Blog Tour: Murder in Montague Falls by Russ Colchamiro, Sawney Hatton, & Patrick Thomas @AuthorDudeRuss @SawneyHatton @I_PatrickThomas #BlogTour #Anthology #Giveaway

If you’re still searching for the perfect Halloween read, check out this collection of chilling tales! Murder in Montague Falls will have you reading long into the night!

MURDER IN MONTAGUE FALLS ebook front cover

Murder in Montague Falls

Publication Date: August 29, 2019

Genre: Anthology/ Noir/ Dark Fiction

WHITE HOT THRILLS! PITCH BLACK DEEDS!

3 TALES OF TEENS TACKLING THEIR DARKEST RITES OF PASSAGE

Acclaimed storytellers Russ Colchamiro, Sawney Hatton, and Patrick Thomas each present an original novella brimming with enough danger, intrigue, and murder to get readers’ blood pounding and hearts racing.

In Colchamiro’s RED INK, a paperboy with an overactive imagination witnesses a brutal killing on his route—or has he taken his fantasy spy games a step too far?

In Hatton’s THE DEVIL’S DELINQUENTS, a trio of teenage misfits in pursuit of success, power, and revenge practice amateurish occult rituals… with deadly consequences.

In Thomas’s A MANY SPLENDID THING, a sultry high school teacher enrolls one of her students to get rid of her husband. But will the young man really graduate to murder?

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Here are some teasers from the book:

Red Ink

An infrared scope cut through the suburban tree line.

Perched on a high-angle branch in the neighbor’s spruce tree, Isaac could see her through the living room window, six houses away.

The M21 semi-automatic sniper rifle with fiberglass stock and 20-round box magazine was snug against his shoulder.

One bullet. One body.

Though camouflaged within a thicket of evergreen leaves, he had a clean shot.

“Come on,” he whispered, his eye against the scope. “Give me the signal.”

In perfect synchronicity, Isaac’s earpiece crackled. “Target confirmed. Kill shot approved.”

Devil’s Delinquents

Natalie exits her room with the ritual kit, locking the door behind her.

Her father, swathed in a cornucopia-pattern quilt, sits in his wheelchair in the den, positioned near enough the window so that he can be in the daylight. Maybe he enjoys it, but one cannot tell for certain since his face registers no enjoyment, nor any other emotion.

Natalie kneels down before him, flips up the quilt, and undoes the bottom three buttons of his shirt, exposing his stomach. Between her fingertips, she wields the double-edged blade for a safety razor. She carefully nicks the skin above his father’s belly button. She looks up at him, detects no reaction.

She makes intersecting six-inch-long slices into his stomach, then carves a large circle around the lines, working around the seeping blood. Upon finishing, she evaluates her work and nods.

“I’m going to bring you back, daddy,” Natalie says to him, kissing his knuckles. “I promise.”

Splendid Thing

Rosa went from smiling to bawling in less time than it took to blink. I pulled her in and held her against my bare chest. She pounded my ribs with her closed fists.

“Why won’t you understand! There is no other way! If we don’t kill him soon, you’ll come to school one day and find that he killed me. How are you going to feel then? Especially if he figures out that you’re my lover! You would follow me to the Pearly Gates.”

“Rosa, this talk of killing is crazy.”

She pushed herself back and slapped me hard across the face. “You think I’m crazy?”

Available on Amazon

Have you ever heard of a book having its own soundtrack? Well this one does!

About the Authors

Russ Colchamiro Headshot

RUSS COLCHAMIRO is the author of the rollicking space adventure, Crossline, the zany sci-fi backpacking series Finders Keepers, Genius de Milo, and Astropalooza, editor of the sci-fi mystery anthology, Love, Murder & Mayhem, and contributing author for his newest project, Murder in Montague Falls, a noir novella collection, all with Crazy 8 Press.

Russ has contributed to several other anthologies including Tales of the Crimson Keep, Pangaea, They Keep Killing Glenn, Altered States of the Union, Thrilling Adventure Yarns, Brave New Girls vols. 3&4, Camelot 13, TV Gods 2, and Footprints in the Stars.

He is now finalizing the first in an ongoing SFF mystery series featuring his hard-boiled private eye Angela Hardwicke and has several other SFF, crime fiction, and children’s book projects in the works.

Russ lives in New Jersey with his wife, their twin ninjas, and their crazy dog, Simon.

For more on Russ’s works, visit www.russcolchamiro.com, and follow him on Facebook, Twitter and Instagram @AuthorDudeRuss.

Sawney-casual-smaller

SAWNEY HATTON is an author, editor, and screenwriter who has long loved playing in the dark. His published works include the Dark Comedy novel Dead Size, the YA Noir novella Uglyville, and the Dark Fiction short story collection Everyone Is a Moon. He also edited the Sci-Fi Horror anthology What Has Two Heads, Ten Eyes, and Terrifying Table Manners?

Other incarnations of Sawney have produced marketing videos, attended chili cook-offs, and played the banjo and sousaphone (not at the same time). As of this writing, he is still very much alive.

For more semi-unseemly insights into Sawney, visit his website at www.SawneyHatton.com or find him on Twitter and Facebook.

Patrick Thomas Headshot

PATRICK THOMAS is the award-winning author of the beloved Murphy’s Lore series and the darkly hilarious Dear Cthulhu advice empire.

His 40+ books include Fairy with a Gun, By Darkness Cursed, Lore & Dysorder, Dead to Rites, Startenders, As the Gears Turn, Cthulhu Explains It All, and Exile and Entrance. His is the co-author of the Mystic Investigators series, The Santa Heist, and the Jack Gardner mysteries.

Patrick is the co-editor of Camelot 13 (with John French), New Blood (with Diane Raetz), and Hear Them Roar (with CJ Henderson), co-created The Wildsidhe Chronicles YA series and is the creator of the Agents of the Abyss series.

He has had more than 150 short stories published in magazines and anthologies, with his work for YA and children including the Ughabooz books, the Undead Kid Diaries, the Joy Reaper books, and the Babe B. Bear Mysteries as Patrick T. Fibbs.

Visit him online at www.patthomas.net and www.patricktfibbs.com

Giveaway Time!!!

For your chance to win a print copy (US Only), or a digital copy (International) of Murder in Montague Falls click the link below!

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Blog Tour Schedule

October 28th

Reads & Reels (Review) http://readsandreels.com

Viviana MacKade (Guest Post) https://viviana-mackade.blog/

Jessica Belmont (Review) https://jessicabelmont.wordpress.com/

Reviews and Promos by Nyx (Spotlight) https://nyxblogs.wordpress.com/

October 29th

Book Dragons Not Worms (Review) https://bookdragonsnotworms.blogspot.com/?m=1

Cup of Books (Review) https://cupofbooksblog.wordpress.com/

The Magic of Wor(l)ds (Spotlight) http://themagicofworlds.wordpress.com 

October 30th

B is for Book Review (Spotlight) https://bforbookreview.wordpress.com

Breakeven Books (Spotlight) https://breakevenbooks.com

Bibliolater (Spotlight) https://www.jennifermitchellbooks.com

October 31st

I Smell Sheep (Guest Post) http://www.ismellsheep.com/

J Bronder Book Reviews (Review) https://jbronderbookreviews.com/

My Bookish Bliss (Review) http://www.mybookishbliss.com

Splash into Books (Spotlight) http://splashesintobooks.wordpress.com

November 1st

Musings of a Final Girl (Review) https://musingsofafinalgirl.wordpress.com/

The Reading Chemist (Spotlight) https://thereadingchemist.com/

Kelly Lacey (Spotlight) https://lovebooksgroup.com/

Entertainingly Nerdy (Spotlight) https://www.entertaininglynerdy.com

Read and Rated (Spotlight) https://readandrated.com/

I Love Books and Stuff (Spotlight) https://ilovebooksandstuffblog.wordpress.com

Banshee Irish Horror Blog (Spotlight) www.bansheeirishhorrorblog.com

 

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Book Blitz: Death in Vermillion by Barbara Elle

When you’re packing up your sunscreen and towel, make sure to add Death in Vermillion to your bag, because this is the perfect Summer read!

Death in Vermillion Cover.jpgDeath in Vermillion

Publication Date: April 16th, 2018

Genre: Murdery Mystery

A psychological mystery about art and obsession…

Artist Leila Goodfriend is laying down the bones of a painting. When she’s interrupted by Iris, the noisy, unlikeable artist in the studio upstairs, Leila is distracted and annoyed.

When Leila discovers the racket was actually Iris’ dead body hitting the floor, she becomes obsessed: Who murdered Iris?

The other Red Barn Cooperative artists—competitive, jealous and hypocritical—are prime suspects. They all hated Iris. “An artist owes his life to his art,” Iris said.

Iris was good for a laugh. But no one is laughing now.

In this gripping mystery, new author Barbara Elle paints a clever, twisted picture of women and sisters, whose lives are entwined by a brutal murder in a charming Cape Code town.

Alibis fall apart. Plot twists multiply. And Leila comes to a dangerous conclusion.

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Excerpt

red-paint-splatter.jpg

Chapter 1

Bellies and Strips

There was no glance more cutting or cruel. The narrowing of unsympathetic eyes a shade of cool, blue slate, like Dylan’s on the cover of Highway 61 Revisited. The imperceptible flare of nostrils, followed by a slow yoga exhalation in Savasana, the corpse. It wasn’t going well.

Leila Goodfriend was laying down the bones of a painting. She took a step back from her easel. A no-name clam shack clung fearlessly as a barnacle to the edge of the old East End pier. A forlorn wooden structure, barely bigger than a Punch & Judy puppet stage, had withstood the fierce winds whipping off the water in the dead of winter. The pier was deserted. Anyone could paint a sunny day.

After outlining the shack in ghostly charcoal strokes, she stood, hand on hip, poised with a palette loaded with ultramarine and cobalt blues for the sky, sap green for foliage, a transparent manganese blue hue for waves in the water, Van Dyck brown for the pier’s planks and Naples Yellow Hue for sunlight. Flake white blobs dabbed in the foreground could be gulls, or children, or discarded clam containers. She hadn’t decided which. Leila loved that shack, the rough pier, and the view of dotted Race Point Lighthouse off the distance. Painting was all about execution, feeling a connection to the subject, the composition, the angles of light. Though local artists mostly painted popular summer scenes of boats and beaches.

That’s what the summer birds, vacationers who nested in the Cape Cod dunes from June until the end of August, bought. Her husband Joe dubbed them the dorks of summer. Leila didn’t care what unflattering name Joe had for them, or whether the summer birds cared as much about this place she called home as she did. She wanted to sell them a painting capturing what she loved about this place.

If she was lucky, and painting was largely a matter of luck, random strokes on the canvas would become a painting, At the Clam Bar: Succulent Bellies and Strips. If one of the summer birds bought her painting, she’d be happy. Even the most dedicated of artists needs affirmation sometimes.

A loud whacking thump overhead jarred Leila rudely from her thoughts; the thud traveled like a jolt of electricity down her spine Immediately, Leila knew the disturbance, of course, was Iris. Iris again. Always Iris. Of the six other artists who called the Red Barn home, her studio had to be, unfortunately, overhead.

And inevitably, as Iris worked, the creaking old floorboards quaked under her relentless assault with her flapping Birkenstock sandals.

Leila complained about Iris to Joe more than once, actually almost every day. It was impossible for someone who barely grazed five feet could make so much noise. Iris could be quiet if she tried, she’d say. She was inconsiderate. She was pompous. “Art,” Iris would say, “has a life of its own and an artist owes his life to his art.” Quoting Iris was good for a laugh.

If Iris bothered her so much, Joe would say, why keep talking about it? Why not rent a different studio? That would make sense, except Leila loved her space, had been there for nearly five years, and was lucky to have found it in this touristy town. Besides, she hated giving in to her own annoyance; she’d learn to ignore Iris if it killed her. Maybe, someday, Iris would just float away like a child’s birthday balloon. No such luck; gravity worked overtime with every tread Iris inflicted in her flapping Birkenstock sandals. Leila fought her first instinct, which was to grab the long, telescoping pole by the casement window, stand on a stool and bang her weapon of choice sharply on the lofty ceiling, twice. It wouldn’t work. It never did. Iris would ignore her.

Instead, Leila turned up NPR on the radio. She could drown out Iris with the sound of undemanding human voices on the radio. NPR was excellent company and, when necessary, excellent white noise. The hourly news, a lengthy interview, a personal piece affected in that breathless NPR accent was the perfect antidote for distraction. And the distraction was usually Iris.

Iris McNeil Thornton was a fellow member of the Red Barn Art Cooperative at Castle Road, which was housed in the happily dilapidated Red Barn Studio. It was high on a hill, overlooking Pamet Marsh, close enough to spy the flights of blue herons and egrets wheeling through the Aliziran Crimson sky, the sun an orb of Cadmium Yellow falling into the salt marshes from her window.

Among the Red Barn’s many charms were the old building’s quirky twists and turns, the sizeable studio spaces with high ceilings from its former life as the Southwind Bros. Button and Snap factory. Leila loved the patina on the old, uneven oak floorboards, the room secreted under the stairwell, doors that jammed and staircases that creaked.

But it was the heady mix of gesso, turp, linseed, pigments, primer, developers and emulsions, the fat smell of oil layered with acrylic resin and a faint dash of watercolor, an acrid, chemical concoction heady in the nasal passages, smells as familiar as the scent of a baby, that made it home.

Not that the Red Barn was without its problems. The daily irritations of artistry and intimacy meant the Red Barn artists were often less than happy. And when the Red Barn artists were less than happy, which occurred as frequently as the tides, they would reach for anything on hand ⎯ brooms, clogs, slammed doors, sighs in the hallways, post-it notes on the bulletin board, giggles behind a back, and any combination thereof ⎯ to convey their displeasure. Under other circumstances such communications might be considered rude, but the Red Barn operated by its own set of rules.

It wasn’t that the Red Barn, a collective space of otherwise solitary individuals, didn’t have its share of fellowship and communal spirit. Sometimes it was nice to see a friendly face.

But, recently, their friendships had been called into question by a series of items gone missing, small stuff, seemingly at random, from their studios, Daklon paintbrush, a can of gesso, and unused tube of paint and a half-used tube of paint. A box of plastic gloves was now empty; which Leila was sure had been half-full. No

one said theft, not at first. It was more like, did I leave this in your studio? did you find this in the bathroom? I must be a little crazy because I was sure I had it, but as the missing items mounted, minor though they were, so did whispering, suspicion, and an uneasy sense someone, maybe one of them, was a thief.

It made Leila uneasy; maybe someone was invading her studio, without her knowing. She debated whether, like Iris, she should lock her door at the end of the day. But she shook it off as unnecessary paranoia and decided to ignore it.

Leila took a deep breath, brushed back her unruly, graying curls, squinting at her canvas. When she painted, the circling steps of the heavy woman upstairs receded from consciousness, and time was suspended.

The wood planks of the pier were muddied. The perspective wasn’t quite right. The colors weren’t right. Leila waggled the end of her paintbrush like a cigar between her lips. It was a messy habit. She looked down at the black-and-white photo of the shack, not that she had any intention of painting the snapshot, any more than a musician only plays the notes.

Leila picked up her palette knife. Shaped like a small trowel for digging in the dirt, its usefulness came from its versatility in blending colors, creating textural effects, or scraping across the surface of a painting to obliterate an offense. Artists can be rough on their work; Leila was her own toughest critic.

The pier had to go. Leila wielded the knife, scraping hard until she hit the tooth of the canvas. She preferred working on a good, tightly woven cotton duck. It wasn’t an inert surface, so it recovered quickly after Leila’s brief attack. She dabbed a rag soaked in turpentine on the wound. The reconstruction of the pier could wait until tomorrow.

What time was it? Leila lost track of time as she worked. She never wore a watch in the studio.

But if she left too late, Joe would be annoyed his port wine reduction for the seared tuna had broken. It wasn’t the sauce—he could revive with a quick whisk of butter on a low heat—it was her spending more and more time at the studio and coming home later. The sky over Cape Cod Bay was a wistful grey heading into night.

Leila put down her palette knife, turned down her radio, and listened. There was quiet, finally quiet, blissful silence.

Now, at the end of the day, Leila had to steel herself for the most infuriating moment of the day: Iris leaving. The torrential thumps of Iris’ flapping Birkenstocks as she gathered up her belongings, slammed the window, searched for her purse, and slammed her door. The old oak boards were punished as as Iris clomped overhead.

The stomp was followed by the slam. Iris was incapable of doing anything quietly. There was some relief in the slam—it meant Iris was no longer overhead. The Red Barn artists never said good night, pretending not to notice each other’s comings and goings. So Leila didn’t expect Iris to poke her head in, or wave when she passed by. However, the daily drama of the swirling clamor that was Iris, like a performer doing a star turn on the stage, made it impossible not to notice her entrances and exits.

Leila walked to the window. The light of an Indian summer day was fading. Sailboats moored in the bay listed drunkenly. Had the final thump earlier signaled Iris’ departure? Leila walked back to her canvas. She recognized this as the same solitary circling as that of her neighbor overhead. It was ironic, but that didn’t stop Iris from being an annoyance.

She put her tools on her workbench. She should rinse them in turpentine and water in the bathroom at the end of the hall—the brushes would be tackier and difficult to clean after drying overnight. Oh well, she’d deal with that in the morning. Grabbing her backpack, she turned out the lights and closed her door. The hallway was silent. The other studio doors on her floor were closed. No Philomena, no Dové.

But something in the quality of the jarring loud noise earlier somehow made the quiet louder.

The stairs were poorly lit, even after Leila switched on the bare bulb dangling overhead. The whole damn place was a fire hazard. She climbed to the second floor. No Liz, no Gretchen. Later, she couldn’t quite explain why hadn’t she gone home.

The crap fixture in the upstairs hall, that never worked right, was out, as usual. The damn, dusty moose head Iris had mounted above her door stared down dolefully through its blind, button eyes. Its antlers wore a fine coat of dust.

Iris’ door was open a crack, which surprised Leila. Iris worked behind closed, locked doors, all day, every day. The other Red Barn artists left their doors open at least a smidgen, not exactly an invitation, but not a deliberately antisocial act. Iris had no such compunctions.

Leila knocked. Silence. She hesitated. Should she leave Iris alone? She took a few steps back toward the stairs, but turned around. What harm was it peeking inside? “Iris, its only me, Leila. ” No answer. “Iris, are you there?”

Leila stared through the crack in the door. At first, she thought the room was empty, but as her eyes adjusted, Leila made out a shape, or maybe a shadow, in the center of the studio.

The value of the only available light source, through the far window, made it difficult to see. Iris refused to use artificial light. She insisted on painting ‘as the Old Masters had’, that is, only by natural light. For a time, she had painted by candlelight, until the Red Barn got wind of it, banning burning candles before Iris burned the place down.

Leila stared at the shape. It didn’t move. Iris never left her door unlocked. Maybe she’d left something behind and would come back for it. Leila pushed the door open further, venturing into the silent studio, under the disapproving gaze of the mildewed moose, inching towards the shadow.

Iris, who incurred the Red Barn artists’ collective ire by deprecating the work of her fellow artists, neglecting to lock the front door, leaving puddles around communal hall sink, and far worse, as the prime suspect in the ongoing war of toilet squatting accusations, that same annoying Iris, was splayed on the floor, eyes wide open, inert as a tube of sepia.

It was a body. Iris’ body. Later, Leila recalled the body like a dead deer, abandoned on the side of the road after an accident. She remembered noting the color of Iris’ skin, like the underpainting of flesh in a neutral shade—what artists called grisaille, or dead coloring.

Ironically, under the circumstances, the scene is not unlike Iris’ own brooding assemblages: the carnage of death, overripe fruit in silver bowls, bird carcasses on platters, and game animals, fresh and bloodied, trophies of the hunt hung in the background, rendered in the style of the Old Masters.

And later, Leila was vaguely ashamed of her observations, her detachment. But, she thought defensively, isn’t observation was a habit developed over a lifetime?

Tentatively, Leila inched forward, reaching out her hand to touch the body. She yanked it back as if it was submerged in a shark tank. Iris was surprisingly warm, alive warm.

As her eyes adjusted to the low light, Leila saw Iris’ blood was a seeping stain from her flowing blue dress onto the floorboards. The red was the red every paint manufacturer had tried, but failed, to capture in a tube. Brilliant, blood red. But the eyes were dead, even if the heart was beating. Leila’s heart dropped a beat. Fear crept up her throat. Leila had to look away; she couldn’t look at those eyes. Should she call out? Is anyone here? But it was better she was alone, even if it was with a dead body. But, Iris wasn’t alone.

A small figure stood—as if on guard—over the body. Leila bent down to look at it: it was a wooden artist’s mannequin, no bigger than a child’s toy, standing guard over Iris. She recognized him immediately.

Jesus, it was Fred, fucking Fred— Leila, in a fanciful mood, had painted the figure to be anatomically correct, as well as well-endowed—who had gone missing from her studio months ago.

But poor Fred, as an eyewitness to a crime, could have nothing to say. There was no doubt he was Fred, and that he belonged to her. Bending down to pick up her missing mannequin, Leila gazed into his dead eyes. What to do?

In truth, she was both embarrassed by her handiwork, and concerned his presence could be construed as evidence at the scene of the crime; she pocketed Fred and in a sleight of hand he disappeared.

Leila didn’t need Fred to paint the picture. Iris prone. The blood. The burnished wood handle of a knife stuck in an ample left breast. Iris had been murdered. Leila didn’t scream. Leila wasn’t a screamer

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About the Author

barbaraelle.jpeg

Barbara Elle grew up in Boston, but as an adult became a New Yorker. Barbara loves writing about people and places she remembers, so Death In Vermilion is set on Cape Cod, a place of many memories. She continues collecting memories and places, traveling the world with her touring musician husband, whether exploring Buddhist temples in Beijing, crypts in Vienna or Kabuki Theater in Tokyo, in search of new stories to write about. She invariably packs a notebook and her laptop.

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Twitter: @barbaraelleauth

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