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Twisted Souls
Imagine your worst fear. A fear that eats away at you - fear of death, of illness, of needles, of fire. Even of feeligns themselves. In London, Emma Tate's life is collapsing around her - her job is in jeopardy, her parents have been killed in a car crash for which she blames herself, and her husband's business is failing. Seeking respite, Emma, her husband and two of their friends hope to find some temporary peace in a country house. But Roxton is a place of strange secrets. What is the reason for the closure of the mine? What riddles are hidden in the stained glass of the church? What mysterious force is at large? Emma's desire to uncover these secrets will lead her into a nightmare from which there will be no waking.
Paperback
First published December 7, 2006
2 people are currently reading
116 people want to read
About the author
Shaun Hutson
115 books538 followersBritish horror novelist, including horror and urban thriller novels.
His novella Slugs was made into a movie, although Hutson didn't like the movie. He also appeared in two horror movies himself.
Hutson is a Liverpool F.C. fan.
His novella Slugs was made into a movie, although Hutson didn't like the movie. He also appeared in two horror movies himself.
Hutson is a Liverpool F.C. fan.
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Displaying 1 - 16 of 16 reviews
November 7, 2016
What an amazing ending! !!!
June 29, 2019
As an author, he is not skilled or interested in the true art of writing good prose. His books remind me more or a cheap and forgettable horror flick (maybe he's hoping one of his books will make it to film?). Writing is unatmospheric and undescriptive, and characters are two dimensional and unexplored.
Rather than letting a scene breathe or a conversation fully develop and reflect the psyche of the characters, he prefers to cut these moments off prematurely in favour of going to another presudo-dramatic 'set piece' which will be ultimately inconclusive and unsatisying in terms of developing the central mystery of the story, and only ever hint at some form of action or excitement.
The dialogue simply serves the purpose of moving the plot. Very clichéd. It makes for uninteresting and generally unlikeable characters. Like how some dumb teens would speak in a horror flick. Lots of disagreeing and pointless arguing.
There was a moment towards the end where one of the characters explained the mystery in exhaustive terms, thus making the action that followed entirely predictable, as the character had clearly laid out the plot points for the last 20-30 pages.
There was a period in the middle of the book where things really moved very slowly. He had set all the pieces in place to advance the plot but chose to be stubborn and not move them, which was quite frustrating. For all the quick, choppy pace of the narrative, the only moments of meaty action happen in the last couple dozen pages.
When it comes to the 'scare factor', which many of us obviously seek when we chose a horror title, well, as I said, he has a horror flick sensibility and is not a serious practitioner in the art of prose, and therefore his writing is devoid or nuance or atmosphere. The violent and graphic moments in the book (there are a few, repetitive descriptions like this) had no impact for me due to this, and were simply unpleasant. No eeriness, no spookiness.
If you want a good British horror writer, go with James Herbert; if you want a good gore fest with a fast plot, go with Richard Laymon.
This guy just wants to make it to the big screen, and has admitted in an interview that he doesn't actually read (wish I could find where I read this, but I always like to do research about new authors I encounter). Anyway, it shows.
Rather than letting a scene breathe or a conversation fully develop and reflect the psyche of the characters, he prefers to cut these moments off prematurely in favour of going to another presudo-dramatic 'set piece' which will be ultimately inconclusive and unsatisying in terms of developing the central mystery of the story, and only ever hint at some form of action or excitement.
The dialogue simply serves the purpose of moving the plot. Very clichéd. It makes for uninteresting and generally unlikeable characters. Like how some dumb teens would speak in a horror flick. Lots of disagreeing and pointless arguing.
There was a moment towards the end where one of the characters explained the mystery in exhaustive terms, thus making the action that followed entirely predictable, as the character had clearly laid out the plot points for the last 20-30 pages.
There was a period in the middle of the book where things really moved very slowly. He had set all the pieces in place to advance the plot but chose to be stubborn and not move them, which was quite frustrating. For all the quick, choppy pace of the narrative, the only moments of meaty action happen in the last couple dozen pages.
When it comes to the 'scare factor', which many of us obviously seek when we chose a horror title, well, as I said, he has a horror flick sensibility and is not a serious practitioner in the art of prose, and therefore his writing is devoid or nuance or atmosphere. The violent and graphic moments in the book (there are a few, repetitive descriptions like this) had no impact for me due to this, and were simply unpleasant. No eeriness, no spookiness.
If you want a good British horror writer, go with James Herbert; if you want a good gore fest with a fast plot, go with Richard Laymon.
This guy just wants to make it to the big screen, and has admitted in an interview that he doesn't actually read (wish I could find where I read this, but I always like to do research about new authors I encounter). Anyway, it shows.
August 2, 2024
As an author, he is not skilled or interested in the true art of writing good prose. His books remind me more or a cheap and forgettable horror flick (maybe he's hoping one of his books will make it to film?). Writing is unatmospheric and undescriptive, and characters are two dimensional and unexplored.
Rather than letting a scene breathe or a conversation fully develop and reflect the psyche of the characters, he prefers to cut these moments off prematurely in favour of going to another presudo-dramatic 'set piece' which will be ultimately inconclusive and unsatisying in terms of developing the central mystery of the story, and only ever hint at some form of action or excitement.
The dialogue simply serves the purpose of moving the plot. Very clichéd. It makes for uninteresting and generally unlikeable characters. Like how some dumb teens would speak in a horror flick. Lots of disagreeing and pointless arguing.
There was a moment towards the end where one of the characters explained the mystery in exhaustive terms, thus making the action that followed entirely predictable, as the character had clearly laid out the plot points for the last 20-30 pages.
There was a period in the middle of the book where things really moved very slowly. He had set all the pieces in place to advance the plot but chose to be stubborn and not move them, which was quite frustrating. For all the quick, choppy pace of the narrative, the only moments of meaty action happen in the last couple dozen pages.
When it comes to the 'scare factor', which many of us obviously seek when we chose a horror title, well, as I said, he has a horror flick sensibility and is not a serious practitioner in the art of prose, and therefore his writing is devoid or nuance or atmosphere. The violent and graphic moments in the book (there are a few, repetitive descriptions like this) had no impact for me due to this, and were simply unpleasant. No eeriness, no spookiness.
If you want a good British horror writer, go with James Herbert; if you want a good gore fest with a fast plot, go with Richard Laymon.
This guy just wants to make it to the big screen, and has admitted in an interview that he doesn't actually read (wish I could find where I read this, but I always like to do research about new authors I encounter). Anyway, it shows.
Rather than letting a scene breathe or a conversation fully develop and reflect the psyche of the characters, he prefers to cut these moments off prematurely in favour of going to another presudo-dramatic 'set piece' which will be ultimately inconclusive and unsatisying in terms of developing the central mystery of the story, and only ever hint at some form of action or excitement.
The dialogue simply serves the purpose of moving the plot. Very clichéd. It makes for uninteresting and generally unlikeable characters. Like how some dumb teens would speak in a horror flick. Lots of disagreeing and pointless arguing.
There was a moment towards the end where one of the characters explained the mystery in exhaustive terms, thus making the action that followed entirely predictable, as the character had clearly laid out the plot points for the last 20-30 pages.
There was a period in the middle of the book where things really moved very slowly. He had set all the pieces in place to advance the plot but chose to be stubborn and not move them, which was quite frustrating. For all the quick, choppy pace of the narrative, the only moments of meaty action happen in the last couple dozen pages.
When it comes to the 'scare factor', which many of us obviously seek when we chose a horror title, well, as I said, he has a horror flick sensibility and is not a serious practitioner in the art of prose, and therefore his writing is devoid or nuance or atmosphere. The violent and graphic moments in the book (there are a few, repetitive descriptions like this) had no impact for me due to this, and were simply unpleasant. No eeriness, no spookiness.
If you want a good British horror writer, go with James Herbert; if you want a good gore fest with a fast plot, go with Richard Laymon.
This guy just wants to make it to the big screen, and has admitted in an interview that he doesn't actually read (wish I could find where I read this, but I always like to do research about new authors I encounter). Anyway, it shows.
June 15, 2017
Shaun Hutson is one of the kings of pulp horror fiction. In Twisted Souls the story is derivative and unoriginal, a sleepy village town hiding a sinister secret. No marks for originality with plot, although Hutson excels himself with a cringe worthy miasma of horror. The scenes in Twisted Souls are very twisted indeed, far harder then in most of his work. Overall, the short and simple yarn is an easy read and keeps your interest until the somewhat predictable end.
April 30, 2020
Still good
A bit slower than a normal Hutson book, the tension slowly builds to the killer punch. Not one of my favourites but still a great story.
I do wonder if Shaun has a twisted mind let alone a twisted soul.
A bit slower than a normal Hutson book, the tension slowly builds to the killer punch. Not one of my favourites but still a great story.
I do wonder if Shaun has a twisted mind let alone a twisted soul.
May 19, 2018
If your a Shaun Hutson fan like me 'Twisted Souls' is a brilliant quick fix, covering a level of normal to abnormal, as well as covering peoples fears and hatred.
May 2, 2021
Really enjoyed this bookeven though it has supernatural finish. Very well thought out couldn't fault the plot. Of course it contains the usual Hutson gore.
November 13, 2013
Quick and easy read with short chapters.
The beginning is a bit confusing with too many characters introduced, chopping and changing back between people. There was one character throughout the story that seemed a bit of a pointless add on as she never interacted with anyone else or added anything to the plot - just a bit of padding really. The ending was also quite abrupt, with not much action until about 4/5th's of the way through.
I didn't hate it though - the plot was intriguing enough to keep me turning the pages and it hasn't put me off reading any of the authors other books. I wouldn't pay full price for it, but as a library read or picked up from the charity shop it's worth a glance if you like horror.
The beginning is a bit confusing with too many characters introduced, chopping and changing back between people. There was one character throughout the story that seemed a bit of a pointless add on as she never interacted with anyone else or added anything to the plot - just a bit of padding really. The ending was also quite abrupt, with not much action until about 4/5th's of the way through.
I didn't hate it though - the plot was intriguing enough to keep me turning the pages and it hasn't put me off reading any of the authors other books. I wouldn't pay full price for it, but as a library read or picked up from the charity shop it's worth a glance if you like horror.
February 19, 2013
Not bad, Shaun Hutson continues to do what he does best , gory, crude and horrific.
Short chapters keep the story tumbling along, whilst not the most elaborate of tales, it kept me interested until the end.
Worth a looking at.
Short chapters keep the story tumbling along, whilst not the most elaborate of tales, it kept me interested until the end.
Worth a looking at.
February 19, 2013
Two couples take a break from their London problems for a holiday in Derby. Staying in a remote cottage they find out weird things about the locals who they discover worship a being that feeds on fear. Not a great read and awful characters
May 11, 2012
I absolutely loved this book, until the ending. I mean uhhh was that it? After all that? Oh well it was pretty darn good, but then again I'd say that about any of Hutson's books.
June 1, 2012
An enjoyable read although I felt too much time was spent looking in mirrors for a book which didn't seem to have reflection(s) as a theme.
September 1, 2012
Very short and not so interesting at all. At some parts it was disturbing and I didn't feel any suspense at all.
September 15, 2012
Seem very slow going and once the action did start the book ended, not one of shaun's best.
February 25, 2014
I didn't like this book very much. A bit too much violence for me, although the descriptions were good...perhaps too good for me!
Displaying 1 - 16 of 16 reviews