Sirens of Cinema. I joined the staff in late 2003, when it was run by Hugh Gallagher at Draculina and edited by Kevin Collins. In late 2005, Bob Kuiper and RAK Media became the new publisher and brought me on as editor.

Fangoria Magazine.

Film Threat Online. Staff writer (see above). Eric Campos, Editor. Chris Gore, Publisher

Haunted Attraction Magazine

Pretty-Scary.net. Since its inception in 2004 to about 2006, I workED on and off as a contributor and occassional assistant editor. Amy Lynn Best, Heidi Martinuzzi, and Jen Whilden are the creators of this exceptional site.

Alternative Cinema. In 2003, I worked as a staff writer for this EI-published magazine, back when Lisa Coduto was editor. I think I contributed to two issues before the publisher took it in a whole new direction. .

The Pulp. Between 2002-2004, I contributed to this Pittsburgh newspaper, largely covering the local indie filmmaking scene. I actually landed about a half-dozen cover stories here before it folded entirely.

Cinefantastique Magazine. 2001-2003 was the pinnacle of my career at that point. After working for Femme Fatales for almost a year prior, I landed a number of pieces in their parent publication, covering folks like Clive Barker, Neil Gaiman and Tom Savini. Dan Persons was the illustrious editor. Celeste Clarke became publisher following the death of her husband, the magazine's creator, Frederick Clarke. She didn't hold a candle to him. In 2003, CFQ and Femme Fatales were bought (some say sold out from under us by Mrs. Clarke) by Mark Altman (screenwriter, House of the Dead) who made it what it is today.

Femme Fatale Magazine. Some consider 2000-2003 the golden years of this magazine. When I came aboard as one of the head writers, Lisa Coduto had taken over the editorship following the dismissal of longtime editor, Bill George, and decided to take it in the opposite direction of his--namely, towards providing readers with actual content, rather than masquerading as soft-core porn and pretending to be a film magazine. It resulted in our downfall, but it was a good ride while it lasted. I had my first international cover-stories printed here. (My landing here was all thanks to my friend Jasi Cotton Lanier, by the way.)

The Dark Side. The 2000-2004 period was a busy one for me. Thanks to my status as "head writer" (or one of them) at Femme Fatales, other editors started taking notice of my work. Allan Bryce, the Editor/Publisher of this U.K. publication, asked me to contribute articles about American indie filmmakers. While there, I also interviewed Barker, Amber Benson and landed the first piece about our own movie, The Resurrection Game.

GC Magazine. 1999-2002. This was the start of my professional career. Editor Jon Keeyes (who went on to become a director/producer of such films as American Nightmare), took a chance on me as a largely-underpublished journalist and brought me on as the staff writer for the Book and Author Column of this monthly "Gentleman's Newspaper" published out of Dallas, Texas. This soon expanded to my writing feature interviews with actresses in the entertainment industry and taking on the additional responsibilites as website editor. The "magazine" itself was largely a free give-away in strip clubs, with every page advertising local "Live Nude Girl" reviews and 1-900 numbers. Which meant we could write about whatever the hell we wanted. My first column, "The Geeks Shall Inherit the Earth", ran here for the last half of 2001. The magazine folded in 2002 due to lack of interest on the part of the publishers. I turned the website into Hollywood is Burning (see below).


Twisted Visions. U.K. publication. Contributor and additional editing. David Kerkes, editor. Headpress U.K. I have no idea if this has ever seen the light of day.

Hollywood is Burning. Vol. 1, Issues 1-4. Independent film and video 'zine. Creator and co- editor with Charlie Fleming. An off-shoot of our website, published with ridiculous infrequency, for dispersion at conventions, etc.

The Asylum Volume 2: The Quiet Ward. "Trapdoor". Short Story. U.S. Anthology. David Nordhaus, Editor. Dark Tales Publications. This is probably out of print. I don't remember how the whole thing came about, but I was invited to submit a story to this proposed series of anthology collections. "Trapdoor" is about a demented art critic and his obsession with a new installation that seems to be talking to him. I wrote the story while sick with the flu and a 101 degree fever, which explains a lot.

Pittsburgh City Paper. "Slash And Burn: A Look at the Tom Savini School of Make-Up". Investigative article (cover story), February 20, 2002. My first local cover story, about the first semester at the Douglas School's new "Tom Savini Program of Special Effects Make-Up." I'm not sure why, but this was the only piece I ever landed at the City Paper. It did help me land work at The Pulp later that year, however. It also gained me lifetime access to the school, which has benefitted me endlessly over the years.

Tourniquet Heart. "Valentine". Short-Short. U.K. Anthology. Christopher Teague, Editor. After contributing a horrifying little Christmas story (which later became one of Amy's and my Christmas cards) to an anthology called Nasty Snips, the editor invited me to submit another short-short to his new book. "Valentine" takes Vincent Van Gogh's love obsession to a whole new level. 

In 1994, I submitted a one-act play to the Pittsburgh-run "New Works Festival". It was an anti-war farce I'd written backstage while working as crew on, I believe, "The Taming of the Shrew", while I was at CCAC (a local community college). The play had been gathering dust on a floppy disk (to give you an idea of how long ago this was), so I figured I had nothing to lose.

Lo and behold, PFC Everyman, was not only accepted by the festival, but won a host of audience-voted awards including Outstanding Production and (Voted by Committee) Outstanding Contribution by a Playwright, Outstanding Contribution by a Director (Ted Hoover). Most of the actors won awards as well (as well as leading lady Mia Price who is now a Rockette and can be seen in the new The Producers.)

This accidentally launched a brief career for me as a playwright. Which resulted in the following:

1996 So Nice To Have the Family Together Again. 10 minute play. Comedy. The Best of The No-Doze Dozen '95. Lawrenceville Theater. Director: Ted Hoover. Pyramid Productions. (Voted for inclusion in festival by Audience Poll) A nasty little black comedy about the most-loving dysfunctional family you could ever meet. In the second round of performances, Francis Veltri assumed the lead, and the very next year, we would cast him as the villain in The Resurrection Game.

1997 Who Speaks for the Non-Existent? One-Act Play. New Wave "1-Act" Festival. Luna's Café, California. Director: Ann Tracy. Beyond the Proscenium Productions. A semi-pretentious but ver funny (in my opinion) one-act about a musician who accidentally commits suicide and looks back at his life during his funeral. It was the winner of a nation-wide search chosen over a hundred or so applicants. This one-act inspired an unproduced full-length play which then resulted in my complete drying-up as far as playwriting goes.