We welcome Erik Hofstatter back to DEMAIN (Short Sharp Shocks! Book 19 Isidora’s Pawn) with his outstanding new novella Toroa published as an ebook on 9th September 2022 (paperback to follow shortly; cover by Adrian Baldwin). In August, the middle of a heat-wave no less, Dean and Erik chatted…
DEMAIN PUBLISHING: Welcome Erik ,welcome. Let’s go for it, for those few that haven’t read your work yet can you tell us a little of your background and whether that had some influence on your writing.
ERIK HOFSTATTER: Hello. I’m a human puck—I slide across the world. As you move, you collect experiences. Some hit harder than others. I worked in as many industries as I have teeth. On a farm in the four-leaf clover country, where I got paid in bread and cheese shovelling wood shavings all day, to high end watch market in the UK. My father was a ‘better life’ scout, with original hopes of bringing us from The Czech Republic to Toronto, then Austria, almost Australia, but eventually dropping anchor in England. This gypsy lifestyle forced me to grow up in the fast lane, with fast observations and even faster instincts. I’m quiet. I read people. The half-erased diaries in their eyes. And I listen. Always interested in thinking styles and angles. Situations viewed through different lenses, you know what I mean? What drives you. What makes you tick. A lot of this is future ammo for the page war.
DP: I do know what you mean, particularly as I too led a bit of nomadic lifestyle particularly as a child/early teenager living in several countries throughout my current life too so we’re definitely on the same page there. Let’s talk horror and your first introduction.
EH: Again, my father and his bazaar of old junk. He sold anything from VHS tapes to nunchakus. Sometimes he’d bring new spoils home for me to watch. He wouldn’t let age ratings limit my curiosity. Nothing was forbidden. And I was an explorer. My child mind was shaped by early Cronenberg, films like Scanners & The Fly. Later on, it was Gate II: Trespassers & Body Parts with Jeff Fahey. His horror tapes were like an electric eel, they’d shock me, but I couldn’t stop touching them. He gave the nod, so I read his books on the occult & black magick too. Let’s just say that the apple doesn’t fall far from the tree.
DP: Ah, excellent – can’t get enough of Jeff Fahey that’s for sure! What would you say was your biggest creative success thus far…
EH: I’m mega proud of Punishment by Hope and the Tristan Grieves fragments I’m currently writing. The conjoined language. Re-stacking metaphors. That enigmatic marriage of poetry and traditional narrative. But still balancing feelings on love knife’s darker edge. I think my style evolved into a distinct hybrid. These stories unpeeled sacred layers and exposed a raw antenna. Some kind of sensory feeler that allowed me to interpret pain more accurately.
DP: I definitely feel your dark work (which is what attracts me to it)is a ‘distinct hybrid’ – what does horror mean to Erik Hofstatter?
EH: It’s the genesis of my writing. The voice born in a black cave. Originally, I wrote what’s known as Schlock. These cheap, but fun kind of stories. My goal was to entertain readers rather than prose impress. Now I flipped 180. I want to create a language, a turn of phrase, unique to me, something you recognise instantly when you read it. I still want to tell arresting, misdirecting, thought-provoking stories, but I want you to smell that EH ink from page one. Sadly, I’m a melodramatic pessimist with a black & white view of the world. Horror injects a lot of cathartic colours. It opens me up to new complex formulas. For me, happy endings are for the bedroom—not the page. Horror is everywhere. All you gotta do is look around.
DP: That’s very interesting because I too started off writing in a genre (‘extreme’) which I don’t particularly write now – what is strange about that is I was talking to a friend only the other day and he referenced some of my earlier stuff (and the discussions we always had about it) and said that he knew I missed it (the religious aspects of it) and I’ve been thinking about it ever since (I hadn’t actually realised I did miss it but perhaps he was right) and might have come up with something new hahaha – anyway. What would you say draws readers to the horror genre? What do readers look for?
EH: Horror is an emotional instrument, but it depends on the player. Some readers want to feel scared, others want to feel validated. For me—horror feels like home. A place where I don’t have to run away from who I am. A place that accepts me for everything I feel. A place where I can spill a streak of dark desires without a judgemental cleaner waiting behind me. But ultimately, a reader wants something to connect with. A perceptive story that echoes into their core.
DP: Love it! Horror is definitely our ‘safe place’ by the sounds of it. Is there a horror novel (or film) that you’re looking forward to getting your hands on…
EH: Nathan Ballingrud’s upcoming Mars book. His words speak to me in high decibels. He translates the human experience in the purest and most unhypocritical form. Also rather excited about Reluctant Immortals from Gwendolyn Kiste. On the film front, definitely Crimes of the Future and Men.
DP: I was lucky to see both movies in Cannes – I know they’re splitting the critics but I loved them both and think you’re in for a treat. Is there a newer writer or director that interests you?
EH: I’m in love with Julia Ducournau’s prototype mind. Just her thinking style and overall artistic sense and vision. Raw was a T-Rex of a film, but Titane raced through echelons of expectation. It suspends disbelief, totally flips that shit upside down. Her ambition comes at you like oil tsunami. Every scene paralyses you. An absolute juggernaut, man.
DP: Again, amazing films! Really enjoyed out chat Erik so let’s finish on (hopefully!) bit of a fun one – do you interact a lot with your readers (or even writers who have influenced you , I mean I could tell a story about Bret Easton Ellis but this interview is about you, not me haha).
EH: In the cyber bar, yeah. Sarah J. Huntington has a rose-gold heart. The gentlest of souls. A master of Ikigai—the art of finding beauty in the simplest of things. I touch base with Casilda Ferrante also. An Italian writer with a heavy talent. Her writing always shakes my bones. Had midnight conversations with a fellow vegan and the magnetic voice behind Punishment by Hope audiobook—Amanda Wrege. Stephanie M. WytoWITCH!!! cooked my head in the cauldron of her wisdom for many years. A phenomenal poet and human being. In person, I bear-hugged CC Adams—the dude who writes London like no other. His voice (in real life) is balanced and therapeutic and commands instant calm. The page is where he gusts you away. There are many more dynamic personalities I’d want to shake hands with—but—I’m a social disaster in an anxious skin. I have no filter. I have no boundaries. I come at you like a cyclone. One day.
One day indeed! And there we have it – Erik, a massive congrats with Taroa. It’s a pleasure to work with you again, all the best with it.
If you’d like to connect with Erik direct:
September 2nd sees the publication of Carrie Weston’s novella, One Ampoule Of Terror (cover art by Roberto Segate; cover design by Adrian Baldwin; cover artist – Tia). Prior to publication, Dean and Carrie had a good old natter about the book, about her career to date and generally put the world to rights.
DEMAIN PUBLISHING: Hello Carrie, welcome to DEMAIN. Ready? Let’s go for it – tell us a bit about yourself…
CARRIE WESTON: I will, thanks. Hi everyone, so my names Carrie Weston. I am one of those writers who has been dreaming of having their stories published since they were young. I would send work off to the BIG 5 publishers when I was 13 and wait excitedly for a reply. (No need to say I had little life experience then.) So, growing up I wrote every spare minute, until I hit college age where I pursued other career options (it was heavily implied to me that writing was not a job and that with my dyslexia. I would not make it as a writer – but what did they know 😊). After college my health went slowly downhill. When I was approximately 23, I was diagnosed with cancer and that’s when I started writing again. I couldn’t do much for a long time and I felt like my brain was running a race track around my skull in boredom. I wrote one manuscript and then put my pen down, ready to give up. Until one day my son came to me and asked for a story and the story telling box inside of my head exploded with force breaking the lock and turning my world technicolour again. I got the all clear from the hospital. I was gifted a writing course -that didn’t discriminate against my dyslexic – yes, they’re out there – and I had the backing of my son and mother. All in all, my son gave me the strength to fight back against the cancer and beat it. Unfortunately, I was left with C.R.P.S and the mental anguish that came with such a rollercoaster ride of health. Not to mention those who said I would never make it as a writer. It’s amazing what a little belief and persistence can do.
DP: Too right and well done you. That certainly sounds a journey. And thank you to your son…I guess your experiences have influenced your writing…
CW: Thanks. My life has been a rollercoaster of nightmares and cloud nine. I live a very turbulent existence, so I can truthfully say that yes, I do think my life experiences have influenced my writing and that all of them hold some flavour of truth within my life. I find it grounds the writing more when a twist of truth is added to spice it up. I just like leaving it to the reader to decide what part they think is the twisted truth.
DP: Yeah I like that a lot. And I bet your readers do have fun with that. What were your influences…
CW: I have always loved the Brothers Grimm fairy tales and Roald Dahl’s B.F.G. But I would probably say the very first introduction of dark fantasy/horror in my early life would have been Gobbolino The Witch’s Cat by Ursula Williams. In teenage years I loved the popular (mostly American) paranormal/ dark fantasy genres and at 18 whilst working abroad for the first time and room sharing with a load of girls. I read Crickley Hall by James Herbert and although it scared the bejeebies out of me- I couldn’t put it down.
DP: Some great titles there and love it when Jim Herbert’s name gets mentioned. I love his work and my favourite is The Magic Cottage though also love The Fog…let’s talk One Ampoule…
CW: I wrote the start of this novella during lockdown when I was a part of a writing group that liked to use pictures to prompt creativity. This novella was birthed from what at the time I considered the most boring of picture prompts possible; a shadow person with top hat stood in a lit doorway. The rest of the picture was black. This filled me with no inspiration at all until I started looking at it from the angle of what he could possibly have left behind him. That’s when Gilbert was born.
DP: Who exactly is Gilbert then?
CW: Gilbert is the kind of man you would cross the street just to avoid. He exudes darkness like the shadows of the past that haunt his life. But if there is one thing no one can fault, it’s that he loves his daughter and daddy’s little girl will get everything she wants even if he has to cut a vein or two open to do it. The only things standing in his way are his arch nemesis Asoth and the council.
DP: Great description. Considering the way your novella was ‘birthed’ (as you say) did you end up having to do much research as you wrote it?
CW: I always like to do research on my work as it helps to ground the story. I use all means I can find to help i.e., internet, books, libraries and people who have knowledge in the field I am researching. The most important thing when researching is to remember to ask yourself one question: “How reliable is your source?” This can mean the difference between getting a fact right or accidentally getting someone’s opinion as to what is right. I thoroughly enjoy researching strange little facts, for instance the rarest blood type in the world is called GOLDEN BLOOD – named so because it can be used to match any other blood type without complication. Amazing right?
DP: Actually that is pretty amazing [and might help me with a plot hole in a film script I’m writing so thanks as I’d never heard of it!] – did you find One Ampoule hard to write?
CW: Writing this novella was indeed tricky because I wanted to write on a new level. This is my first fantasy horror and although I write dark fantasy going that step further was a delectable challenge. I very much enjoyed crafting Gilbert’s character as he is a warped individual determined to indulge every whim of his daughter. This being a quite normal human tendance. I wanted to explore how far a character will go. The most difficult part to write was the beginning as I wrote it multiple times until I crafted the paragraph with an ability to be read two different ways – it’s the reader’s choice how they interpret it.
DP: What would you say horror means to one of your readers?
CW: Readers love the chance to explore their darker impulses in a safe yet thrilling environment - so what better way than a book? Admitted some would say film. But I think book 😊. I like to lead the readers mind, to let it mull on situations or events enough for the viewer to come to conclusions emphasised by the fear we trigger in their own, so that it connects with its audience like Mary Shelley’s Frankenstein and Hitchcock’s…well everything. I think each reader is different so by broadening your net as a writer you’re allowing a reader to immerse into the dark/horror story- letting their mind go where it will. In this way, as proven by many psychological studies, we are giving in to our base natures, allowing the fight or flight instinct to kick in and rush adrenalin through our veins – and that’s what makes it so addictive.
DP: I think you’re so right. I mean when I was a teenager and then at college all I did was read horror, horror, horror and then intriguingly when I actually started writing horror I had moved away from reading the genre - by broadening what I was putting into my brain it then came out of my pen very very darkly. Fascinating stuff for sure. I’m not sure that I do anymore [though I was talking to a friend only the other day and he was telling me that he liked my early writing because I did exactly what I’m about to ask you] but do you write about what scares you in any way?
CW: I was once told that to be a good writer you need to have life experiences so that you can delve into your own emotions of how things make you feel. Hence to say that yes, I do put things that scare me into my writing. I figure if I’m not scared, then how the hell am I going to scare my reader? I want to make the experience as authentic in emotion as I can so I pull on my own emotions and twist them into my stories along with situations or objects that frighten me. I have a favourite quote: “Do one thing every day that scares you” – It is believed Mary Schmich said this. I like to embrace the philosophy behind this quote and try to do something a little scary, meaning something new to me, every day.
DP: Yes that’s a great mantra to live your life and I certainly subscribe to it. Okay, as much I’m enjoying this we’re running out of time, so final Q: can you tell us one fact that your readers might not know about you:
CW: Most of my followers already know I use a walking stick. But what they probably don’t know is that during an author meet at a school we used my stick as an opening to thinking outside of the box. When the attention of the class was gained, I lifted my walking stick and asked “What is this?” To most of their distress I had to deny its existence as a walking stick until one girl answered “It’s a sword!” A strange but true fact.
Indeed it is – Carrie, thank you so much for your time, it is appreciated. The best of luck with your novella, One Ampoule Of Terror.
If you would like to connect with Carrie direct please do so:
Tik Tok: @authorcarrieweston
Sept 2nd sees the publication of Rudolf Kremer’s mini-collection The Singing Sands & Other Stories (cover by Adrian Baldwin). Prior to publication, Dean and Rudolf sat down and talked about it…
DEMAIN PUBLISHING: Hello Rudolf! Nice to meet you. Can you tell us a little about yourself and how/why you became a writer?
RUDOLF KREMERS: Hi! I’m a Dutch/Spanish man who somehow has ended up living in Canterbury in the UK. Writing has always fascinated me, even at a very young age. The ability to construct your own reality, with its own history and characters and stories seemed like some kind of powerful magic to me, and still does. Most people grow out of telling stories when they become adults. I doubled down on them. They’re much more fun than reality.
DP: Oh they are aren’t they? I still get that magical feeling even now when I put down a couple of words onto a blank piece of paper – I know it’s a cliché but there is so much potential there – anyway, anyway – what’s your background and has that influenced you as a writer?
RK: I had an epiphany in my late 20s, telling me that I would never be able to hold a ‘regular’ job and be happy, so I turned my then-hobby of making video games, and somehow turned that into a career in the games industry. I started work at Douglas Adam’s company TDV where I worked on an ill-fated Hitchhiker’s Guide to the Galaxy game, followed up by stints at various companies working on a bunch of titles, including Harry Potter and Championship Manager games. Eventually I started my own company, and nowadays I alternate between releasing my own games and offering my services as a consultant, covering areas ranging from game system design to narrative design and production. I’ve been doing all this in the UK industry for 22 years, and before that I have been making games and game levels pretty much since my teens, dating way back to the mid-80s. This has been a major influence on my writing because game development – like writing – deals with the creation of new worlds and stories. They may be virtual worlds and gameplay stories, but nonetheless there is much overlap. So, I’ve always been able to flex that writing muscle in one way or another which was really helpful. I think creativity is a habit, as state of mind, a philosophy, a way of life. I wouldn’t know how to live if I wasn’t constantly engaged with the creative process. (I tried, believe me, and it wasn’t pretty).
DP: That’s really cool. When I was a kid I dabbled in writing games (adventure games mostly) and sometimes I wish I’d pursued that a bit but well done, I doff my hat to you sir. Let’s talk the horror genre, what would you say was your first introduction?
RK: Oh my, that’s a tricky one. If I count all forms of media then it’s probably an amazing episode of the Six Million Dollar Man tv show, where the titular Bionic Man encounters Bigfoot. Perhaps not formally horror, but I was about 8 years old when it aired on Dutch tv and it scared THE BEJEEBUS out of me. Yet at the same time, it was also tremendously exciting and Lee Majors was particularly cool in my eyes, so that made it all ‘safe’ and hooked me in. In terms of horror fiction I suspect (I can’t be sure, it’s too long ago) that it was Stephen King’s The Stand, which I revere to this day. I even love the made-for-tv adaptation with Molly Ringwald and Rob Lowe. I was more into sci-fi when I was a teenager, but since this book was regarded as one of the ultimate postapocalyptic novels of modern times, I figured it was worth a try. I was glad that I did as I was enthralled reading it from the very first page, blown away by the scope and vision on display. I loved the supernatural and mythical nature of it, the characters and indeed the horror aspects. After (breathlessly) finishing it, I felt compelled to try out some other King writings. His books then became a gateway drug for other horror writers, and ever since the genre has been an important part of my reading experience.
DP: I like that. Whilst I’ve often said I’m not a massive fan of Mr King I do like The Stand a great deal and he is a way in for many readers to the genre, so he deserves a round of applause for that if nothing else. So, let’s focus on The Singing Sands…
RK: Sure, I started writing these stories a few years ago after finishing my debut sci-fi novel which will be published in 2023 by Elsewhen Press, and I felt the need to play with short form fiction, to relax a bit after such a long project and also to process a lot of bad stuff I was feeling about the state of the world. I wrote one story for fun for Halloween, and enjoyed it so much that I took it a bit more seriously, and started thinking about other horror stories I could write. A funny thing happened then; new stories just started bubbling up in my brain, big chunks of em, fully formed, without graft or prodding or writerly laments, and frankly it was as struggle to keep up with the ideas, which I collected in a ‘short story ideas doc’. The pull of these stories became irresistible, and interestingly: thematically and stylistically connected in unexpected ways. Most of them take place in an alternate or liminal world, often dealing with supernatural and ‘weird’ themes. For some reason they never mention mobile phones or computers or current events. Maybe it’s a reaction to my games and sci-fi writing, but in these horror stories I instinctively stay away from grounding them in explicitly modern settings. I learned to trust that feeling, and writing these stories became very natural. They felt ‘right’, from the start. This collection bundles my favourites, and although the stories are diverse, they feel connected. For me (pomposity alert 1:)) , these are the kind of stories I find when I look for characters who got lost - exploring behind the mirror, and whose curiosity took them to places they didn’t expect to go.
DP: I really enjoyed them so well done – and I’m looking forward to reading your novel next year too. Did you have to do much research before you put pen to paper for The Singing Sands?
RK: Generally, I do a fair bit of research, at times a lot more than that. Sometimes because the story setting or subject matter demands it; for example, I wrote a novel about a teenage girl and a female warrior in 1630s Japan. That required over a year of research to even be considered a viable project. In other instances, there might be research need on a defining aspect of a lead character, just to make sure that I understand the psychology of that character. I research generally in two ways: Deep immersion, where I get everything I can on a subject; films, books, art, you name it, and just absorb through long term osmosis, taking notes as I find bits I want to use. Or I do short, focused research sessions where I hone in one specific aspect I am interested in. Both methods are essential to me. There are many reasons for research. For example, one of the stories in this collection (“The Ballroom Under the Lake”) features several aspects that required some study. First, the setting: the story was inspired by a real-world architectural folly and its history, and I wanted to make sure that I knew enough details about it to inform the story. Second, the protagonist suffers from CIPA disease - a hereditary medical condition that prevents those who suffer from it from feeling pain, and they lack the ability to sweat. (For real, it’s messed up!). Researching this condition opened up all kinds of doors on how I wanted to write this character, and how he engaged with the events in the story. I guess to me, good research provides me with lots of pieces of a story puzzle. Once I have enough of them, the story falls in place naturally.
DP: I get you – so were the stories hard to write?
RK: Contrary to some of my other literary adventures, these stories were the easiest writing I have ever done. Like I said before; they just bubble up, maybe on a morning run, or while walking my dog, and they are short enough to outline quickly. I then play with the raw ideas, do some research, examine the characters, and generally mull it all over until they can’t be contained anymore. Then I write, and I write them pretty quick, requiring only 3 drafts or so. (For me that is quick).
DP: That’s very interesting. I personally think I’m a quick writer but will admit as I’ve got older I feel myself labouring literally over every word. I think that goes back to what I mentioned earlier about putting words down onto blank pages. When I first started writing I felt the ‘magic’ or the spell beginning as soon as that first word was written, now it does take a little while and much editing before I feel that way again (this is very weird now I’m thinking about it – let’s move on haha). What would you say has been your biggest success to date?
RK: I have no idea! I’ve been immersed in creative projects for so long that it’s hard to pick one. One of my games being nominated for a BAFTA and an IGF award was very rewarding. Finishing my first novel was quite a milestone too (as was subsequently receiving a publishing offer). My published game design book doing well enough to warrant a 2nd edition is nice. And of course DEMAIN’s interest in these short horror stories is a great feeling too. :-) I don’t know … it’s about the process really. Just finishing a project is the key thing, and even that isn’t always all that matters.
DP: Totally agree. Okay, who do you read and do they influence you?
RK: Oh yes, I read a lot. Always have and always will. And as such, there are many authors who influence me. I’m continuously amazed at how much great stuff is out there! These can be ‘big name’, classic writers, or relatively unknown newcomers. I mostly read genre fiction, so if pushed to name some examples I’ll opt for these:
DP: And we all wish you the best of luck! What would you say horror means to you Rudolf?
RK: To me, as a reader, it means (pomposity alert 2) a chance to marvel at the grotesque, to dance with the forbidden, to indulge in the outrageous. As a writer it allows me a chance to explore the darkest corners of both existence and fantasy, and rather than cowering from what I see, use it in a creative, positive act.
DP: Nice, so what draws readers into the genre…
RK: I think this is often deeply personal, but ultimately, horror provides a safe space to expose oneself to some dangerous and dark ideas. And that can be thrilling and life affirming and rather useful.
DP: The Earth seems in a pretty screwed up place right now, would you say the horror genre is affected by what’s going on and do you ever put these events in your work?
RK: Yes, very much so. I think that most writers respond to the world they live in through their writing. They may use it as an escape vehicle, or a lens through which they try to make sense of it all, but either way, it’s a response of sorts. For me personally this happens indirectly. I never put current world events in my (horror) work; that would be too on the nose for my liking considering the state of the place! But … my themes and subtext are often influenced by world events. The troubling political realities and events of the last six years or so have greatly impacted me, and much of that unease, and at times anger, has made it into my fiction – sometimes coming out as indirect commentary, sometimes as a mood. (I wanted to say dark ‘miasma’ instead of ‘mood’, because I love that word so much.)
DP: Is there a book (or film) that you’re particularly looking forward to?
RK: Dave Jeffery’s TRIBUNaL, which concludes his “A Quiet Apocalypse” series. I’m sure it will be superb. Also, if it ever arrives, Clive Barker’s third and final entry of his “Books of the Art” series.
DP: Having read Dave’s TRIBUNaL I know you won’t be disappointed and yes I’m looking forward to Clive’s new work too. He’s a hero in my book…is there a new writer (or director) that interests you?
RK: The film director Brandon Cronenberg (son of David Cronenberg). His recent film Possessor was incredibly tense, brave, disturbing and thought-provoking. A heady mix of horror and cyberpunk that showed enormous promise. Can’t wait to see what he does next.
DP: Yeah, I loved that one too…a bit of a contentious one: there have been numerous reports that the horror genre is dead, would you agree?
RK: Haha, I hope not! Because I want to write a lot more of it! I don’t think it’s dead at all, far from it. Maybe it’s taking a breather from huge, mainstream commercial success, but then again there are green shoots everywhere and some recent films have been pretty successful. I see so many new writers and filmmakers creating great content that I feel that this can only lead to a renaissance.
DP: Let’s hope so! What are you afraid of (and has that ever made its way into your work)?
RK: Winged spiders! Think about it! GAH! (I won’t even write about it)
DP: Hahaha – I know that fear hahaha. Creatively is there anything you’d like to do that you haven’t done yet? If so – what is it?
RK: That list is endless, but specifically, I would love to write a horror novel, direct a horror movie, write a fantasy series, get much better at drawing … I could go on but let’s just say that I have a long to-do list. For now, I want to finish my current horror story “Destrier” which is threatening to become a novella, which is hinting at becoming a novel.
DP: Sounds great and so I’d say that writing for you is a long term career?
RK: Without hesitation. Being a writer was one of my earliest ambitions in life, and now that I am finally lucky enough to get my work published I’m going to build on that. I don’t know if I will ever be able to become a fulltime writer, but regardless; I’ll write till I drop.
DP: A couple of fun ones: do you interact a lot with your readers (or writers who have influenced you)? If so, how / why? Any funny stories to tell?
RK: Not enough! My non-fiction readers tend to be super sweet when they reach out or mention me and that makes me feel very grateful and happy. (Also, I am a flawed human and suffer imposter syndrome, so confirmation of having reached somebody with my work is really nice). I have been in touch with a few writers. Despite my awkwardness, they have been wonderfully supportive of me, some even becoming friends. That still blows me away, and is something I cherish. Not many funny stories yet, although I did once block Douglas Adams from entering his own company in Covent Garden while I was on a fag break, because frankly he looked dodgy and I didn’t know who he was and he didn’t know the access code [Now that is funny! – DP]
DP: And finally, what is something your readers might be surprised to find out about you?
RK: I am currently completely obsessed with classic Hong Kong cinema, especial HK action and kung fu movies.
What a great place to finish. Thanks Rudolf for your time! Very much appreciated and the best of luck with The Singing Sands & Other Stories.
If you would like to connect with Rudolf direct:
Dean M. Drinkel