Books: The Thing | Dead of Night | Seconds
Essays: Routledge Companion to Folk Horror | Scarred for Life volume 3
Horror fiction writer
NEW BOOK: CAPTURE SPIRAL
Aberdeen dweller
He/Him
https://linktr.ee/jezconolly
temporalboundary.bigcartel.com/product/capt...
temporalboundary.bigcartel.com/product/capt...
Cheers Eryn! My aforementioned story Vinegar and Brown Paper will be appearing very soon in the next volume in the BHF Book of Horror Stories series. Here’s the draft cover. Oh, and here’s me according to Chat PG Tips.
Cheers Eryn! My aforementioned story Vinegar and Brown Paper will be appearing very soon in the next volume in the BHF Book of Horror Stories series. Here’s the draft cover. Oh, and here’s me according to Chat PG Tips.
It can’t be. I made sure. There was no doubt. No room for error. I don’t make mistakes. And yet, somehow, here I am. Still alive. I look at the day and I think ‘please, not this again’. I’m not supposed to be here. And now I can’t face another attempt. Just in case I fail, again.
It can’t be. I made sure. There was no doubt. No room for error. I don’t make mistakes. And yet, somehow, here I am. Still alive. I look at the day and I think ‘please, not this again’. I’m not supposed to be here. And now I can’t face another attempt. Just in case I fail, again.
You know, I don’t think there is. And the reason for that is, when I wrote my story Nuggets, one of early ones, I deliberately hit every sacred cow I could come up with, so I’ve been there, done that, at the outset. If you read it you’ll need a bucket and a priest.
Here at #HorrorWritersChat we really do like to peel back those insecurities and fears and expose them to the light. You can do this.
Which scene do you keep putting off? And why?
You know, I don’t think there is. And the reason for that is, when I wrote my story Nuggets, one of early ones, I deliberately hit every sacred cow I could come up with, so I’ve been there, done that, at the outset. If you read it you’ll need a bucket and a priest.
Small town cannibalism. You’ll be able to hear my story ‘Vinegar and Brown Paper’ in narrated form on the Nocturnal Transmissions podcast very soon. It’s all about biscuits and TV remote controls and the eating of a brain with spoons. You’ll love it.
This question is not about the comfortable places that we go with horror. But the uncomfortable ones. The ones that turn us inside out even as we write them. The ones that make us wonder who we are, at the end. #HorrorWritersChat
Small town cannibalism. You’ll be able to hear my story ‘Vinegar and Brown Paper’ in narrated form on the Nocturnal Transmissions podcast very soon. It’s all about biscuits and TV remote controls and the eating of a brain with spoons. You’ll love it.
Jez in wet and windy Scotland. I write ‘kitchen sink horror’. That’s just how it comes out. I don’t know how to write any other kind of horror. My monsters are entirely human.
You know the drill. Four questions, repost as many as you like, no links: promo at the end.
First I want to know.
What makes you write the kind of horror that you write?
Jez in wet and windy Scotland. I write ‘kitchen sink horror’. That’s just how it comes out. I don’t know how to write any other kind of horror. My monsters are entirely human.
Thank you Mary!
I’ve been chosen as one of the Locals in the Limelight at this year’s Granite Noir festival here in Aberdeen. I’ll be reading my poem ‘The Witch’s Hat’ at an event called Into the Dark. www.aberdeenperformingarts.com/whats-on/gra...
Thank you Mary!
I’ve been chosen as one of the Locals in the Limelight at this year’s Granite Noir festival here in Aberdeen. I’ll be reading my poem ‘The Witch’s Hat’ at an event called Into the Dark. www.aberdeenperformingarts.com/whats-on/gra...
He looked down. It was there. He spoke to it. He said ‘fuck you’. It looked back up at him. It replied. It said ‘fuck *you*’. He scratched his chin. He thought. He answered back. He said ‘no…fuck YOU!’ It was frightened. So it should be. The journey began.
We lost HWC originator Matt to cancer in 2025 🤍🕯️
#HorrorWritersChat - The call is coming from inside the house.
Q4: Write a one-post scene where your character meets the personification of cancer in their home.
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Outro in 10 mins
He looked down. It was there. He spoke to it. He said ‘fuck you’. It looked back up at him. It replied. It said ‘fuck *you*’. He scratched his chin. He thought. He answered back. He said ‘no…fuck YOU!’ It was frightened. So it should be. The journey began.
Halliday from my story Nuggets:
The exercise routine that he had adopted consisted of a single slow painful Y-shaped upper limb stretch, Christ left to rot on the cross, his arms aloft enacting a victorious torture, accompanied by the clicks of his irredeemably knurled joints.
Our bodies are the homes that house us.
Sometimes they work to our advantage.
Sometimes they can work against us.
Q3: Describe the physical characteristics of one of your horror story characters.
Is there anything about their body that helps or hinders them in their story?
Halliday from my story Nuggets:
The exercise routine that he had adopted consisted of a single slow painful Y-shaped upper limb stretch, Christ left to rot on the cross, his arms aloft enacting a victorious torture, accompanied by the clicks of his irredeemably knurled joints.
My characters frequently ‘wear’ their interiors. They are almost furniture within the spaces.
In fiction, homes tell us something about their inhabitants.
Q2: How do the living spaces in your horror reflect your characters?
My characters frequently ‘wear’ their interiors. They are almost furniture within the spaces.
I'm Lawrence (she/her) and I write folk/religious horror with a Victoriana bent
My favourite horror movie set in a house is The Exorcism, a TV play from 1972 in which former socialists are haunted by the past inhabitants of the house they've renovated. All too relevant today