say, don’t judge a book by its cover but most of them aren’t authors. For many readers, a cover is all they have to go by when they’re choosing a new book. The front surface (and its back) of a book, is the face of a story. The graphic offers clues to it. In a way, readers are digesting a book long before opening it. Yes, a book is first judged by its cover.

Clearly, a good graphic (and title) won’t guarantee the book will hit a home run in the literary world, but it does get one to first base. I decided to have a predominantly black cover for mine because it made the right statement for its narrative. The cover graphic looks like how the story feels as it’s being read. If I made it a pink one covered with hearts, it’d say the wrong thing to the wrong readers. I didn’t want that. Honesty is the best policy when it comes to designing and choosing the right graphic for a book — a thriller-styled novel.

It sounds like a simple process but mine didn’t go that way — and black wasn’t my first choice. It wasn’t even my second or fifth one. It took time to experiment with many wrong graphics to get to one that mattered. The earlier versions looked nothing like the finished cover!

First Attempt

Cover designs weren’t considered until well after the book was finished, eight years after the writing project started. The first mock-up was a representation of a key scene in the novel. It was a nighttime picture, set in a secluded bush area, well away from the lights of civilisation. There are trees, grass and a lightning bolt jutting downwards in the distant background. The image proved to be a difficult cover shot because it became messy when placing a title over it. The graphic looked like spaghetti and cobwebs and the title just got lost in it. I moved on.

Teddy Bear Thriller

I started shooting new material with a teddy bear, just like the one described in the final chapter of the book. There was that bracelet on its wrist and the all-important SIM card. It kinda worked but the fluffiness of the bear softened the cover. It made it look like the book was written for children. I tried to harden it up by showing less of the bear and accentuating the bracelet but it didn’t work. I abandoned that idea that worked on the title instead.

Black on Blue

After doing the titling research with strangers, using a simple single-shot layout, I became hooked on the idea of using a simplified, dark theme. It felt right — and the abundance of space gave me the flexibility to fit words anywhere on top of it. The trick was finding the right lightning bolt shape (the one I used in the mock-ups was lo-res and not mine to use). I had a few of my own but none worked. I went back to designing an entirely new graphic.

A-ha!

The story isn’t just about rain, lightning, teddy bears or bracelets. The greater story is about sex and sexual abstinence. I found some old material in my photo library (a woman’s chest), placed the shot onto the screen, and then dropped it into black and white. The cover then made perfect sense. I added a crucifix, coloured it red, and then placed the title on the surface. It worked but there was one element left to add. I wanted that storm element on the cover. I tried a lightning bolt inclusion but it ruined the cover. I opted for a small splash instead. A droplet with a rain tracer accompanied it. The spot colour was added to the droplet to balance the scene. The evolution was complete.

Nine years after I sat down to write SEETHINGS, this cover appeared on the shelves.

The irony was those shelves had become virtual ones during the time of the project. E-books and e-stores had replaced traditional ones. Readers can now pick up copies of my books and begin reading them before they are able to lock their front door to visit their favourite bookstore. Oh well, the principle of designing book covers is still the same. People scroll through the catalogues and still stop when something catches their eye. Getting them to stop scrolling is the book reaching first base. Taking home plate (or hitting a home run) requires more than a good cover. The story behind it has to match.

See you next time –Michael (Dark Adult Fiction Author)

Five women’s bodies are discovered after the nights of thunderstorms. Their spouses are suspected of the crimes, but it becomes clear that someone else is responsible. There’s no blood and few clues. A storm photographer who specializes in taking pictures of lightning may be the only witness.

ORDER NOW

Character Spotlight: Mitchell Felding (photographer) Dark Adult Fiction.

Dependable Mitchell comes with bucket loads of amiability. A joke accompanies most conversations. His warm smiles melt anyone’s ice. There’s a wonderful sense of calm surrounding our reliable, likable protagonist.

Mitchell Felding.

  • Thirty something
  • Married to Samantha Felding (10 years sexless marriage.)
  • Professional Photographer and Photography Teacher
  • Self Employed
  • Good Sense Of Humour
  • Practical

His personable character is welcoming, especially when it’s placed against that of his wife’s, Sam, who spends her time checking her clocks, calendars, and organizing things. She’s extremely officiant but highly strung. This kind of personality mix could be ideal for both of them, but it isn’t. Equitable work/life balances in the Felding home aren’t easy to find. Mitchell is dedicated to his wife, but his efforts to settle her anxieties are never enough. There’s always a new obstruction blocking the path to the bedroom. We look to the past for answers to this struggle.

broken rings

A long-term celibate relationship began their journey. Heartfelt abstinence was meant to be a gift — a well-intended promise of devotion that’d secure their love, forever. Unfortunately, it worked against them. By the time they married, sex had become misunderstood, even feared. It never turned into a form of intimacy. Sex became a weapon of abuse — in an unexpected way.

Counsellor Tony Brindell is helping the couple work on their childless marriage. He believes the issues plaguing it are minor, but he isn’t aware of their depth. Despite Mitchell’s dedication and amiability, they’re of no use to him in the counsellor’s room. Sam’s methodical sense of organising things, doesn’t help either. Neither benefit from the therapy. Both are ill-equipped to move forward. A new kind of objectivity is required. It’s Mitchell who learns to let go of conformity to make the first breakthrough — and solve those five murders reported in the media. He’s sure he knows one of the victims, but Samantha dismisses him in an instant. Fixing his marriage takes priority, but understanding what happened to those women will have to be done on the down-low.

Happy ever after is calling inside the pages of SEETHINGS.

Michael

Five women’s bodies are discovered after the nights of thunderstorms. Their spouses are suspected of the crimes, but it becomes clear that someone else is responsible. There’s no blood and few clues. A storm photographer who specializes in taking pictures of lightning may be the only witness.

ORDER NOW


Considering What A Book’s Title Should Be Before Committing To Publishing It

Before SEETHINGS was finished, the novel tried on many other titles. That name didn’t appear until eight years later. During the book’s long development, alternates were applied to assist the author with writing its content. Few were considered to be permanent fixtures. None were planned to appear on any bookshelf.

There are fair and good reasons why a book starts with one title but finishes with another. In SEETHINGS’ case, I used one of my titles as a temporary label, sort of a mission statement, for the purposes of keeping me on track as I wrote the yet unknown story.

In the beginning…

This was SEETHINGS’ very first title and the story was always going to be about a storm. I love a good thunderstorm and wanted to write a great story about one. It was to take centre stage, but how that’d translate into an entertaining story was uncertain. I wrote Stormfront on a post-it note and then stuck it to my computer’s screen. That little yellow tag kept me on-task during the first draft (and it stayed around for another couple of rewrites).

Brrrr!

As is usually the case when I write, something else got added to the original draft. The story soon developed the nucleus of another plot. It paralleled the first one but, while the hot, summer rain dominated the core of the narrative, a chilly relationship story slithered right up against it. I saw the irony in this dichotomy and so I wrote a new title on a fresh post-it note and labelled it as Cold Climates.

Ick!

Attracted to that new second plot, I kept working on developing the chilly relationship between those two characters. My goal was to create six identifiable occasions in the story when the couple’s life soured and their bedroom turned icy. Thank goodness that title didn’t remain. Neither did those six occasions. The key ones stayed while the rest disappeared into oblivion.

SEETHINGS' test-drive title
Long enough for ya?

Stop laughing. This title will make perfect sense after I explain why I chose it. The process was getting really serious at this point. The book had been written ten times and it was due for some real-world testing. A beta-reader journey was the next step. Feedback mattered — not for the book’s title, but the story beyond the cover page that displayed it. I handed my readers the manuscript in a four ring-binder and said nothing of the narrative. This long title fronted it, acting as a type of synopsis and reader screener. If the reader didn’t like the sound of the title, they didn’t get to read the book (some people can’t abide violent stories no matter who writes them!). Those who tolerated the title got to read the story, and then I waited for their comments/reviews to return. The book was never going to be called Pink Tears In The Hot Rain And The Cold Stench Of Death. A real title would come much later.

With the last of the structural edits being finalised, four titles were selected for proofing (I can’t remember one of them — yes, these are mock-ups of the original mock-ups. Those files have gone astray). Each of these simple proofs was printed using the same image on the background, only their titles differed (even the font was the same). I shopped them around to friends, family, book club members, strangers, anyone keen enough to give me an opinion. I didn’t tell them what the story was about (the beta readers weren’t involved), I just wanted a new set of strangers to look at the mock-ups. “Which book title would make you stop and look twice?” I asked.

The votes came back and the book officially became SEETHINGS in mid-2012. Of course, it wasn’t yet ready for the reading market. Sorting out a title was just one step in many more to come. The next thing to consider was a suitable cover graphic (clearly, I didn’t go with the lightning bolt option) but that’s another post for another time.

Until then, enjoy your reading. Michael.

Five women’s bodies are discovered after the nights of thunderstorms. Their spouses are suspected of the crimes, but it becomes clear that someone else is responsible. There’s no blood and few clues. A storm photographer who specializes in taking pictures of lightning may be the only witness.

ORDER NOW

Rewriting The Paper Orgasm

Literotica? Really? Aren’t you supposed to be writing thrillers Michael?

Yes and yes. I write tease. Tease is transient. Sex, life, death — all can be written with tease. Tease is entertaining. It’s titillating. The trick is blending them the right way and making it work.

Murder narratives often contain sex. Kissing is part of sex. Hugs are in there too. Leg-twitching, shudder-shaking bedroom action raises the tension. I include all of them… with rising-tension murder too. They go together well.

Lori Beeton (a huge Dean Koontz fan) said my literotica was unusually feminine. She says I take my time and don’t rush the sex.

I guess she’s right. I favour growing the tension between lovers. I let it build and swirl as though I’m writing an erotic-specific piece.

Eyes that shift, breathing that falters, secret desires which are revealed one touch at a time, makes for a better read.

Good sex is all about negotiating those ‘unspoken words’. I like the anticipation, the doubt, the uncertain outcome of what may take place after the first kiss happens. How we communicate desire and make contact is what it’s all about baby!

Savour that feeling!

Read about it in my books!

Michael

“Forman’s writing style is artful, with the protagonist Mitchell’s warped thought processes masterfully exposed. The author has a powerful and vivid command of language and his word pictures are stark and disturbingly real.”

– Linda J Bettenay, author of ‘Secrets Mothers Keep’ and ‘Wishes For Starlight’.

Intimate Murder: Villain and Victim Development

When writing dark fiction, it’s important to create the perfect villain. Without one, a hero can’t rise above and give the reader what they need — hard justice. A hero’s strength depends on the power of the villain to get them there. Justice aside, there’s one other thing to consider.

The victim.

Simply using random individuals as victims certainly quickens part of the writing process. It can give our bad-guy instant badness and we don’t need to know about a victim’s life, learn their name, or visit a funeral. We can spend more time with the villains and heroes in the story. But using a nameless nobody to die at the hands of the best-crafted bad-guy, can ruin a good dark fiction story.

Why not include some intrigue by selecting the perfect victim for our villain? If the so-called randoms don’t turn out to be that random at all, we could give deeper purpose to each kill — discoverable later in the story.

And what about the manner in which they die?

Murder is highly personal — at least, I believe it is. Nothing is more intimate than making one of my character’s life snuff out. It’d be easy to under-value a good murder by failing to honour murder’s intimacy. For instance: A shooting. There’s a crack of a gun, a fall to the knees, and a body hits the ground — all done, nice and quick. If the villain is a sniper, it’s even less intimate, because it’s done from a distance. He doesn’t even have to see the eyes of his victim fade. Where’s the intimacy in a sniper-kill?

My murder is not the kind that comes by way of a gun, or a knife, or poison. I’m talking about something deeply intimate — like the electricity that crackles between two new lovers.

Theirs is all about erotic anticipation, hot kisses, fingers and hands seeking bare flesh. Only eyes, moans, and heavy breathing, is used to guide their way into the bedroom. A murder can be written into this space instead. It can be just as sensual, building towards a steamy homicide, creating a whole new level of creep for the dark narrative.

I’m a writer who yearns to bring intimacy and murder together. I want a reader to want to witness the development of such a relationship and then rise as their union climaxes. And then I want them shocked by what I do next.

Avoid clichés at all costs.

Clichés take us where we expect to go. There’s nothing left to do but to wrap a story up with a justice bow and let the reader off with a feel-good outcome. The only challenge for a writer, is to become creative in hiding the cliché, while writing it. For instance: Bad guy goes to jail, dies, banished forever, turned into stone, becomes a horrible monster, etc. The result is always the same — the evil never stays. It goes away, always. Predictable. Not in my stories.

Should justice be as predictable?

You’d think it’d be black and white. Once the badness is identified, it’s removed by good, old fashioned justice. But justice is subjective. Depending on your age, race, upbringing, beliefs, sex, sexual preference, intellect, wisdom, experience, even weight and height, you’ll have a unique view on what’s just. There’s another human flaw to factor into the justice mix — psychological stability. There are moments when we’re not ourselves and make bad decisions on things like justice. All of these varying elements in the justice process make it somewhat fluidic. This fluidity is something I like to explore in my stories. All I need to do is get my reader to jump in and get wet with me, to find appropriate justice in the sloppy liquid. It’s not conventional but it works for the thriller-styled novels I write.

Self awareness, identity and acceptance is important to everyone, including psychopaths. We all have an inner-something that drives us and makes us do the things we do. Even well-balanced people can get things horribly wrong on matters of love, lust, family, money, and much more. Any of these items can be motivators for us to think and act inappropriately, and then look to cover our tracks when we see things in the light of a new day.

My books include this strange shift in behaviour. They are dark fiction and not meant for children. They’re not for simple souls either. They contain complex, adult issues, and challenge a reader’s moral standing throughout their narratives. They are written for a perfect villain who commits an intimate murder, and then ask readers to accept a different type of justice that makes perfect sense, only at the time of the crime.

Read SEETHINGS now. It’s the first novel in a series, and it’s free on *SMASHWORDS. (*limited time)

Michael Forman (Author)

“Forman’s writing style is artful, with the protagonist Mitchell’s warped thought processes masterfully exposed. The author has a powerful and vivid command of language and his word pictures are stark and disturbingly real.”

– Linda J Bettenay, author of ‘Secrets Mothers Keep’ and ‘Wishes For Starlight’.

Tombstone Muses and Island Kinkiness For Erotic Times Between Sexy Mitchell and Nina

“They actually make love to each other standing-up, and then he takes her foot and places it on one of the other gravestones. That’s when things get really interesting.”

Fiction author Michael Forman is set to launch his third and most bizarre Noirotic novel to date. By replacing a bed with a gravesite, he’s taking a couple’s sexual adventures to a whole new level.

His yet untitled novel will include historic content from the infamous St Helena Convict Settlement found on St Helena Island. It’s an isolated plot of land located in the middle of Moreton Bay, east of Brisbane. Forman, who’s no stranger to the darker side of fiction, is currently researching the island’s history and investigating the details of two cemeteries located on Queensland’s prisoner island.

“I’ve visited St Helena several times and taken many photographs of it. I’m now interested in measuring how long it takes to sail a yacht across Moreton Bay to get to the island, and the distance between the two cemeteries. One is for convicts, the other is for wardens, staff, and their families. My amorous couple will discover these cemeteries and hatch a new sexual fantasy that incorporates both of them. “

According to Forman, St Helena’s graveyard is: “To become the site of some seriously kinky sexual activity.”

Michael Forman

Forman says that what makes the two St Helena‘s graveyards appealing is that both are located on an island and are reachable by a half-hour boat ride. It’s rarely accessed at night. No one lives on the island.

“My highly sexed couple will take a moonlight cruise across the bay. They’ll drop their anchor and go ashore to explore the site and, of course, each other. The island’s isolation will give my enthusiastic lovers the perfect opportunity to express their desires among those, they believe, who knew true naughtiness and punishment. They’ll consider what they do as paying homage to the dead. It’ll raise their stimulation to new levels and, as it peaks, my protagonist will do something that’ll alter the mood. He will take his lover’s foot off one of the convict’s headstones, and then place it on top of one of the civilian’s. It’ll be a shock to find out who that headstone belongs to. Was it done on purpose or by mistake?”

St Helena's Graveyard
Convict Tombstones, St Helena

The St Helena penal settlement was all but abandoned in 1932. During it’s sixty-five years of service, approximately fifty convicts died on the tiny island. The convict’s tombstones are marked with a number, but civilian graves include names, dates, and a brief cause-of-death on them.

The graveyards are fenced but access is available to those who are part of a tour group. Commercial charter operators offer daily trips from the mainland to the island, to see the historic grave sites and the prison ruins which are located nearby.

“I’ve had the benefit of seeing the graveyards after sunset. Under a moonlit night, their tombstones take on a surrealistic, supernatural feel. I give my couple, and readers of adult fiction, a creepy lovemaking adventure they’ll never expect.”

The once dilapidated site is now maintained by local government so all can see a part of Australia’s convict history up close and personal.

Forman says that his new book will be released soon. Readers will be informed on his official site when it’s ready for download. SEETHINGS, his first successful dark fiction novel, is now available on Smashwords for free. Visit here to download and read it immediately.


“Forman’s writing style is artful, with the protagonist Mitchell’s warped thought processes masterfully exposed. The author has a powerful and vivid command of language and his word pictures are stark and disturbingly real.”

– Linda J Bettenay, author of ‘Secrets Mothers Keep’ and ‘Wishes For Starlight’.

Self Reflection And The Glass Of A Photographer’s Viewfinder

We can always discover a little more inside ourselves if we took the time to look in from the outside.

SEETHINGS and SEETHINGS 2 are the first two books of a trilogy — a darker look at love, marriage, sex and photography. It’s about a photographer eager to capture the perfect lightning bolt in his lens, but ends up in the middle of another type of storm on the other side of the camera. (excerpts are found here)

The narrative places the reader at a cliff on the banks of the Brisbane River. The body of another photographer is found by morning joggers hanging by a tree root. The plot follows our protagonist until five mystery deaths line up to reveal an explosive ending that’ll horrify the tender-hearted.

If I could leave you, dear reader, with a few words — not everything a photographer needs to understand about the pictures they fail to capture come from using a inferior lens or a poorly chosen shutter speed. Sometimes the answers they seek are found deep within themselves. Thank God most don’t focus on that and choose to blame their equipment instead. It’s better to question that or the composition of a yet-to-be-taken photograph than confront the inner-self on why the passion to create is greater than the art. Finding answers there can stir the darker parts of our soul, raizing a dangerous Beast within.

Get ready for twists that will bend your senses!

-Michael