hello i love sharing uncensored stories on godless.com, including exclusive dottie & sabine shorts and a special cut of FAMILIARITY

HAIL SATAN! PRAISES BE UPON SAINT WALPURGIA! READ FAMILIARITY!

At long last, FAMILIARITY is ready to seduce you into a higher state of consciousness. But before you buy, you have to ask yourself: do you really want to know what’s behind the veil?

YES, I WANT 10,000 EXTRA WORDS AND A PREFACE NOT SUITED TO AMAZON

NO, THE AMAZON VERSION IS ENOUGH FOR ME

This book is NOT AVAILABLE ON KINDLE UNLIMITED because otherwise I wouldn’t be able to offer you the GODLESS CUT, so make your choice and be sure to leave a review! Oh–and while I’m at it, be sure to snag the exclusive DOTTIE and SABINE shorts that are only available on Godless. They were just a little too much for Amazon!

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FAMILIARITY – AVAILABLE 4/30/21

God understands that sometimes people need to die.

Libertine abortionist Dr. Hammond Harteveldt bears a charmed life, though most might not feel that way. After all, his former brother-in-law was recently found dead in his prison cell while awaiting charges related to some very sordid sex crimes, and the retired widower has subsequently come into custody of his deeply troubled goddaughter. Most men of recreation such as Hammond would surely see sudden custody of a dependent as a chore, but not Hammond.

Far from it: Theresa’s presence in the home is an opportunity. He has not seen the girl in years–not since a falling out with her father–and the truth is that although the circumstances of her arrival were less than fortunate, she’s already brought so many good things into his life. There’s the alluring and naive Grace Primrose, young Theresa’s fetching high school librarian caught in a dead-end, humdrum marriage. She could certainly use a helping hand, couldn’t she? Then there’s poor Isaac Redfern, the FBI agent responsible for Theresa’s case who seems as if he’s hovering on the verge of a nervous breakdown–increasingly paranoid about cults and psychological terrorism.

But then, of course, there is Theresa herself. Theresa, ah, Theresa–Theresa, who will be eighteen on Walpurgisnacht.

And by Satan, Dr. Harteveldt is smitten with all three of them.

YES, I WANT 10,000 EXTRA WORDS AND A PREFACE NOT SUITED TO AMAZON

NO, THE AMAZON VERSION IS ENOUGH FOR ME

HAIL SATAN! PRAISE BA’AL HAMMON! IO WALPURGISNACHT!

hello i love epic fantasy harem novels inspired by richard wagner: BURNINGSOUL BOOK II out April 9th

Be sure you’ve read Book I of THE BURNINGSOUL SAGA! Nearly a hundred reviews on Amazon and a 4.4 average. Trust me, reader…this isn’t your average harem series.

Rorke Burningsoul is free. Free, and able to pursue the adventurers who left him for dead in the harrowing realm of the Nightlands: and when one of those treacherous adventurers falls right into his lap, all he can do is praise Weltyr and make use of his good fortune. When the paladin learns that the dwarf, Grimalkin, may have taken the Scepter of Weltyr for himself back to the dwarven nation, Rorke manages to convince his beautiful durrow companions to come on this retrieval mission–not just for his own purposes, but to increase their odds of successfully retrieving Valeria’s sacred ring.

Not everyone is on board, though. High elf druid Branwen, freshly rescued from the den of misshapen bandits, has some designs of her own…and though Rorke is devoted to assisting his former mistress, Branwen seduced him once before. She’s confident she can do it again.

But when a sensual wild witch from the mountains outside the Nightlands claims she knows the secrets of his heritage, Branwen will have to learn to play nice with the rest of Rorke’s harem if she wants to keep him from being spirited away.

Mature readers only! This fantasy harem adventure in the style of Dungeons & Dragons contains explicit encounters between the lucky hero and many gorgeous women he encounters on his quest. Use discretion when purchasing.

hello i love semi-erotic dungeons & dragons-style homages to the ring cycle

…And ending a book’s first day on the market in the TOP 50 of dark fantasy, as well as the TOP 100 swords & sorcery titles. THANK YOU, READERS.

Specifically…thank you harem fantasy novel readers from a certain Facebook group. I think this is an important lesson for everyone. Namely, someone posted a thread in this group–innocently wanting to know more about me, since this is my first time working in the genre of harem fantasy. Well! Let’s just say the thread got a little spicy, and there were quite a few doubting Thomases in the audience.

But now there are already quite a few unsolicited 5-Star reviews, and these from people who were in that thread. I’m so proud to have won some readers over already on day one, and so happy to be going to bed with Book I of THE BURNINGSOUL SAGA sitting at #45 in dark fantasy and #64 in swords & sorcery fiction…and #51 in dark horror, maybe because of the whole thing with Rorke Burningsoul, Paladin of Weltyr, consenting to become the pleasure-slave to a race of hot dark elves. But what’s so horrible about that?

Now I’m excited to see how much higher the book can get…and excited to know that I’ve already set to work outlining the trilogy’s second book. If we can just get Book I to 50 reviews, I’ll be confident we can release it to even greater acclaim!

READ BOOK I OF THE BURNINGSOUL SAGA, BLOOM & DARK

Rorke Burningsoul, Paladin of Weltyr, has been betrayed.

With the object of his most recent quest stolen out from under him, Rorke has been left for dead in the treacherous Nightlands: a place hateful to all surface-dwellers, full of things the human–even the elfin–eye has never seen. Gray-faced berich dwarves, frightful half-spider misshapens–and, of course, the sensual and dark-complexioned durrow elves, a race of power-hungry women who live in service to the goddess Roserpine.

Praise Weltyr, Rorke is rescued by two such splendid durrow–and told that, in exchange for his life, he must now submit to slavery as, among other things, breeding stud to the female race. He willingly agrees, hopeful that his obedience will help him find a way out of the Nightlands and back to the business of retrieving the lost artifact: but when the Materna of the durrow city decides during his appraisal that she needs a new guard, he is soon surprised to find himself taken, heart and soul, by the exquisite durrow high priestess known as Valeria.

But Valeria’s need of a personal guard is not just some ruse to keep her new slave in her bedroom without controversy–would that it were. The high priestess’s life is at stake, and as her assassins’ attacks grow more frequent all the time, she needs the assistance of a man capable of keeping himself alive along with her.

Who better than a paladin she’s seen in dreams for decades?

Mature readers only! This fantasy harem adventure in the style of Dungeons & Dragons contains explicit encounters between the lucky hero and many gorgeous women he encounters on his quest. Use discretion when purchasing.

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hello i love celebrating christmas with consensual cannibalism, amputation, and fmf threeways

Merry Christmas, reader! It’s my favorite time of year, and what better way to celebrate than with a novella-length horrotica comedy set in the DOTTIE FOR YOU universe? As the post title says, this standalone special contains amputation, cuckqueaning, a very hot threeway, and plenty of consensual cannibalism all wrapped up in a hilarious comedy routine that can only be described as the cannibal homage to Steamed Hams. Have A VERY DOTTIE CHRISTMAS, reader!

READ A VERY DOTTIE CHRISTMAS NOW!

Ah, Christmas! If there’s one thing Dottie loves as much as Harold Fleetwood, it’s Christmas: and the billionaire CEO is intent on making his first Christmas with his new, demi-immortal wife an unforgettable one. When you’ve got two regenerating people with a penchant for consensual cannibalism, after all, it solves the problem of Christmas dinner…and after removing one of the limbs of his favorite tender dish, Harold is looking forward to aging their new ham enough for an elegant Christmas feast.

Or he was, anyway…because, as Christmas day grows later, more unexpected guests begin to arrive to the slaughterhouse by the hour. It’s all well and good when his ex-wife Molly, the sexy blonde heiress, shows up for a bit of three-way play…but then his corporate secretary, Pearl, decides to swing by. And all this to say nothing of Leopold Byron, Harold’s nuclearized business partner-turned-rival for Dottie’s affection.

Good thing his PA, Simonetta, hasn’t carved into her turkey yet…now if Harold can just keep everyone out of the kitchen until she arrives to save the day.

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hello i love wild girls being domesticated by distinguished edwardian gentlemen

It’s been a little while since I posted! That’s because I’ve been hard at work on my first romance novel, WILD GIRL RUNNING. If you like the thought of a reverse Tarzan romance with a splash of My Fair Lady, do yourself a favor and read this sweet historical romance ASAP! It’s what I’d call “low-key kinky” because, while it is of curse a romance story at its heart, I’d say the power dynamic between a savage wild girl raised by wolves in the forest and the sexy older anthropologist who finds and decides to educate her is inherently erotic…wouldn’t you?

READ WILD GIRL RUNNING TODAY!

The wild girl has no name. Raised by wolves, free to run and hunt in the forest as it pleases her, she has never seen another human being in all twenty of her years. Certainly not a man…and certainly not a man like the one who, one fateful day, stumbles across her bathing in the stream.

And in his turn, Dr. Ulysses Cochran–a British anthropologist studying the cultural sites of America’s displaced indigenous peoples–has never seen a woman like Estelle. From the first second he lays eyes on her, he knows he has fallen irrevocably in love: yet how can he give into his feelings for the wild girl when she can barely speak a word of English? His duty is to Cambridge and the grant he has received: it is to the sciences and cultures of mankind, for whom he resolves to teach Estelle to speak in an experiment that will change both their lives forever.

However it changes them, it is vital he care for her without taking advantage of her…and even more vital that he prevent others from attempting the same. Yet, as her education in the ways of civilized society deepens by the day, so does her ability to articulate the feelings she has for him. Torn between his academic career and his desire to reciprocate the love of the girl he has civilized, Ulysses must learn that, in romance, one is as much a student as a teacher.

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hello i love bad witches, nerdy wolfmen, and new paperbacks

What’s Halloween without some witchcraft? Sexy Sabine the Bad Witch has TWO Halloween specials available for your enjoyment as we reach the peak of every horrotica fan’s favorite holiday. In THE WITCH’S BAD SEED, join Sabine as she transforms the snotty incel sorcerer from the other side of town into a pumpkin perfect for a little bit of erotic carving with the help of the Dark Lord–and in THE WITCH’S ALPHA PLEDGE, get to know cute nerd Jeremy Zevron as he’s transformed into a werewolf upon making some very questionable decisions.

On top of that, I’m very pleased to announce the paperback release of INDUSTRIAL DIVINITY! Don’t miss your chance to snatch up a beautifully bound copy of this psychedelic splatterpunk love story, featuring exquisite abstract illustrations by cover artist, Nuno Moreira! Dottie and Sabine fans alike should really give this book a look–and so should anybody who’s interested in transgressive fiction and body horror that’s more straightforward than erotic.

Finally, let me just wish you all a Happy Halloween and thank you guys for all your support! Incredibly, next month will mark my 6 month anniversary of publishing, and it’s so gratifying to see these books starting to emerge as paperbacks. I couldn’t do any of it without the legions of loyal readers who join my mailing list, read my books and tell their friends about my horribly depraved imagination! You all mean so much to me. Have a Happy (and Healthy!) Halloween, guys!

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OPERA, LOONEY TUNES, AND DOTTIE FOR YOU: THE PAST AND FUTURE OF MODERN EROTICA

DOTTIE FOR YOU’s season finale is out today! Get all eight episodes of the libertine horrotica.

Since quarantine started I have easily watched 150 hours of opera, maybe 200. That’s basically all I do these days—get up at 4 in the morning, shower, eat, play with the cat, write until it’s Opera o’ clock, then eat again and go to bed. In the course of this exercise—which, thanks to the Met’s kind extension of its nightly free opera stream, could feasibly continue until I’ve exhausted their library of recordings—I’ve felt my brain change in a number of ways. The way I approach my own stories and experience the stories of others is certainly altered.

More than that, though, I can’t help but notice a distinct memetic lineage. This is the evolutionary chain I mean: opera > serialized pulp fiction > Looney Tunes and other short cartoons > modern Kindle pulp fiction. There may be more nuance than that and more steps in the chain, but the more I think about this particular artistic evolution, the more I can’t help but deny that it feels right.

If you don’t have much experience with opera, I’d recommend checking out the Met app on whatever device you can. The free trial mode allows you to access their nightly free opera and it’s a great way to have a piece of art you might not otherwise experience randomly forced upon you. One thing you quickly learn, aside from the fact that the librettos are handily represented in the form of subtitles (true even at the actual Met, where they appear along little digitized windows on the backs of all the chairs), is that opera plots are by and large terrible. Oh, man. They are awful. Looking objectively at the writing of opera can reveal the sometimes painful truth that just because something is in Italian or French doesn’t make it smart.

That’s not to say all opera plots are terrible. If I let myself get into Richard Wagner I’d be here all day with a pinboard covered in hysterical strings and headed by the mathematical formula “RING CYCLE + PARSIFAL = TANNHAUSER.” Even lighter comedic operas can be wonderful experiences. The Elixir of Love by Donizetti is a very alchemical work of art that teaches us how increasing our social value with others will permit us to win the hearts of those we really want. Don Pasquale teaches us, uh—old men shouldn’t want to fall in love? Well…like I said, they can’t all be winners.

The long and short of it, however, is that by far and away the prevailing trope of opera is the love triangle—in Verdi’s many operas the theme is almost constant, but it appears in just about every opera you could name in one way or another. From a mechanical standpoint, this is probably largely because you can’t have, say, a Mission Impossible-style conflict and sing at the same time. Conflict therefore has to emerge in manageable ways, and what better and more relatable conflict is there than that of love?

As a result of the focus on music above plot and reaction above action, we frequently see that the scenes in opera depict characters singing about their feelings: feelings for others; feelings about life or death or love; feelings about what’s going to happen, or what just happened between acts or off-stage or even long before the opera started. Character interaction occurs in fits and spurts, defying the age-old piece of writing wisdom that if your character is alone you need to get them with other people or a plot event ASAP. Romance is often a trite vehicle rather than a noble cause, a means to get people to betray each other with often homicidal or suicidal results.

And the characters themselves, in the tradition of commedia dell’arte, subscribe to a fairly predictable set of stock roles. Watching limitless operas back to back, day in and day out, I sometimes feel as though I’m watching the same characters re-emerge across different pieces, especially when they’re played by the same singer. In private, I wryly refer to the primary opera archetypes as “The Simp,” “The Cuck,” and “The Incel,” with one character sometimes playing two or three roles throughout a story. And don’t worry, ladies…female characters can fit these roles just as well as male characters can.

Cuckolding has a long, pre-Shakespeare tradition of being used for an easy gag and reliable plot device. Johns Ford and Webster were just about obsessed with it, and not long after their careers, these same issues of lust and romance were incorporated into opera. In Mozart’s (let’s just use a word I hate) “problematic” opera Cosi fan tutte, the main male characters even adopt disguises and essentially cuckold themselves in an attempt to win a bet with a friend that women are inherently unfaithful. Spoiler alert: they lose the bet and it turns out all women are unfaithful sluts. Thanks, Mozart. That’s just lovely.

But when you put aside the sometimes questionable history of opera tropes and the bad habits of certain composers who seemed to rely a little too heavily on the exoticism they found in other races (Puccini, I’m looking at you), you notice something very interesting. Something familiar. Easily recognizable stock characters, stories presented in almost episodic format, frequent elements of disguise, general trickery, romance of sometimes dubious consent, slapstick comedy…boy!

See why I can’t help but notice an almost straight-line correlation to Looney Tunes? It’s no wonder the Bugs Bunny episodes “What’s Opera, Doc?” and “The Rabbit of Seville” are surely two of the most well-remembered and influential cartoons in all of human history. The more I watch opera, in fact, the more I can’t help but see it as nothing but a kind of live action cartoon set to music.

I’ve gotten into arguments with people about this, but the truth is that opera was really forced to change after Richard Wagner. I would even go so far as to say it ended then, and that Strauss and Puccini were, despite their obvious talents and incredible bodies of work, stragglers emulating forebears rather than pushing their genre forward. By the time Wagner died, Verdi was retired and would only come out for a few more hits–most of which were adaptations of Shakespeare. And, while I acknowledge Puccini was a wonderful composer, his operas lack the grabbing power I feel from Donizetti or Mozart. Of “canonical” opera composers, Strauss was the latest—and it’s worth noting as a point of interest that he produced 6 of his 17 works after the premiere of Looney Tunes in 1930. There’s always going to be some overlap in the evolution of an artform or a genre, and I can’t help but feel it’s far from a coincidence that Strauss seemed to be winding down during the same decade that Tex Avery and Bob Clampett were barely winding up.

If you need more proof, look at the origin of Warner’s “Merrie Melodies” and cartoons as a whole. Merrie Melodies stole—I mean, uh, had their name inspired by—the Disney project, “Silly Symphonies.” Both projects were designed to showcase musical compositions owned by their respective companies. Most early cartoons were set to music or simply musicals—all of this is to say that early cartoons were, essentially, opera. They were used for the same purpose: as visual vehicles to get audience members in seats to listen to a composer’s music.

That’s why the plots of operas tend to be so weak; in most cases, composers and librettists were different people who sometimes didn’t even meet. In the case of operas like Strauss’s Rasulka there were gaps of many years between the writing of the music and the writing of the text. The libretto was a means to an end. Gilbert & Sullivan could hardly stand each other, if you believe the hype—and lest we forget, their comically absurd (some might say almost cartoonish) operas are an undeniable influence on even modern cartoons and signal clearly a shift of storytelling. What Simpsons fan can forget the hilarity of Sideshow Bob singing the entire score of H.M.S. Pinafore in a very Bugs Bunny-esque trick of Bart’s?

Yes, of course, people are still creating opera…but it’s just not the same. It’s all very conceptual now. Shostakovich’s The Nose is hilarious, but almost unlistenable. Glass’s Akhnaten felt like the same motif played over and over again until I had to get up and bake a batch of cookies or else fall asleep in my chair. I wish I could like John Adams, but I really just can’t get there. Frankly, the more modern opera I watch, the more I strongly admire Repo! The Genetic Opera’s willingness to dig into the tropes and character archetypes that once populated these glamorous stages while still making music you can enjoy listening to.

Modern opera is just off. The spirit is gone. It’s moved elsewhere. Composers now compose for films instead of the Church, and so when they compose for opera the tone is now different—the stories, too. Opera is just not the widespread medium for storytelling anymore…and as a result of over-production and executive meddling, neither is film or television. Soap operas seem like the natural descendant, and from a plot perspective they are, but their stories lack the transcendent power of their predecessors. After all, how can you tell a fulfilling story when you’re really just writing to fill the air time between soap commercials?

Disney has dropped all emphasis on creating really heartfelt stories in a gambit to instead fulfill plot beats in films designed to serve as advertisements for rides at Disneyland and Disneyworld. You think they spend all that money on their movies just to sell you merch? Piddly action figures and t-shirts and DVDs? Oh no, baby…that cash is nice, but it’s all about getting your kids to beg you for an in-person visit with Mickey Mouse and his new best friend, Darth Vader. No wonder they’re pissed about COVID—think of all the money they poured into the two-hour-plus trailer for whatever new Mulan ride they were ready to unveil. Or maybe did unveil. I don’t feel like Googling.

So that’s not where the spirit of commedia dell’arte and opera has gone. And it’s not in Looney Tunes anymore, either, because Warner is certainly subject to the same problem Disney-Marvel-Fox has. Where, then, is opera lurking?

In my erotica, my friend. In my erotica and your erotica and even, yes, the erotica of money-making genius E.L. James. We may not like it, but it’s successful for a reason.

Let’s revisit some of the qualities of opera. Opera’s emphasis is on reaction, rather than action. It frequently starts en media res or at least as close to the action as it possibly can. It deals with love triangles, romantic trickery, heartbreak and fulfillment. Cuckolding is a prominent trope, but I didn’t even mention the frequently employed character of the prostitute or the very standard use of the Madonna/Whore dynamic. And, perhaps most relevantly, most—if not all—plot action tends to occur off-stage in favor of long, relatively self-indulgent, angst-filled interactions between forlorn lovers.

All of this as a vehicle for music, much as erotica, which also bears all these qualities, is a vehicle for sex. Replace the dramatic arias and duets with the scenes of lovemaking they represent, and you couldn’t tell if La Traviata’s libretto had been written by Francesco Maria Piave or Regina Watts.

That’s the most important thing to remember about opera—all these songs are symbolic of something deeper. They’re not taking place, as musicals seem to, in worlds where characters suddenly burst into song. Rather, like a soliloquy in Shakespeare, when Violetta paces back and forth in her room exclaiming to herself that she must be free to frolic from joy to joy while Alfredo, far off, cries to her that love is the heartbeat of the universe, we are being trusted with a glimpse into the courtesan’s soul. It is a symbolic song, as so many lovers’ songs in opera are a symbolic replacement for the act of sexual union. Siegfried’s taming of Brunhilde at the end of Siegfried is perhaps among the most audacious works from that regard, because it is just so forthright in its depiction of what is happening between them and Brunhilde’s extremely complicated feelings about it.

So it’s very easy to see the close connections between erotica and opera. Furthermore, erotic fiction used to be primarily verse—from Catullus to Shakespeare and even among characters within the generally prose format of Lady Murasaki’s sensual Genji-Monogatari, poetry was the vehicle of erotic expression. What is libretto but poetry intended for music? It’s almost as if, with the mainstreaming and gradual acceptance of opera, (which like most forms of theater was considered a degenerate waste of time by puritans for quite a long time), erotica split itself in two. The lurid, saucy, graphic stuff that the Victorians left us and that we now pump out for Amazon’s pleasure; and the subtle, spiritual, high-consciousness erotica of the soul as represented by the symbols of opera. With opera in that form no longer being readily produced and this spirit unable to emerge organically when you’ve got groups of producers carefully designing the story that will give them the highest possible financial return, it’s only natural that the creative spark of sensual storytelling has returned to prose.

Poor authors without networks will always be there to write from their hearts. This is sufficient to engender the lively and theatrical storytelling of the sort that opera once produced—but with well-written erotica, the connections are obvious. I am of the strong opinion that erotica is largely derided as a genre because it doesn’t achieve its own expectations—that is to say, the very experience of reading erotica should be, in and of itself, erotic. The aesthetics of the prose should be erotic just as the aesthetics of the opera score should be romantic, sensual, powerful.

Every time I read a bad turn of phrase in a work of an erotic fiction it’s like I’m chewing on aluminum foil: it’s like a wrong note in an opera. In erotica more than any other, the language should flow, the text should have rhythm, the very sentence structure should pulse with sensual intrigue. A good erotica is one through which the reader flows almost as if they’re listening to music or making love. It builds momentum from the start and pushes you through its text in the same way that a Wagner score rises from the orchestra, interweaves with its characters, and draws its audience members deep into the heart of the story until they themselves can hardly be said to exist.

My serialized cannibal horror erotica DOTTIE FOR YOU began as a sort of dual homage to the Marquis de Sade and Vladimir Nabokov, but it was unavoidable that as I absorbed more and more opera the tone of the story would shift. Maybe I expected that, but I didn’t expect opera to have such an impact on the way I tell all my stories—and I certainly didn’t expect it to have such an impact on the way I think about my prose. It has taught me how to make work fast-paced but still emotionally deep. By DOTTIE’s novel-length season finale, out today, the tone of the series had shifted away from violent erotica for the sake of violent erotica and into violent erotica for the sake of spiritual enlightenment.

I have come to view it, especially Episode 8, as a form of prose opera—and DOTTIE fans who’ve already read the season’s finale, especially the last six or so chapters, will surely agree with me. The definition comes not from its referential relationship with many operas from Pagliacci to Die Walkure to Carmen but from the dedicated effort, by way of aesthetic prose, to elevate the violent, sometimes horrific lovemaking of its characters out of sordid pulp and into its own form of esoteric spiritual experience—just as the music of opera frequently elevates the clumsy plots and silly characters of commedia dell’arte out of cartoonish nonsense and into revelation.

It’s only a matter of time before more and more authors see erotica not just as a place to make a quick buck but as a source of artistic and even spiritual expression. Maybe, with everybody stuck in their houses and the Met running one opera a day until at least September of 2021, we can expect this change to come sooner rather than later.

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hello i love collaborating with puppet combo: BABYSITTER BLOODBATH comes out 10/9

Picture R.L. Stine’s FEAR STREET series but with a splatterpunk twist: that, my friends, is BABYSITTER BLOODBATH. Don’t miss this bloody treat produced in collaboration with Puppet Combo, the genius developer behind such horror classics as POWER DRILL MASSACRE, NUN MASSACRE, and FEED ME, BILLY. BABYSITTER BLOODBATH is their first novelization and my first collaboration, so please support us both by buying a copy when it comes out on 10/9…and don’t forget to check out the rest of my work, too. There’s a new Sabine short coming out tonight or tomorrow, it just so happens, and if you like evil nuns, well…this’ll be the short for you. Of course, keep in mind–this is my first YA-style novel. Usually my work is a bit saucier than that, as regular readers know…new readers are advised to proceed with the utmost caution. But don’t worry, Regina Watts fans–YA-style doesn’t mean that it’s for kids.

I had a hell of a time working on this one–it was an absolute blast. Here’s to hoping I’ll get to do another one!

READ BABYSITTER BLOODBATH ON 10/9/20

You’ve played the game, now read the book! The first novelization in Puppet Combo’s VHS Terrors Series: Babysitter Bloodbath, puts you right in the middle of a classic 80s SLASHER!

Sarah has been feeling happy in her quiet Washington suburb and tonight is a big chance for her: A lengthy babysitting gig and a chance to be alone with her new hunky guy Jack. With any luck this’ll shape up to be a great night for her— unfortunately that luck has already run out.

A brutal atrocity happened 22 years ago in the very same neighborhood, completely forgotten by this small town, but not forgotten by the monster who committed it. Neokalus Burr will be violently released from his long stay in Monroe State Hospital… and Sarah will finally get to meet the long-forgotten horror of her town’s past.

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hello i love spooktober, bad witches, bizarre transformations oh and uh apparently hucow

Celebrate a month of Halloween fun by ensuring you’re all caught up with the adventures of SEXY SABINE! Sure, they’re standalone, but so are Looney Tunes…and if you enjoy one Bugs Bunny misadventure, odds are good you’ll love the rest. Grab THE WITCH’S GARDEN HOE for $4.99 and join wicked witch Sabine as she spies on her annoying and corruptible neighbor, Clarinda the Good Witch…then watch sparks fly as Clarinda gets what’s coming to her for being a busybody. From Satan-on-futa-on-male threesomes (featuring, of course, demonic tentacles and some really horrible sadomasochism that made me scream out loud to write and edit), to witch-on-witch spanking, to outrageously hot lesbian orgies and generally blasphemous magickal mischief, THE WITCH’S GARDEN HOE is a novella-length entry that’s sure to please.

But if you’re looking for something a little more, shall we say, niche, then enjoy a quicker read with THE WITCH’S MILK JUGS for $2.99. How can you eat Satan in the form of a bowl of cereal if you’re out of milk? Luckily, if you’re a witch with a cute, innocent, in-denial neighbor, it’s easy enough to make some of your own…this wet and messy short is especially for all the dairy lovers out there, but it’s weird, hot, and funny enough that anybody who’s enjoyed previous Sabine stories will love this one, too. Read THE WITCH’S MILK JUGS and learn a valuable lesson in Karma with your favorite bad witch!

Oh, and while I’m at it…be sure you’re signed up to my mailing list, because you get a free (and exclusive) Sabine short when you do! Fill out the form below and check your spam box if you don’t hear from me right away.

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hello i love free stories plus gothy femdom witches turning men into dogs and shirts

i love a character who hijacks my imagination and starts a whole new franchise. after seeing how THE WITCH’S NEW DOLLY exploded the other day (we’re talking, still #25 in transgender erotica, #46 in lesbian erotica and #54 in erotica thrillers as of the time of this writing), well, we just couldn’t resist. read THE WITCH’S DIRTY LAUNDRY for $2.99 or FREE on Kindle Unlimited and join sexy bad witch Sabine as she prepares to surprise the cable guy with a way more than he bargained for in this kinky short read packed with lesbians, cucking, futa, foot worship, petplay, and humanoids being transformed into inanimate objects.

what’s that? you want to know about the other short up there? well, that’s for mailing list subscribers only…sign up in the box below and get your copy today! and if you’re on the mailing list already but didn’t get an e-mail, then double-check your spam and promo folders. ❤

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